As I have no doubt that was directed at me, I simply saying that people with no experience in this need to stop acting like they have any.
It would be like some random guy who's never worked on a car in his life showing up to the Ford Motors Engineering Department and trying to tell the people there how to improve their cars...
This, definitely. It's definitely an argument that needs to be seen from both sides - as a user and as an author. Arthmoor's point is valid, too.
Supporting the argument for no rights is very similar to supporting outright piracy. I don't see how it can be considered valid. The legal aspects are quite clear on the outward edges of it. I think the only thing that's even a bit unclear is whether a patch, targeting a single mod, edited via scripts (at runtime) is illegal. Some of the court cases and other issues seem to lean towards it being legal. The copyright definition of a derivative work seems to hint otherwise, but the examples given hint towards legality, too.
Attempting to get back on topic, you merely have to look at qmail for your answer as to the legality of patches. The source of qmail could be distributed unmodified, however patches were still perfectly legal and until it was released into the public domain in late 2007 were the only way to fix it or add features. If you want a runtime based example, just look at the Glider bot for World of Warcraft where Blizzard's claims of it being a violation of their copyright were rejected and specifically stated that someone using Glider was where copyright applied, not the creator(s) of Glider. Yes, Glider also had the EULA to consider and the issue of licensees versus owners of the software to account for but I have a feeling that can be ignored here and using esp mastering falls into the same situation here as well as with qmail's legal patches. Note that in both these cases neither was considered to be a derivative work.
I'd like to go back to the RiffTrax example, because I think it's a good one. They provide a set of instructions (as well as a recorded product) to use in conjunction with your movie to alter the experience. The argument as to why that's not really an equivocal argument is that a script (through its instructions) is essentially rewriting the experience, not providing something "on top of" it, assuming that the script in question specifically targets another work in which to modify (if I understood the counterargument correctly).
Two examples given here.
He has shown about as much experience as I have. Anyone can copypaste an article on copyright. It takes no effort and isn't indicative of skill.
I simply disagree with his interpretation.
You are blatantly calling the copyright statements false, not interpreting it differently. There's a definite difference. He's brought up the valid points that are quite clear.