Showing posts with label Games. Show all posts
Showing posts with label Games. Show all posts

15 December 2023

Games, copyright and metaverses

The 2023 CREATE working paper 'Gaming without Frontiers: Copyright and Competition in the Changing Video Game Sector' by Aysel Gizem Yaşar, Amy Thomas, Kenny Barr and Magali Eben states

This working paper examines aspects of the contemporary video games sector at a time when incumbent and new-entrant market participants vie for primacy in the games industry. In this setting, ownership configurations and business models of key actors are in a state of flux. As consumers increasingly access culture ‘on-demand’ by way of cloud technologies, myriad opportunities and challenges emerge, not only for the video games sector, but for the wider cultural industries and society as a whole. It is in this very dynamic industrial landscape that the working paper is located. 

The paper marks a starting point for collaborative research on the games industry, drawing on the range of expertise within CREATe to provide a more holistic view of innovation, creativity, and power dynamics in games. The authors draw on different research specialisms and interests including: digitalisation of the cultural industries; copyright and notions of user creativity; digital services and product market definition; and competition law, innovation and the role of technology. The paper draws on each of these specialisms in turn. It starts by providing the industrial context of the discussion and analysis. This feeds into three analytical sections examining: user creativity and intellectual property in video games; the implications of industry concentration for different articulations of creativity; and finally, an exploration of the potential ramifications of developments in the games sector for innovation at the dawn of the metaverse era. 

In doing so, this work sets the scene for future research, which brings together competition law, IP law, and cultural policy perspectives. With questions formulated throughout the paper, the authors embark on a project to review the changing landscape of gaming and its implications for creativity, innovation, access and integration. ... Transformations do not occur merely within the more traditional confines of ‘games’. As the gaming industry goes through a cloud transformation, it is also providing the basis for the development of something bigger: the metaverse. While virtual environments known as metaverse are still in their infancy, their connection to the gaming sector is clear. Popular games and gaming platforms like Minecraft, Fortnite and Roblox have been labelled ‘proto metaverses’. The immersive experience of metaverse lends itself well to gaming. At least some of the M&A trend in the gaming sector seems motivated by metaverse development. Established players in the gaming industry, like Microsoft and Epic Games, are taking shots at different aspects of metaverse. As such, metaverse development is an integral part of this project. 

Despite this close connection however, the metaverse goes beyond gaming, and metaverse projects encompass many aspects of human lives, from socialising to work, fitness, and even psychotherapy. Metaverse players are emerging outside of the gaming sector. It also has the potential to foster user creativity far beyond what video games have allowed so far and open up different business models. The authors of this paper are interested in the historical and contemporary connections between gaming and the metaverse. Some of the concentration trends and user creativity in the metaverse run parallel to the research focus in the gaming sector, setting the scene for an investigation into corresponding regulatory regimes. 

This paper is not intended to provide clear answers on what the changes in the games industry mean for IP or competition law. Rather, it aims to bring together a range of perspectives, identifying central research questions which can best be answered through a multi-perspective lens. The authors of this paper draw on different research specialisms and interests including: digitalisation of the cultural industries, copyright and notions of user creativity, digital services and product market definition, and competition law, innovation and the role of technology. The paper draws on each of these specialisms in turn. It starts by providing the industrial context of the discussion and analysis. This feeds into the three analytical sections examining: user creativity and intellectual property in video games; the implications of industry concentration for different articulations of creativity; and finally, an exploration of the implications of developments in the games sector for innovation at the dawn of the vaunted metaverse era. The concluding section synthesises each of these component parts in the closing discussion. It identifies the questions which will underpin the future research of the CREATe games project.

13 July 2023

Game Archives

The report of a Survey of the Video Game Reissue Market in the United States (conducted for the Video Game History Foundation and the Software Preservation Network, in collaboration with the University of Washington Information School GAME Research Group) by Phil Salvador comments 

Video games are part of our cultural history. The video game industry and cultural heritage institutions agree that video games should be preserved for both entertainment and study. As part of that effort, a growing market has emerged for reissuing historical games, popularly called retro games or classic games. 

Despite this, the availability of historical games is generally understood to be limited. This is due to a variety of factors, including technical constraints, complicated rights issues, rightsholder disinterest, and the long-term volatility of digital distribution platforms. The scale of this problem is troubling for anyone hoping to access games, but it is particularly critical for the cultural heritage field, which depends on the ability to access historical video games for research and must otherwise rely on unauthorized means to access them. 

Although the game industry agrees with the cultural heritage field that preservation is important, they disagree about how severe this problem is and how to address it. Industry lobbyists in the United States have opposed new copyright exemptions for game preservation on the grounds that there is already a thriving reissue market. While a healthy market for certain game reissues does exist, it is overshadowed by the volume of games that remain unavailable. 

To better inform discussions of these complex issues, we gathered empirical evidence about the state of the video game reissue market in the United States and what portion of historical games are actually still in commercial distribution. We believe this is the first major study to analyze the availability rates for a broad sample of historical games in this manner. 

What We Studied 

This study analyzed a dataset representing over 4,000 historical video games released in the United States before 2010 to determine whether they have been reissued or are otherwise still available through their rightsholders. The survey examined four sample groups, each representing a different segment of the diverse population of video games:

● A sample of all historical games released before 2010. 

● Games for the Commodore 64, a platform that represents an abandoned ecosystem with the lowest level of commercial interest. 

● Games for the Game Boy platform family, a neglected ecosystem with demonstrable commercial interest but declining availability. 

● Games for the PlayStation 2, an active ecosystem with high recommercialization activity from multiple parties.  

Historical video game availability is dire. Only 13 percent of classic video games published in the United States are currently in release. This figure is comparable to the commercial availability of pre-World War II audio recordings (10 percent or less) or the survival rate of American silent-era films (14 percent), two other mediums at risk. 

These levels are consistent across platform ecosystems and time periods. All three platform libraries examined for this study have poor reissue rates, regardless of commercial interest (see table 1). Despite vastly different levels of platform-owner activity, the Commodore 64 and the Game Boy family ecosystems are both effectively abandoned, while our example of a commercially active  ecosystem, the PlayStation 2 ecosystem, only reaches a reissue rate of 12 percent. Across all platforms, no five-year period from 1960–2009 rises above 20 percent availability (see figure 1).   

Historically significant games with low commercial value are especially unlikely to be reissued. The reissue rate falls below 3 percent for all games released prior 1985, a period with high historical importance to the early game industry but minimal commercial activity. The Commodore 64—an important platform for the 1980s computer game industry—showed both the lowest availability rate and the lowest diversity of reissue sources out of any ecosystem we examined. This is evidence that the interests of the marketplace do not align with the needs of video game researchers. Digital marketplace volatility threatens the availability of game reissues. While games do get reissued, the long-term instability of digital game distribution platforms means they often lapse out of release, especially in ecosystems where there is a low diversity of reissue sources. 6.5 percent of the Game Boy library was previously available only through Nintendo’s Virtual Console storefronts for the Wii U and 3DS platforms, but since those services shuttered in March 2023, those games are no longer available in any form. Other legacy digital stores that are still running, such as the PlayStation 3 and PlayStation Vita stores, have experienced such a degradation in service quality that users are effectively unable to purchase titles that are technically still in commerce. 

