> Who are these groups of people that Nintendo is still making games for?

The Chinese and Japanese are two obvious groups, at the very least.

I recently spent three months traveling through East Asia, mostly in China (Beijing & southwards) and Japan (Tokyo & southwards). There is a huge amount of casual gaming compared to Europe and the US. People commute a lot using advanced public transit (even Beijing's subway looks like Sci-fi compared to NYC MTA, and of course Japan is a different planet altogether). So, all these people not busy steering (and gearing, if in Europe), have PSPs at hand for zoning out to and fro work. And it's not just young boys; also thirty-something women frequently whip out gaming gear rather than makeup kits.

Of course it's not only a subway phenomenon. In Japan for instance, apart from all the gaming at home, there are also at least three distinct types of public game venues:
1 - Tekken-style penny arcades, similar to those in the West, mostly crowded by young men.
2 - Incredibly packed places with Vegas-style machines, but with small silver balls that rush though mazes. These places are unbelievably noisy from all the balls, sounds like a small airport. People of all sorts hang out here, from young men in fancy suits to middle-aged women who apparently just drop in when shopping.
3 - Cafe-style manga libraries where there are also booths for reading, gaming and surfing - or just sleeping. The Japanese seem to be sleeping everywhere, even in the lobbies in the hotels where they stay for the night. I really don't know why they prefer the lobby to their own room..?

I'd like a variable differential gravity field that pulls on different parts with different intensities. It's be a great stretching massage as long as one avoids the Roche Limit (http://en.wikipedia.org/wiki/Roche_limit).

Barack Obama is the only man I can think of that would fill Steve Jobs' shoes.

Even more exiting would be the vice versa.

Not all artists are musicians.

In Norway, the industrial designer Peter Opsvik designed a chair in 1972, http://www.opsvik.no/index.asp?page=works_14046_TrippTrapp_anim&ver=6 that legally has been defined as an artwork. He receives annual royalty for this successful product, and as a consequence he has been able to establish a design workshop that does both R&D of "commercial" furniture and more experimental designs with an unknown commercial application.

Point is, Opsvik is the only Norwegian designer that has been able to invest in R&D, and consequentially the only designer that has been able to create groundbreaking new seating products, such as the Capisco http://www.opsvik.no/index.asp?page=works_10997_Capisco_anim&ver=6 and the Balans http://www.opsvik.no/index.asp?page=works_11024_balans_Variable_anim&ver=6

So for this region and profession, the copyright was indeed an absolute necessity to create a sustainable environment for R&D.

I suspect that part of Apple's restrictive software distribution strategy is to avoid malware and crapware from creeping into the iPhone ecosystem. It's something like a walled garden or customs & border protection model for software distribution. Although I'm sure that enterprising criminals will find ways to break into the iPhone, Apple's approach does raise barriers to drive-by downloads, worms, trojans, and socially-engineered installations of malware.

Time will tell whether restricting software distribution for the iPhone is a net positive or negative in either creating a stable, easy-to-use, secure environment for mobile computing or in stifling development for a subset of developers.