Saturday, 30 June 2012

Patents and Copyright

I was making sure I has something right: that binary executables are copyrighted works derivative of their source code; because it occurred to me that it might actually not be true after reading the US copyright office's description of video game copyright as only applying to the text and pictorial content - basically that a game is copyright on the art(s) data files alone.  This lead me down a rabbit hole that ended up here.

And that got me thinking, could we fix the FUBAR patent situation with copyright.  I know it's heresy to say so, but copyright might actually work out as a good idea (because what we've got with patents and crap sure as Hell isn't sustainable or sensible with big companies fighting with patent portfolios that make for a dangerously close to criminal oligopoly in any tech hardware adjacent marketplace).

If we describe how something complex is done (with many different potential implementations) as expression but block patents (what needs to get done, cookbook), as the EU does for software*, but consider the creation of such a complex process to be a derivative work that encapsulates the expression in the building then we might be getting somewhere.

Are two derivative works that are the same but can be shown to be independently derived from different source works a copyright conflict?  Could we make them not?  Use copyright as a chain of derivation with more force applied to the sanctity of the non-derivatives?  Basically you would have copyright on an executable as derivation of your source code but an independently created binary which shares too much common machine code to be safe from copyright infringement claim from an expressively different source (we already have to measure this to see if one source file is a derivation of another) would not cause a conflict.  It would provide an interesting case for decompilation of that binary, creating a derivative work of both source files (which traditionally requires someone to derive from two distinct sources, unless I'm missing something obvious).

So how does this apply to the world of patent-fuck (assuming we're going to blow them out of the water for complex machines)?  Intel don't have patents on x86 or anything like that any more.  They have a process for making their CPUs, a hugely complex design process for working out transistor layouts from their requirements using expressive (but often highly automated - we're talking machines that build machines** here) design that ends up with billions of transistors on a die in an exact configuration.  Because of the copyright on their complex machine*** then the CPUs that come out of it are likely a derivative expression of that creativity and so if you built your own fab and started making clone CPUs like Intel's then they would be works duplicated without permission.  If you independently designed a non-derivative process for working out transistor positions to make your own x86 CPU then even if the final transistor placements has overlap with an Intel CPU you would only need to show the non-derivative nature of your process of design to show it wasn't infringement.  AMD don't need any permission/patents to make a CPU as long as they're not stealing Intel's design software/workflow or blindly duplicating transistor layouts with no design of their own (you can't steal my source code or copy my executable).

Of course, you have to consider the potentially derivative work for containing that expression (complexity) found in the original work.  I can write a massive, unique program to write Hello World but the binary is unlikely to have copyright protection as derivative as the compile/optimisation process strips the expression from the original (unless it doesn't - think Rube Goldberg machine type situation, those things could get to the point of being expressive art in themselves and so could a complex enough Hello World as long as the optimisation wasn't able to strip it out).  And we've already got (in the world I just built in my head) this protection from coincidental derivation to a common point from differing ancestors to prevent it being a really big problem.

Your drugs (assuming complex molecules etc) are copyrighted derivatives by the process you went through to discover and develop them that cannot just be ripped off by someone copying the molecules but if they're naturally occurring or can be developed without just copying your work then that's cool.  Obviously that leads to the issue of copyright terms and how we'd need to build up copyright term lengths for a whole host of new things to get us closer to patent terms in those fields.  It's a whole minefield but we already live in a world when a drug patent can evergreened by changes like patenting the other handedness of the molecule or changing the damn tablet colour/shape so we're already SNAFU; it's hard to think we can make things worse!

Is this a perfect idea?  Hell no.  I've only thought about it for 30 minutes and I'm sure there would be work to make it in any way sane.  But I think the EU software world, where if you take the EXE I created and duplicate it and sell it as your own then I'm actually protected, but I can't protect the ideas of what it does**** from someone independently creating the same thing (or as a tiny fragment of functionality inside my copyrighted source code) is a good model.  As long as the process is complex (non-trivial) and expressive (non-obvious and many routes to functionality) then the thing it builds (as long as that maintains the complexity) is a derivative expression of that crafting/translation process.  We just have to make sure we acknowledge that our claim to expressivity says that the derived copyright is not exclusive as many different expressions can give rise to the same derived work and this can't block a second (distinct) original work being created and having a valid derived work.