Takeaways 

This is a systemic problem. Historical game availability issues are widespread across all platform ecosystems and time periods. No single company or platform owner is responsible for this reality. This is a crisis for the entire medium of video games. 

While the reissue market is active, it’s not enough. Publishers do reissue historical video games through a variety of formats, services, and products, but their collective effort has amounted to recommercializing or otherwise making available less than one- fifth of all historical games. As a result, nearly 90 percent of the game industry’s historical output is inaccessible without acquiring vintage games and hardware from the expensive second-hand market, visiting library collections in person due to restrictions imposed by Digital Millennium Copyright Act, or resorting to piracy. 

The game industry must acknowledge this problem—and that libraries and archives can help solve it. While it may seem hard to reconcile the interests of the commercial marketplace with the needs of researchers, the first step is to agree on the facts and recognize the significant gaps that exist in the reissue market. Cultural heritage institutions can help close that gap by providing access to the overwhelming majority of games that remain unavailable. 

18 April 2023

Games, IP and AI

'Intellectual Property Law in Gaming and Artificial Intelligence' by Enrico Bonadio and Alina Trapova in Chris Bevan (ed), Handbook on Property Law & Theory (Elgar, forthcoming 2024) comments 

This chapter focuses on copyright and patent aspects of AI in gaming. As is known, copyright law protects original creative expression, while patents safeguard new inventions capable of industrial application. On the copyright side, the central classic question is what video games are in terms of protectable subject matter. This issue of the video games’ legal nature is rather old, but still pertinent topic. By now, it has been widely accepted that video games are complex subject matter from a copyright perspective, comprising not just a software, but also graphic and sound elements that contribute to the unique creative value of the game. That said, different jurisdictions adopt varying approaches to the nature of video games with some classifying them as predominantly computer programs and others dissecting the different elements in the game or treating the game as an audio-visual work as a whole. Patents instead have historically attracted less attention. Nonetheless, these can be extremely important for some hardware, software, development tools and other middleware companies, but as it currently stands the considerable cost tied to patents renders them less utilised in the field. 

Against this background, AI has stepped in to not only disrupt classical IP models, but to also offer a wide range of immersive interactive experiences for gaming; thus, opening new avenues for exploitation. As far as copyright law is concerned, the infusion of an AI element into the game provokes questions of authorship when it comes to in-game creativity. Put differently, who is the author and owner of creative expressions when they are created by players within the context of playing the game where certain interactions are driven (and often dictated) by AI? When it comes to patents and AI in this industry, central issues revolve around whether inventions covering the video games’ mechanics constitute patentable subject matter because they have technical features (and not just an unpatentable set of rules developed to be executed by hardware including a console or computer); and in general, whether patents protecting video games are too broad so as to discourage technological progress in this field. 

This chapter starts with a brief explanation of the influence of AI in gaming (Section 2). It then moves to sketch out the copyright law authorship and in-game creativity challenges (Section 3). Next, it turns to the several patent law conundrums in the field (Section 4). The final part (Section 4) concludes the discussion by arguing that while AI in gaming has been rather recently implemented, the fast pace with which this creative industry develops will certainly quickly transform the experience of video game players, but also the manner in which one understands (intellectual) property in-game.

30 March 2023

Censorship

The report of the  Review of Australian classification regulation provided to the government by former Communications Dept Secretary Neville Stevens in May 2020 has now been released.


The Review's Terms of Reference were

Classification plays a crucial role in helping Australians make informed decisions about content they or those in their care watch, read and play. 
 
The current National Classification Scheme (the Scheme) exists to provide a framework by which films, video games and certain publications made available in Australia receive a rating and consumer advice that provides a safeguard to the Australian public that content is consumed by the appropriate audience. 
 
It is a joint scheme between the Commonwealth and the states and territories and was established in 1995. The Commonwealth Classification (Publications, Films and Computer Games) Act 1995 establishes the framework for classification of content, and state and territory classification legislation regulates the advertising, availability and sale of classifiable content. 
 
The Scheme applies to online and physical video games, films and episodic series on all platforms including in cinemas, on DVD and online (such as streaming services and subscription video on demand) but not to programs broadcast on television. Classification of television programs is regulated under separate codes of practice covering free to air broadcasters, subscription television broadcasters, the ABC and the SBS. In 2012, the Australian Law Reform Commission’s (ALRC) report ‘Classification – Content Regulation and Convergent Media’ found that classification legislation ‘does not deal adequately with the challenges of media convergence and the volume of media available to Australians’. The Convergence Review Committee’s report in 2012 endorsed the findings of the ALRC review. Consistent with these reviews, the Australian Competition and Consumer Commission’s (ACCC) Digital Platforms Inquiry final report recommended that ‘a new platform-neutral regulatory framework be developed,’ including ‘creating a nationally uniform classification scheme to classify or restrict access to content consistently across delivery formats’ (Recommendation 6). 
The ALRC review was conducted before the popularisation of online streaming and video on demand services and the significant increase in online and mobile games available in Australia. This review will build on the ALRC report in the context of today’s diverse media content market. Consistent with the agreement of the Council of Attorneys-General, a review of the National Classification Code, the Guidelines for the Classification of Films (Films Guidelines) and the Guidelines for the Classification of Computer Games (Computer Games Guidelines) will also be undertaken to ascertain whether they continue to reflect contemporary community standards. The National Classification Code and the Films Guidelines were last reviewed in 2002, and the Computer Games Guidelines were last reviewed prior to the introduction of the R 18+ category for games in 2013. 
Scope 
 
An independent expert will be appointed to conduct the review, supported by the Department of Communications and the Arts (now the Department of Infrastructure, Transport, Regional Development and Communications).   
 
The review will cover: 1. Opportunities to harmonise the classification of, or restriction of access to, content across different delivery platforms including broadcasting services (commercial free to air, national broadcasting and subscription television), online stores and services, cinema releases, and physical product (e.g. boxed video games and DVDs). 2. The design of a contemporary Australian classification framework, including: a. What content requires classification; b. Consistency of classification categories, standards and access restrictions across media formats; c. Classification decision-making processes, including mechanisms for review; and d. Governance arrangements, including the suitability of the current cooperative scheme. 3. Opportunities to update classification decision-making standards, including a comprehensive review to update the National Classification Code, the Films Guidelines, and the Computer Games Guidelines. 
 
The following issues are out of scope: • Broader content regulation issues outlined in Recommendation 6 of the ACCC’s Digital Platforms Inquiry. Content regulation reform is a significant undertaking that needs to be broken down into interrelated processes. • Regulation of sexually explicit content online, which will be considered in possible reforms to the Online Content Scheme in Schedules 5 and 7 of the Broadcasting Services Act 1992.

