The difficult bit is working out what percentage of pirated copies are actually replacing a sale that would have happened if the content wasn't available to pirate. The more dramatic industry numbers like to claim it's 100%, which is ridiculous. It's certainly more than 0%, though.

I'd assume that for your indie game, there were a lot of people who wound up thinking "I would play this if it's free, but I wouldn't spend $X" on it. Adding successful DRM wouldn't have done anything to them but drive them away, and reduce the amount of buzz the game received. But then, particularly in the indie game space, maybe trading away a lot of buzz for a couple hundred more full-price game sales would have been completely worth it...

This is where the concept of services like Xbox Game Pass seem to be landing. Once someone has paid their fairly-small-amount each month, every game is now "free". Much like fairly-cheap streaming music basically stopped music piracy from being mainstream, cheap game-services might have the same impact on the game industry.

Though, much like streaming music, whether it turns out to be economically viable for the average game studio is certainly a question.

(For the sake of completeness: I don't pirate anything, so I have nothing to justify here.)

The problem with game pass is that it takes the Spotify model to games. In practice, it doesn't seem to scale well - Microsoft has seemingly hit a market cap of ~35 million users because of a lot of existing aversion to subscription services in games, which isn't enough customers to actually amortize the cost of development, even at an indie scale.

Indie developers in particular don't like Game Pass because it apparently pays Spotify-tier rates, which is pretty bad. Spotify gets away with it because it took a deal with all big music labels for more favorable payouts, but your average indie band on Spotify makes absolutely zilch from your Spotify subscription, even if you listen to them 24/7 every year. Indie bands typically compensate with concerts and brand merchandise, but that isn't an option for games - secondary income sources are typically reviled (microtransactions in paid games) or don't sell to expectations (merchandise). The Spotify model only "works" because they shifted the music industry to rely primarily on those "side" sources (and even then there's a lot of disgruntled musicians who are unhappy with the Spotify model devaluing their craft).

> It's certainly more than 0%, though.

Is it? You also need to account to sales that only happened because someone learned of the game via a pirated copy.

Sales or economics is not the only thing a developer may care about. Some people want control over their work and will be upset from people pirating their game even if it doesn't mean they lose a sale. Similarly many artists do not want you to repost their art or use their art as your profile picture.