I kinda started this though process imagining two short stories which are clearly copyrighted works and yet talk about something very similar (or even the same event or identical high-level plotline) and using Google Translate on them (a totally automated process).  The rough translations that result should obviously retain copyright as derivative works that maintain much of the expression of the originals but may (somewhat unlikely, not impossible) well share more commonality***** due to the weakness of computer translation to simplify somewhat and try to make something readable from the translation process.  Compiling is a translation process which optimises and strips some expression (but not enough for us to worry about the derived work being necessarily non-copyright, the granularity of expression is still there in the details over a large program).  That's basically how I justified not even thinking about stripping executable copyright, it seems to make perfect sense, and rather considered implementing the same thing into the meat-space of complex hardware.  Also I have no idea how the originally linked article worries about ReactOS as if the functionality is so small as to be necessarily identical by functionality constraint then there was (probably) no copyrightable work in the source code and (certainly) the derived binary at that point.  Two novels may share some sentences but it isn't a copyright issue, we already have a long history of working out what constitutes plagiarism and copyright infringement of expressive works to rely on to work out any edge cases.


* Is ScummVM only legal in the US because Lucas failed to patent the functionality of the engine (and possibly because anyone who writes software thinks software patents are scum and hugely damaging to the industry so internally campaign against them)?

** As someone who has spend a decent amount of time writing code that writes code, I can also see my hand in the code that my code writes as long as it is of sufficient complexity to be copyright if it was to by from my own keyboard then I see no reason to block it because it is one step removed from my keyboard as I wrote the code that wrote the code.  Typically we create code without enough expression as code generated by code is often saving us doing something non-expressive/boring by automation.  That is not always true.

*** Split being - functional so no copyright: 'make an x86 cpu with these constraints...'; expressive source code equivalent: design software etc that is interacted with and tweaked to actually do the design; derivative potentially-expressive binary equivalent: final layout of transistors on that CPU.

****  'Make a camera on-screen that looks as if it comes from a human eye's perspective or film camera and allows movement of the player-character'; 'Take a binary data stream encoded with MPEG compression and decode it to the visible data it encodes', 'Count the number of transitions of shadow volume to camera position to work out if an object is in shadow'.

*****  Even whole blocks may be totally identical now potentially baring the names of people and objects - and we already know switching up var names isn't transformative to strip copyright for fair use so has a danger of being considered NOP work and so making them identical.



So, what am I not considering here?  Couldn't this actually work to get us out of this patent quagmire?  We're already in a mess (and the US is in a real mess with software patents) so why not try and unify us under copyright to prevent blind duplication but allow parallel development and independent creation.  I'm not sure if we need to worry about retaining patents for things too simple to be complex enough to be expressive, because if it's that simple and there is only one right way to implement the functionality then do you really need a stick to beat anyone else who tries to do what you just happened to patent first?

Sunday, 4 March 2012

Non-linear Games and the DLC World of EA

I was going back over some DICE coverage (finally catching up with the talks this year I hadn't had time to check out) and walked right into this piece (24 mins video) only hours after reading this post.

Unless I completely got the wrong end of the stick (but I think it was sold quite clearly in the talk), can you see how linear stories with psychological hooks (story arcs which create incomplete purchases from each bit of DLC you buy) to get people to keep buying the new DLC are being sold (by the EA guy) as a great driver of an open world environment. The real non-linear content comes from the emergent gameplay (with systemic game design) that has nothing to do with constantly trying to sell a person the next chunk of linear content for your world.

Building an open world with linear story (GTA, Elder Scrolls being two great examples) are narratively linear when you're writing the story (even if you can approach a lot of the content in the order of your choice). The non-linear content is the emergent activities, walking the earth or enjoying the city simulation. That is where the players craft new stories that the designer did not build and yet the guy from (DLC fans) EA gives a big talk about how getting a writing staff around to constantly pump out paid content with story arcs as episodic content is non-linear.