The Report states

Australia’s classification system has existed since the early 1900s and has evolved over the decades. Departmental research consistently shows classification is wanted and valued by Australians. From an early focus on censorship, the system has shifted to providing information and guidance to help parents make decisions about the suitability of content for children of varying ages and to provide all consumers with information to make informed choices. 
There have been a number of reviews of classification arrangements including the Australian Law Reform Commission’s report in 2012 and the Australian Competition and Consumer Commission’s Digital Platforms Inquiry report in 2019. These reports highlighted deficiencies with current classification arrangements and recommended significant changes to take into account the increase in content available online and the convergence of media platforms. 
Areas of concern raised by these reviews and reinforced by submissions to this review include: • The high cost of the processes of the Classification Board (the Board), especially given the volume of content now requiring classification; • Timeframes to use the Board which are too long to be compatible with current media practices; • Separate regulatory systems and regulators for broadcast and for other content providers; • Lack of clarity on what content should require classification due to the very wide and outdated definitions in current legislation; • Lack of compliance with existing legislation among some content providers, including a number of video on demand providers and online games storefronts, partly as a result of the high cost and long timeframes of existing classification practices; • Governance arrangements between the Australian Government and the states and territories, which could better define roles and responsibilities of the various parties in an online environment, and which are not seen as sufficiently timely or flexible; and • Lack of a regular approach to updating classification guidelines to reflect contemporary community concerns and research into relevant matters, including child development issues. 
 
My analysis of these issues and my recommendations for change are informed by the need for a future classification regulatory framework that: 1. Is able to adapt to new technologies, market developments and emerging issues of community concern; 2. Provides clear, useful and easily accessible information to enable consumers to make informed media choices for both themselves and for their children; 3. Has evidence-based classification guidelines that are regularly updated, taking into regard both expert knowledge and Australian community standards; 4. Enables classification arrangements that are efficient and cost-effective for industry, that are consistent across content platforms and which have the confidence of the community; 5. Provides appropriate content restriction and enforcement for both physical and online content; and 6. Enables timely decision-making on changes to the classification scheme. 
 
National Classification Code and standards 
 
Clause 1 of the National Classification Code and section 11 of the Classification (Publications, Films and Computer Games) Act 1995 contain a range of underpinning principles and matters to be taken into account in classification. Although formulated in 1995, many aspects of these overarching principles retain value, in particular the balancing of protecting children from harmful content while preserving the right of adults to “read, hear, see and play what they want.” However, other concepts and language contained in these provisions, which have roots in the history of classification, are in need of an update. Such amendments would reflect the evolution of classification from its historical origins in censorship and concerns for public morals to a more objective, harms-based system focussed on informing consumers (particularly parents) and protecting children. 
 
I recommend that key principles set out in the National Classification Code be updated to provide that: • Adults should be able to read, hear, see and play what they want, with limited exception; • Minors should be protected from content likely to harm or disturb them; and • Everyone should be protected from exposure to content of serious concern to the wellbeing of the community. 
 
Content to be classified  
 
There is a need to clarify what content should be classified, as current definitions in the Classification (Publications, Films and Computer Games) Act 1995 were designed for the content market of the 1990s and technically capture all streaming services and user-generated content uploaded to sites such as YouTube. 
 
The focus of classification should be on content that is most relevant and important to Australian consumers. I therefore recommend that the following three principles should be used to define content that should be classified: • Professionally produced – content with higher quality production values; and • Distributed on a commercial basis – to capture organisations or individuals that distribute media content as part of their business, as opposed to individuals or community groups whose main purpose is not to distribute media content for commercial gain; and • Directed at an Australian audience – a selection of content is specifically made available for Australia or marketing is specifically directed at Australians. 
 
Narrowing the definition of ‘classifiable content’ will capture online video on demand providers and online games stores directed at Australian consumers but exclude user-generated content. Classification should continue to be the responsibility of the organisation that makes the content available first in Australia, regardless of who originally made the content. 
 
The eSafety Commissioner would continue to have responsibility for responding to online content that is illegal, including content that would be Refused Classification under the National Classification Scheme. 
 
As part of the classification of films, sexually explicit (X 18+) films in physical formats should continue to be classified. Sexually explicit content online is regulated by the Online Content Scheme which is currently being reviewed. 
 
Current classification exemptions for films, computer games and publications should be maintained.   
 
Processes to classify content 
 
A range of different classification processes currently exist under the National Classification Scheme and broadcasting laws. Where some content providers are submitting content to the Board, some are using classification tools and others are self-classifying content. These varying processes mean that classification can be more expensive and time-consuming for some parts of industry compared to others and this uneven playing field can have an impact on compliance with classification laws. 
 
Classification decisions need to be consistent, accurate, accessible and easily understood by consumers. The community must have confidence that the right classification outcome is reached, regardless of the process that is used to achieve that classification. 
 
I recommend harmonising processes across platforms so that industry is given greater responsibility for undertaking classification, with the flexibility to choose the classification process that best suits them. These processes would be: • Self-classification by people trained and accredited by the regulator, who could be either in-house staff or third-party classifiers; or • Self-classification using classification tools approved by the Australian Government Minister; or • Submitting content to the regulator for classification. 
 
Many computer games online show Australian classifications using the International Age Rating Coalition (IARC) tool. However, Apple’s App Store uses its own international age-rating system where games are classified 4+, 9+, 12+ or 17+. The Apple App Store’s own system is working well – there are few complaints to the Department, and the Department’s research with the community indicates there is general consumer acceptance. I therefore recommend that the relevant Australian Government Minister should have the power to authorise the use of alternative classification systems for computer games where they provide the necessary classification information for the Australian community. 
 
The games storefront Steam, operated by the company Valve, does not display Australian classification information for all games and does not provide Australian consumers and parents with adequate information to help them make informed choices. This needs to change. If Valve does not participate in IARC in the near future, I recommend that the Department further discuss with Valve the implementation of a separate tool to generate Australian ratings for computer games sold to Australian consumers on Steam. 
 
Currently, the same content is required to be classified separately for release across different platforms and in different formats. To avoid this double handling, I recommend that once content is classified once, it should not need to be classified again, unless it is modified and the modification is likely to change the classification. However, content providers should be able to give additional consumer advice where necessary.\ 
 
The only exceptions to this would be to: • Allow content providers to reclassify content after 10 years to reflect changing community standards; and • Provide a limited provision for content providers to apply to the regulator for approval to reclassify where they consider the original classification category (e.g. G, PG, M, etc.) requires reassessment. 
 
Classification decisions should continue to be uploaded and published on the National Classification Database at www.classification.gov.au, and this database should also include content classified by the broadcasters. This will provide transparent information to Australian consumers and help content providers find the classification of content that has previously been classified. 
 
The review of classification decisions should be transferred from the Classification Review Board to the Australian Government regulator. In the infrequent cases where the regulator was the original decision-maker, alternative staff would review the decision to manage any conflict of interest issues. 
 
The community must have confidence that the move to greater industry self-classification will not undermine the integrity of the classification system. To continue high levels of community confidence in classification, industry self-classification must be underpinned by a robust accreditation, audit, review and timely complaints mechanism overseen by the Australian Government regulator. 
 
Classification categories and consumer advice 
 
A variety of suggestions were made about changes to the classification categories, including adding a category between PG and M, or introducing entirely new age-based categories. Although I see merit in providing more guidance on age suitability for parents, I do not recommend changes to classification categories at this time. 
 
The current scheme, while it may not be perfect, is well known to the community and a clear case would need to be made for any changes. There is no consensus amongst stakeholders, or arising from the Department’s consumer research, for any particular alternative system and changes are strongly opposed by some stakeholders on commercial and technical grounds. However, this matter should be kept under review. 
 
I recommend that the Refused Classification category should continue to include both illegal content and content which is abhorrent to the community but that it be renamed Prohibited to make the meaning of this category clearer. 
 
I also recommend that the current categories for submittable publications be replaced with equivalent categories currently in use for films and computer games: Unrestricted would be replaced with M, Category 1 restricted replaced with R 18+ and Category 2 restricted replaced with X 18+. This change would be clearer for consumers and bring greater uniformity to the classification system. 
 
There are various views in relation to consumer advice and how it is currently applied by classification tools, by broadcast classifiers and by the Board. With a move to greater industry self-classification, there needs to be more detailed guidance given to industry so that consistent consumer advice is provided. 
 
To be useful, consumer advice should be specific, direct and consistent. In this vein, I recommend that generic consumer advice, such as ‘strong themes’, be avoided wherever possible and instead, more descriptive consumer advice be provided. 
 
In updating guidelines for consumer advice, greater recognition should be given to current and emerging community concerns such as suicide, incitement of racial hatred and domestic violence. 
 
Legal restrictions 
 
Currently, the categories MA 15+ and R 18+ are legally restricted under the National Classification Scheme. However, MA 15+ content is not legally restricted on free to air television where broadcasters are subject to a requirement that it be broadcast after at least 8.30pm. Moreover, this content is readily available at any time through broadcasters’ video on demand (catch-up TV) services. Reflecting this, the MA 15+ category stands for Mature Audience on free to air television compared with Mature Accompanied for content classified under the National Classification Scheme. 
 
Despite MA 15+ and R 18+ both being legally restricted categories, an important distinction lies in the provisions relating to adult accompaniment or consent that apply to MA 15+. This means that the age restriction for this category is conditional on the physical accompaniment (for example, during the duration of a film screened in a cinema) or consent (for example, when purchasing a product in store) by a responsible adult. In contrast, the restriction of R 18+ is unconditional and only individuals 18 years and older can access this content. 
 
In the online world, where the concept of another person’s accompaniment or consent is difficult to monitor or enforce, the full conditions of MA 15+ arguably lose their validity. The fact that the accompaniment or consent caveat does not have application in a home setting is reflected in the different conditions that apply to the MA 15+ category for broadcast content. 
 
I consider that arrangements should be consistent across all online platforms and I am recommending that MA 15+ content accessed online no longer be legally restricted. Legal restriction of this category is not enforceable via available technology and this change would harmonise arrangements between broadcasters and other content providers. There are an increasing number of parental controls available online that enable parents to restrict access to particular content and I recommend that these be more widely available and better promoted. 
 
I recommend that the MA 15+ category should remain restricted in the physical world as there are readily available means of enforcing this restriction and in its absence, there would be no alternative mechanism for parents to prevent their children accessing this material. The R 18+ and X 18+ categories should remain restricted on all formats and the best available technology should be employed to restrict access. 
 
Classification guidelines 
 
There are different but similar guidelines for the classification of films applying to online content providers and free to air and subscription broadcasters. It would be preferable to have a single set of guidelines for films applying across all delivery platforms. 
 
The Films Guidelines use an impact hierarchy for classification, which is inherently subjective and relies heavily on the capacity of the Board to interpret in a consistent manner. The guidelines used by television broadcasters, by comparison, are more detailed in their description of what is allowable in each category. As classification increasingly becomes the responsibility of industry, there is a need for guidelines to be as detailed and as specific as possible to enable the provision of consistent classification decisions and information. This would provide the public with a transparent set of classification criteria and engender confidence in the system. 
 
I therefore recommend the development of more detailed and consistent guidelines across all delivery platforms. 
 
Currently, there is no mechanism for regular reviewing and updating of guidelines to reflect community standards, empirical research on child development issues or developments in content or modes of delivery. I recommend that a Classification Advisory Panel comprising experts in child development and other relevant fields, as well as representatives of community groups and those with industry experience, be established to provide advice on updates of the classification categories, National Classification Code, classification guidelines and matters to be taken into account in decision- making in the Classification Act. The panel would draw on both the empirical evidence in relation to harmful impacts of media content, especially on children, and research and consultation with the community. It would report at least every four years on possible updates to classification guidelines and as necessary to respond to issues that may be referred to it or on which it considers attention needs to be given. 
 
There are separate guidelines used to classify films, computer games and publications. A number of submissions called for the merging of the Films Guidelines and Computer Games Guidelines. Many adult gamers were concerned that the differences in these guidelines were unnecessary and resulted in a number of games being Refused Classification when they are both readily available internationally and would not be Refused Classification under the Films Guidelines. 
 
While there was considerable support for eliminating inconsistencies between the Computer Games Guidelines and Films Guidelines, other submitters were concerned that simply combining these Guidelines would not adequately capture certain interactive game features or provide adequate safeguards for children. 
 
I consider that there is a need to address concerns about the impact of interactive content on children and about violence in computer games, and for this reason do not recommend the merging of the Films Guidelines and Computer Games Guidelines. 
 
However, there are provisions in the Computer Games Guidelines that are more restrictive than the Films Guidelines and have led to a number of games being Refused Classification in Australia. Consistent with the principle in the National Classification Code that “adults should be able to read, hear, see and play what they want,” I recommend that the Films Guidelines and Computer Games Guidelines should be aligned at the R 18+ level and that corresponding changes are made to the Refused Classification provisions in the Computer Games Guidelines. Existing protections would continue to be applied, particularly relating to interactivity, for content below that level that may be accessed by children. 
 
Films Guidelines 
 
Some specific issues were raised in respect of the Films Guidelines. Concerns about sexualised depictions of minors in films is one such issue. While context, artistic merit and intended audience should be taken into consideration when assessing a film generally, sexualised depictions of minors (whether real or animated) that are gratuitous, exploitative or offensive, and which sexually objectify children, should never be permitted. 
 
I recommend that the Films Guidelines should be amended to make reference to the need to give greater weight to the possibility that sexualised depictions of children are gratuitous, exploitative or offensive. While the current classification system provides for child abuse material to be Refused Classification, the provisions in the Commonwealth Criminal Code Act 1995 (the Criminal Code) in relation to child abuse material are much more detailed than those in the National Classification Code and Guidelines, and I recommend that the National Classification Code and Guidelines should be aligned with the Criminal Code in this regard. 
 
There is also a need for clear warnings for consumers and specific guidance for classifiers about matters such as violence against women and sexual violence, suicide, dangerous imitable behaviour and scary content. 
 
I recommend that the Classification Advisory Panel should address these issues in providing advice on the development of revised and more detailed guidelines. It should also review evidence of impacts on children of lower levels of violence. While current treatment of language in classification is considered generally acceptable, there would be value in including racist and other discriminatory language in this element. I also recommend that the use of alcohol, prescription medications and smoking should be considered under the element ‘drugs’. 
 