I'm starting to get a deep understanding of why EA moved off Steam and it wasn't just Origin was ready to release (EA have no issue sharing sales revenue with any other digital store, as long as those stores don't force them to offer the choice of buying DLC from that same storefront). They see the boxed game as a traditional revenue source for getting the game out the door and are happy to give away some of the money to distributors (digital and retail) because they just got a customer for that product 'platform'. The game (a platform to sell more piecemeal linear story) is their conduit to far more revenue generation by selling DLC to expand the experience. Boxed copies drop in value over time but by enforcing all DLC via Origin they can keep 100% of that new big revenue stream and avoid a traditional price depreciation. That's worth losing any sales through Steam for on PC. Mass Effect 2 is £5 retail but you have to pay £30 on top to get all the DLC (if you made the mistake of buying Me2 used then it's a £40 cost to buy all the DLC including the stuff that comes with the new copies) and complete the story and all that money goes direct to EA. Imagine if all that DLC was critical to your full understanding of the story arcs of the game and they all chained together so buying one meant a sunk cost pushing buying the next one to see that multi-DLC story arc blossom. It has nothing to do with emergent non-linear stories, non-linear is only true in the strictest sense that you can do a lot of content (especially with a Elder Scrolls style many-linear chain design) in an order of your choosing. Like reading 3 books about the same character at once and picking where you go for the next chapter as you flick between them.

This ties in to a longer conversation about the ethical issue with 'whales' (the F2P term) and how we move with episodic content without abusing the customer and creating a drop-fed, unhappy consumer who ends up leaving the industry and spending their money on DVDs, books, and other entertainment if we treat them like something to maximise our cash intake from. While a game and traditional expansions had a classic price depreciation to pick up a long tail and let gamers buy when they could afford it (limited only on peer pressure to consume the latest talking point game), are we shooting ourselves in the foot with 30-60 minutes DLC missions for the price of a classic release (say 36 months after game launch) of a full game (or even an indie title at launch)? Are we offering a suitable value and is there a problem when a game that you can buy for £5 with lots of content can grow to 125% of that total content only by buying £30 of additional DLC, especially if we start to look at tying that content into arcs and hooking into the desire to follow threads (as discussed in the video).

When we grow to a TV model and have masses of DLC, two games worth of quest chains (four 12 episode seasons of content? At £5 an episode that would be £240 of content sold bit by bit as DLC but two games new only costs £60) then how to we price fairly? If we try and take every penny today then we'll end up stripping the customer base for gaming. And why did the guy from EA decide to try and pass this off as a non-linear discussion? Was that just a lack of a good term for this episodic content without using that phrase (because episodic content is something associated with some mild failure stories of timetables and popularity) as he pushed DLC? Does the not-technically-fixed-order way that Elder Scrolls does content make the dev think non-linear somehow?

Jan 2017 Update: video url stopped working, fixed to now point at current location.

Thursday, 9 September 2010

Subscriptions and the Price of the Internet

So I guess I was expecting a Whiskey Media subscription to run around the micro-payment zone (so when bundled up you'd probably go with quarterly / annual pricing to avoid eating too many charges on each transaction) and $50/year is higher than my expectations. And time-delaying the Bombcast to incentivise users is a bit of a shame after the talk about subscriptions only being a premium offering. Grrrr, Jess smash plans of sustainable content generation without significant advertising revenues!

And then I turned around and looked into the middle distance, coincidentally resting my gaze on a pile of EDGE magazines. Being a local, they're roughly the same subscription value (if you get a discount offer) as Giant Bomb is asking. 130 pages a month, printed on paper. Am I really just paying the money because of the paper bindings? When I think of the WM sites and all the original video programming and written content I'm enjoying, how can I possibly not say that is worth a few dollars each month?

"Because it's online"

I guess that's the answer. We're so used to getting basically everything for free online that we don't expect to pay for anything. If I don't support these guys then someone else will be making free content and I can just move to their free take-out joint. Quality may go down, trust in an honest view may wash away, but at least we'll never have to pay a penny more than our basic ISP fees to get at the juicy juicy time-sink content.

Well screw that! I'll find $50 each year and throw it at the Whiskey brand. If I really run out of cash I could stop subscribing to EDGE and put my money where my hours of enjoyment are. But it isn't just about putting cash into things you like; it's about putting cash into slightly niche enterprises you really enjoy and want to see more from. If Giant Bomb, Tested, Screened, and co are just another site in your mind then obviously putting a delay on some content is a dick move and maybe you'll just move away to somewhere else to get your gaming content. But, if you think this content is unique and special, give a few dollars each month to help make sure it'll still be here, maybe bigger and better, in the future.

Full disclosure, this isn't something new I've had to wrestle with on hearing the bombcast news. As a paying subscriber to Rock Paper Shotgun (your number one PC-centric online magazine, only $24/year) I've already weighed up my view of paying for online content. If the content is good enough, I'll happily pay magazine/newspaper subscription prices to help fund it.

This post was originally published on Giant Bomb.