For X 18+ films, I recommend that the absolute prohibitions on fetishes, which are not illegal, and violence (where it is unrelated to sex) should be removed. 
 
Computer Games Guidelines 
 
Issues relating specifically to the Computer Games Guidelines that have emerged during this review include simulated gambling, loot boxes and other micro-transactions. The main issue with loot boxes is the combination of expenditure with chance and concerns about gambling-like impacts on players, including children. To address this, I recommend that loot boxes that can be purchased are given consumer advice addressing both expenditure and chance aspects, and are given a minimum classification of PG. 
 
Simulated gambling games, which replicate casino games, require a stronger response to prevent children’s access to such games. I recommend that games which are purely based on simulated gambling should be given a minimum classification of MA 15+ and continue to be given consumer advice of ‘simulated gambling’. However, games which incorporate simulated gambling in a less prominent way (e.g. as part of a broader, narrative-based game), and where simulated gambling can be avoided, may not need such a high rating. Appropriate consumer advice would include ‘simulated gambling’ where it is interactive and clearly replicates casino games. 
 
Publications Guidelines 
 
There were few suggested changes to the Publications Guidelines. While I recommend maintaining separate Guidelines for Films, Computer Games and Publications, the Publications Guidelines should incorporate definitions of classifiable elements which are consistent with those used in the Films Guidelines and Computer Games Guidelines. Clarity is also needed in relation to allowable detail in depictions of nudity. 
 
Concerns were raised by two stakeholders about sexualised depictions of children in publications. As with the Films Guidelines, the Publications Guidelines should include the need to give greater weight to the possibility that sexualised depictions of children are gratuitous, exploitative or offensive. 
 
Advertising of films, games and publications 
 
I recommend no changes to classification regulation for the advertising of films, computer games and submittable publications, although responsibilities for advertising assessments that currently lie with the Board should be the role of the Australian Government regulator. 
 
Advertising for films and computer games on television should continue to be regulated through broadcasting codes of practice and the Australian Association of National Advertisers codes. Complaints about the placement of advertising should continue to be referred to the broadcaster in the first instance, with escalated complaints being dealt with by the regulator. Complaints about the substance of advertising should continue to be referred to Ad Standards. 
 
I looked closely at the film industry’s proposal to change Commonwealth laws for advertising unclassified films where the content of the trailer is assessed rather than the likely classification of the film being advertised. However, I recognise that parts of the Australian community may have concerns about potentially unsuitable films being marketed to children, in cinemas in particular, and on balance recommend no change. 
 
Classification governance 
 
Role of the Australian Government and the states and territories 
 
Under the National Classification Scheme, the Australian Government is responsible for classifying content and the states and territories are responsible for regulating the sale, exhibition, advertising and hire of classifiable content. Under the intergovernmental agreement signed in 1995, decisions made by Ministers must be effected through the Council of Attorneys-General (CAG). Any changes to the National Classification Code and the classification Guidelines must be unanimously agreed by Ministers from all jurisdictions. Many submitters were concerned that these long-standing arrangements were no longer working well in the digital age. 
 
To clarify classification responsibilities and to make classification decision-making more responsive to changes in the content market, I recommend that the 1995 intergovernmental agreement be revised so that: • The Australian Government retains responsibility for establishing the mechanisms to classify content, however a range of different classification processes can be used. • The Australian Government is responsible for enforcement of online classifiable content, with states and territories responsible for enforcement of offline (physical) classifiable content. • CAG decision-making should generally be made on the basis of consensus but where consensus cannot be reached, decisions should be made on the basis of a majority of the members. 
 
The Australian Government regulator 
 
Currently, classification regulation is split amongst a number of Federal bodies, including the Board, the Classification Review Board, Australian Communications and Media Authority (ACMA) and the Department. Consistent with the recommendations to harmonise content regulation across all delivery platforms, I consider that most of these functions should be consolidated in one body. Given its existing role in regulation of broadcasters and online content more generally, I recommend that this body be ACMA.

28 September 2020

Games

'The Games Industry as 21st Century Imperialism and Its Cultivation of Fascism' by Emil Lundedal Hammar in Proceedings of DiGRA 2020 comments 

In this paper I argue that the videogame industry is emblematic of what John Smith (2016) terms 21st century imperialism, where rich countries and multinational companies profit from ‘super-exploitation’ (Smith 2018) of the so-called Global South via global production chains. These relations of production result in repeated crises that in turn exacerbate violent, reactionary movements usually found in fascist tidings stemming from the inherent crises in capitalism (Traverso 2019; Jong 2020). 

Like other mass-cultural forms, videogames are produced within and are enabled by a historical and material global network reliant on global capitalism (Dyer-Witheford and De Peuter 2009; Kirkpatrick 2013: 108). This is achieved via postcolonial access to slave labour extracting conflict minerals in the Democratic Republic of Congo (Sinclair 2015, 2016, 2017; Valentine 2018); the super-exploitation of countries like China, India, Vietnam, and Malaysia (Fuchs 2017, Qiu 2017); the free-trade regulations of the centres of economic power; the precarious working conditions of software developers in North America (Consalvo 2008, O’Donnell 2014, Williams 2013) and in cheaply outsourced countries like Malaysia and Vietnam (Flecker 2016, Thomsen 2018); the exploitation of passion via ‘playbour’ by multibillion-dollar software companies (Dyer- Witheford and De Peuter 2009; Bulut 2020); the dominance of white heterosexual masculinity in game studios and the industry writ large (Srauy 2019; Johnson 2018; Bulut 2020); and the disposal of e-waste back into the exploited countries (Maxwell et al. 2014, Nguyen 2017), that digital games are able to flourish as a cultural and economic force for those consumers with access to them (Huntemann and Aslinger 2012). 

The consolidation of power by software and hardware platforms also affirm a ‘platformisation of culture’ (Nieborg and Poell 2018), whereby markets are structured in the interests of a single dominant platform holder, such as Apple, Amazon, Google, Sony, Microsoft or Valve, that facilitates ‘platform imperialism’ (Jin 2015; D. B. Nieborg, Young, and Joseph 2020). While the games industry has been at the forefront of many of these changes, I argue that its contemporary form is predicated on twenty- first century imperialism and their products are symptoms of the historical and materialist systems they derive from. The games industry follows monopoly capitalist production networks (Baran and Sweezy 1966) that super-exploit workers and the environment in the imperial periphery, while circulating surplus profits towards the core. The prominent games themselves often reflect this global stratification via a dominance of white, male, heterosexual Anglophone subjugating others (Fron et al. 2007). This means that both game development and the games themselves reflect each other. Hence, as Joseph (2018b) argues: ‘if you look at video games, capitalism stares back at you. They idealise experiences of individual freedom (through code or play), while exploiting uneven global development’. This is the primary mode of argumentation that leads me to argue that the conditions of capitalism and their inherent tendency to produce crises; the global stratification between imperial core and periphery; and the Western white masculine dominance in the games themselves result in reactionary behaviour by consumers that lash out at any perceived and constructed outsiders, usually seen in the many examples of white supremacy (Gray 2014; Russworm 2018), heteronormative patriarchy (Shaw 2018; 2015), and postcolonial dynamics (Mukherjee 2017) between social groups in games culture, both within the imperial core and against their periphery (Jong 2020). Ultimately, because the 21st century imperialism of the games industry operates across chauvinistic stratification (cf. Cope 2015) the games industry and the products it produces cultivate fascist logics, as also evidenced in the numerous harassment campaigns against players and workers in and around games (A. Salter and Blodgett 2012; M. Salter 2017; Mortensen 2018; Massanari 2017; Polansky 2018). As such, my argument breaks new ground by linking the white supremacist, heteronormative masculinity usually researched in games culture (Taylor and Voorhees 2018) with materialist analysis from Marxist theories on imperialism and whiteness (Du Bois 1935; Cope 2015). Thus, I locate the materialist underpinnings of reactionary elements in digital game culture and their relation to the games industry. As such, the paper combines questions of political economy, imperialism, critical race theory, and feminism that ultimately makes a case for the relation between materialist production and reactionary movements. This allows us to more easily account for and identify the inherent tendency for the games industry to cultivate and give rise to fascism.

14 July 2020

Playing Nicely

'Beyond the Call of Duty: why shouldn’t video game players face the same dilemmas as real soldiers?' by Ben Clarke, Christian Rouffaer and Francois Senechaud in (2012) 94(886) International Review of the Red Cross 711 comments
Video games are influencing users’ perceptions about what soldiers are permitted to do during war. They may also be influencing the way combatants actually behave during today’s armed conflicts. While highly entertaining escapism for millions of players, some video games create the impression that prohibited acts, such as torture and extrajudicial killing are standard behaviour. The authors argue that further integration of international humanitarian law (IHL) can improve knowledge of the rules of war among millions of players, including aspiring recruits and deployed soldiers. This, in turn, offers the promise of greater respect for IHL on tomorrow’s battlefields. 
 The authors state
As I scan the horizon for targets, a river of flames cuts through the night sky; dancing streams of red and white light up the city. I see white phosphorous all around us. This stuff is death to all it touches. Our 155 mm artillery shells, alternating between white phosphorous and high explosive, soften up enemy positions in advance of the assault. In a split second, we will leave the safety of our armoured vehicle and start the bloody work of grunts: searching houses and killing villains. We must push forward. We can’t let the terrorists fall back and regroup. We’ve grabbed a foothold in the city and must exploit it by driving as deep as possible into enemy territory. Our instructions are to take out the likely enemy headquarters, a big house down the street. The success of the whole campaign rests upon our shoulders. 
Our squad leader turns to us, gives a few quick orders, and moves to the back gate. I throw a grenade toward the municipal building. When it explodes, smoke and dirt swirl around the street. We fire a few 40 mm M203 rounds for good measure. The explosion leaves a makeshift smoke screen. As we progress, one team member is taken down by sniper fire from a building on our left. It looks like a hotel. I call in a drone strike. Almost immediately its lethal load hits the multistorey building, reducing it to rubble. No need to bother about potential occupants or collateral damage; the entire city, manned only by treacherous terrorists, can be destroyed. Any human our team encounters is a target. Anti-personnel land mines are a good way to secure streets and buildings we have cleared. For four hours in a row, we repeatedly enter houses, killing anyone in our line of sight and grabbing their dog tags as trophies. Enemy wounded, as a rule, try to fight back. Those who don’t get a double tap anyway, just like all the rest. After all, there is no surrender option. Only enemy leaders are taken alive: you can’t beat intelligence out of dead people. Afterwards, headshots from my M4 Bushmaster – with the silencer I got for reaching 100 kills – are good for my game ranking.
Video games offer players the possibility to ‘use’ the latest weapons against enemy combatants on contemporary battlefields. Yet as realistic as they may look and sound, these games often portray lawless armed conflicts in which actions are without consequences. This sends negative messages to players about the existence of, and need to respect, humanitarian norms during real armed conflicts. Why can’t players enjoy video games that truly reflect the dilemmas of modern combatants? Can video games be a positive medium of influence to reinforce understanding and respect for the law? Why can’t players be rewarded for compliance with the rules governing the use of force as well as the treatment of persons in the hands of the enemy and sanctioned for violating the same? 
With hundreds of millions of active players (or ‘gamers’) around the world, the video games industry has become a global phenomenon that transcends social, cultural, geographical, age, and income brackets. While the vast majority of video games do not depict combat situations or indeed any form of violence, those that do represent a highly lucrative, if narrow, segment of the video game market. From Rio de Janeiro to Ramallah, children and adults – including enlisted soldiers and budding recruits – are enthralled by this form of ‘militainment’ (see figures throughout article). 
‘Video games and international humanitarian law (IHL)’ is a relatively new and fragmented field of enquiry, spanning a range of discourses. There is little in the way of IHL-focused literature on the subject. This article is very much an exploratory piece. Its purpose is to highlight the potential impact of these games on players’ perceptions of the normative framework governing the use of force. Our focus is upon first person shooter games depicting combat situations, that is, those games where players fire at enemy targets on contemporary battlefields, such as Iraq, Afghanistan, Lebanon, Somalia, and other contexts in the Levant. As depiction of violence per se is not the issue being addressed in this contribution, video games that portray more fictional scenarios including medieval fantasy or futuristic wars in outer space are beyond the scope of this article. In the first section, we begin by highlighting the potential influence of video games on players’ perception about applicable rules in real battlefields. The second section examines the applicability of IHL and international human rights law (IHRL) to contemporary situations portrayed in video games. In the third section, attention turns to challenges posed to humanitarian norms by games that are marketed as providing a ‘real-life’ experience of combat, but actually portray battlefields that are essentially lawless. In the final section, the authors explain the International Committee of the Red Cross’s (ICRC) joint initiative with various Red Cross National Societies to work together with the video game industry to encourage innovation for better integration of IHL and IHRL in these games. We note that through this initiative, video games – with their vast reach and capacity for the transfer of knowledge and skills–can become important vectors for the promotion of humanitarian norms.

23 November 2013

Upwards, Ever Upwards

The cheerleaders at the International Intellectual Property Alliance (IIPA) have released another report on copyright statistics, commenting that
For the first time, the core copyright industries added over US$1 trillion in value to the U.S. economy in a single year, accounting for almost 6.5% of the total U.S. GDP.
The IIPA - representing enterprises "creating, producing, distributing, broadcasting or exhibiting copyright materials, including computer software, videogames, books, newspapers, periodicals and journals, motion pictures, music, and radio and television programming" claims in Copyright Industries in the US Economy: The 2013 Report that "the core copyright industries" -
  • employed nearly 5.4 million U.S. workers in 2012, accounting for 4% of the entire U.S. workforce, and 4.8% of total private employment in the U.S, with jobs paying an average of US$85,644 (33%) more than the rest of the workforce. 
  • grew at an aggregate annual rate of 4.7%, more than twice the rate of growth for the U.S. economy (ie 2.1%). 
  • accounted for US$142bn in foreign sales and exports, "far more than sectors such as aerospace, agriculture, food, and pharmaceuticals and medicines". 
  • in 2012, the value added by the core copyright industries to US GDP exceeded US$1 trillion dollars for the first time, accounting for nearly 6.5% of the US economy. The value added by the total copyright industries to GDP exceeded US$1.7 trillion dollars, accounting for 11.25% of the US economy. (Total copyright industries include those which are “partial copyright,” “non-dedicated support,” and “interdependent industries.”) 
  • the total copyright industries employed more than 11.1 million workers in 2012, accounting for 8.35% of all U.S. employment, or 10% (9.99%) of all private employment in the United States. 
  • average annual compensation paid to employees of the total copyright industries in 2012 - US$75,926 - exceeds the US average annual wage by 18%. 
  • sales by select U.S. copyright sectors in overseas markets amounted to US$142bn in 2012, a significant increase over previous years. 
  • as a comparison, the foreign sales of select copyright industry sectors exceed foreign sales of other major U.S. industries, including aerospace exports (US$106bn), U.S. agricultural exports (US$70bn), food (US$64.7bn) and pharmaceuticals and medicines (US$51bn).
The IIPA media release unsurprisingly quotes the co-chair of the Congressional Creative Rights Caucus as stating "in reaction to the study" that it
demonstrates that not only do U.S. copyright industries develop the creative works that inspire and entertain so many, they also provide high paying jobs and spur economic activity, consistently contributing to a trade surplus and adding substantial value to our GDP. This is why we must preserve and protect the works of our creative industry, so they can continue to drive economic growth and innovation with a uniquely American product.
And the payoff? Anyone who's read the leaked IP chapter from the TransPacific Partnership Agreement will be unsurprised to discover that the IIPA claims
To foster continued growth of this dynamic sector, we need strong and modern copyright laws that take into account changes in technology and the continuing harm caused by copyright piracy, especially as legitimate digital distributors continue to emerge. Vigorous enforcement of those laws is also critical to ongoing efforts to create and preserve good U.S. jobs, reduce persistent trade deficits, and foster durable economic growth.

28 October 2013

Gamers

On occasion I've made submissions or media interviews highlighting the problematical basis of alarmism about online/offline gamers, ie consumers of video and computer games.

Digital Australia 2014 by Jeffrey E. Brand, Pascaline Lorentz, Trishita Mathew of Bond University for the Interactive Games and Entertainment Association updates past research under IGEA auspices regarding interactive entertainment in Australian households.

The authors comment [PDF] that
We began national studies of computer game audiences in 2005 to widen the conversation about games and tackle stereotypes that prevented an understanding in the wider community that computer games were a popular medium that had become not only normalised, but a medium valued by Australians of all ages. Rather than challenge negative stereotypes about games with rhetoric, we provided quantitative empirical data using established social and market research practice – something that had not been available for Australia’s journalists and policy-makers who relied on overseas data. Over the five Australian studies since 2005, we documented the ascendency of computer and video games to centre stage in media culture. 
The Game Play Australia 2005 claimed that
  • 76% of households had a device for playing games and PCs dominated consoles
  • 38% of gamers were female 
  • the average age was 24
  • the play duration was less than an hour and  the frequency was twice a week
  • 49% of households had broadband connections
  • 35% played games online
  • 66% of parents played video games,
  •  88% said Australia should have an R18+ for games
  • 68% said classification information was very influential when choosing games for their children. 
The corresponding 2009 report claimed that
  • 88% of households had a device for playing games and consoles took the lead from PCs
  • 46% of gamers were female 
  • the average age was 30
  •  the play duration was an hour and  the frequency was every other day
  •  81% of households had broadband connections
  • 48% of household played games online, 
  • 70% of parents played games, 
  • 60% of households were home to 2 or more players, 
  •  91% said Australia should have an R18+ for games, and 
  • 46% said classification information was very influential when choosing games for their children. 
 The Digital Australia 2012 report claimed that
  • 92% of households had a device for playing games and consoles lead and phones outflanked handhelds, 
  •  47% of gamers were female 
  • the average age was 32
  •  the play duration was an hour and  the frequency was every other day
  •  83% of parents played games
  • 70% of households were home to 2 or more players
  • 41% said classification information was very influential when choosing games for their children. 
The latest report argues that
the profile of the gamer and the gaming household is nearly synonymous with the profile of the typical Australian and Australian household. It demonstrates that multiple screens and game devices are commonplace and that games have expanded from the loungeroom to the pocket, played frequently and for longer durations. It suggests that the moral panic over established media like music, films, television and games is now moving to social media and the Internet. Adult gamers have formed great memories over the years of family time, characters, story, play and interaction from a medium that has emerged from its adolescence.

19 October 2013

Videogames and copyright

WIPO has released a short multi-jurisdictional study of videogame copyright.

The authors conclude -
Throughout this study, we have attempted to analyze the different approaches that many countries have taken in the legal protection of video games, the creators involved and the transfer of rights regimes. We observe that, on the side of a legislative (and sometimes doctrinal) void, the majority of jurisdictions tend to protect these works of authorship as software; this is so because practically the only common element of every video game is its underlying computer program. However, considering the latest developments in technology, it is important to stress that, in many cases, different video games will share similar source codes or “game engine” when developed using the same software (middleware). This element needs to be taken into account when analyzing the legal nature of video games. Answers to questions on legal protection may be different from those applicable 20 years ago. It is clear that as the industry continues its stable evolution, solutions for the legal protection of video games may continue to vary in the upcoming years.
It is our opinion that video games are complex creations, composed by multiple copyrighted works (e.g., literary works, graphics, sound, characters and software) which deserve independent legal protection. Although the majoritarian trend considers that software is the prevailing element of video games, we believe that the distinguishing element of one video game from another will not be the underlying software only, but also the various audiovisual and literary elements created for each video game. Those may also include performances by actors and musicians. In parallel, given that this is an ever-changing industry, we acknowledge that some video games (for example, those simple games developed for social networks or for smartphones, such as popular card games or bubble shooter games) do not stand out for their audiovisual elements and would need to seek copyright protection through their software. Therefore none of the elements neither the software nor the audiovisual, would necessarily prevail; a distributive approach seems to be appropriate, insofar as a video game is made of both elements.
At the international level, although the TRIPS Agreements and the WIPO Copyright Treaty (the “WCT”) include references to software and audiovisual creations, multilateral treaties provides little specific guidance regarding the protection of video games. Given the complexity and the economic significance of video games, the international community may take into account the opportunity of discussing and analyzing this topic. The authors of this study envisage the possibility of establishing a special regime of protection for video games as a whole in a similar fashion that many countries have done for audiovisual works. That could perhaps also introduce specific contractual rules in order to regulate the relationship between the different stakeholders involved.
It is extremely hard to draw precise normative recommendations; nevertheless the following elements could be taken into account in pursuing an international debate on the protection of video games:
A.  An international legal framework solution, whether binding or non-binding, should consider the establishment of a special regime or a sui generis legal protection for video games.
B.  Considering that video games are mostly developed by medium-sized and large companies, a discussion on the legal regime of video games should address the role that these entities play and the rights they require to obtain in this process. Such companies usually take the initiative and the risk, and provide the necessary resources, both financial and human, to create the work; thus they should have, at least, all the exploitation rights in the resulting work. This can be achieved by establishing a presumption of transfer of rights in favor of the video game producers, unless agreed otherwise via contract.
C.  As for other subjects involved in such creations (e.g., scriptwriters, designers and animators), considering the complexity of these works of authorship, it is not feasible to determine a priori who are the subjects that deserve being qualified as authors. For instance, in the context of cinematographic works, Article 14bis of the Berne Convention provides for a special regimen of ownership of copyright allowing, inter alia, legal transfer and presumption of transfer. Accordingly, some jurisdictions have specified which individuals are to be considered the authors of a cinematographic work (generally, the scriptwriters, the director and the composer of the original soundtrack). However, we do not recommend that a similar regulation be applied to video games, as given the above-mentioned complexities, the persons who may contribute creative and original elements to the work may vary in each case. Therefore, a case-by-case analysis should be undertaken in order to determine which contributors to a video game should qualify as the authors, which will depend on the type of game, the creative contributions of the individuals and other relevant factors.
D. Finally, as discussed in the introduction, there are other stakeholders in the value chain of this industry, including publishers, marketing experts and quality assurance testers. These are important players in the industry, with essential roles; however, they do not contribute to the creation of the work itself. Their endeavors can guarantee the commercial success of the video game, but this does not indicate that they have contributed creative elements to the work.
Given the continuing evolution of technology, it is now possible to record a gameplay and broadcast it. Indeed, television programs that report on video game news are common in developed countries and in nations like the Republic of Korea video game championships are also broadcasted live. Internet live-streaming of gameplay is even possible with some game consoles.
It is not unrealistic to expect that, in the future, video game tournaments or seasonal leagues will be aired and gameplays will be narrated as sporting events are today. Therefore, according to this scenario, lawmakers might also need to address the issue of which rights should be obtained by television networks or Internet websites that air a given gameplay, and who shall benefit from such exploitation.
We think it is understandable that video game producers should own the right of authorizing the exploitation of any image generated by a video game. Thus a legal instrument on the legal protection of video games could also guarantee the producer’s right to authorize any exploitation of the game, including audiovisual elements. Consequently, in order to concede a fair and reasonable copyright protection to video game developers, legislation should expressly address this issue by granting rights holders the exclusive right to authorize any reproduction, distribution, communication to the public or transmission of video games.
Whether other individuals, such as the authors, should or not also have certain rights on these kinds of exploitations is more controversial and will depend on the discussions held at an international level. Indeed, those national legislations that are very protective of authors, including many European countries, might consider granting a remuneration right to them, in terms similar to the rights that audiovisual authors currently enjoy. On the other hand, other countries, such as the United States of America, are likely to prefer the opposite solution.
Finally, considering the current “contractualization” of copyright, many aspects of the relationship between video game producers and authors, independent contributors or even game players, ultimately are regulated by contractual agreements. Aspects like the salary authors shall receive for their contribution to a game, whether fixed, variable or a combination of both; or the legal status of the creative elements made by players involved in interactive online gaming, will be resolved, in the first case, by employment agreements and, in the second, by user contracts.
In order to prevent possible abuses, it is recommended to enact rules that guarantee a fair compensation to authors who have contributed significantly to the success of a video game or have created original elements that permitted the video game producer to obtain substantial profits, whether these authors are employees, independent contractors or mere online gamers.
In conclusion, in light of the importance of the video game industry and the uncertainties due to a normative void, it is suggested to consider the opportunity to undertake an international debate that could potentially lead to a regulation on the protection of video games. This would allow addressing unresolved issues, including the protection of video games as singular works of authorship, the relationships between authors and producers, the question of who can qualify as an author and an enumeration of those authors’ rights. Insofar as it seems that no country in the world has regulated this matter in detail, now is the perfect time to approach a harmonized, international solution for an eventual implementation in domestic legal regimes.

03 September 2013

Crackers

In Dynamite Games Pty Ltd v Aruze Gaming Australia Pty Ltd [2013] FCAFC 96 the Federal Court of Australia Full Court (FCAFC) has dismissed the appeal by Dynamite Games, a gaming product developer, against the FCA decision that revoked its innovation and standard patents.

Those patents related to Dynamite's electronic gaming apparatus and systems which have novel features for 'enhancing gameplay interest'.

The FCAFC states that
This appeal concerns the validity and infringement of a standard patent and an innovation patent relating to electronic gaming machines. The primary judge found the claims of both patents invalid in that they did not contain any inventive or innovative step (as applicable to the patent). As a result, the primary judge discussed but did not decide the other issues in the matter which were rendered hypothetical by his conclusions about lack of any inventive or innovative step. See Dynamite Games Pty Limited v Aruze Gaming Australia Pty Limited [2013] FCA 163; (2013) 100 IPR 86. 
The appellant, Dynamite Games Pty Ltd, contends that the primary judge erred in concluding that the patents lacked any inventive or innovative step as required. According to Dynamite, as the primary judge had not determined any of the other issues, including infringement, the appeal should be allowed and the matter remitted for determination in accordance with law. 
The respondents, Aruze Gaming Australia Pty Ltd and related entities, contend that the primary judge’s conclusions about lack of inventive and innovative step, as required, are correct. Aruze also contends, by notice of contention, that the primary judge’s orders may be sustained on the other grounds which were discussed by the primary judge including that, even if valid, there was no infringement of the patents. 
It follows that if Dynamite’s appeal, which raises only the issues of lack of inventive and innovative step, is unsuccessful, the orders of the primary judge must stand.
The FCAFC held that, properly understood, the decision of the FCA did not incorrectly apply the obviousness test which was rejected by the High Court of Australia in Aktiebolaget Hassle v Alphapharm Pty Ltd [2002] HCA 59; (2002) 212 CLR 411; (2002) 194 ALR 485; (2002) 77 ALJR 398

In GlaxoSmithKline Australia Pty Ltd v Reckitt Benckiser Healthcare (UK) Limited [2013] FCAFC 102 the FCAFC states that
The applicant, GlaxoSmithKline Australia Pty Ltd (GSK) seeks leave to appeal from an interlocutory judgment restraining it from exploiting its proposed liquid dispensing apparatus consisting of a bottle, a bottle neck liner and a syringe. The apparatus was to be used in conjunction with a leading paediatric analgesic known as Children’s Panadol 1-5 years. The Court ordered that the application for leave to appeal be heard by the Full Court together with the appeal. The primary judge accepted the submissions of the respondents (Reckitt) that there was a sufficiently strong prima facie case that GSK’s apparatus infringed claim 1 of Australian Patent No. 2003283537 (the Patent) and that the balance of convenience favoured the grant of interlocutory injunctive relief. His Honour delivered ex tempore reasons on 17 July 2013 and ordered that GSK be restrained from exploiting this apparatus with regard to its Children’s Panadol 1-5 years product (Reckitt Benckiser Healthcare (UK) Ltd v GlaxoSmithKline Australia Pty Ltd (No 2) [2013] FCA 736 (Reasons 2)). 
This syringe is referred to as GSK’s “new” or “alternative” syringe which GSK agrees is a “design-around” the apparatus in claim 1 of the Patent. This followed the grant on 28 May 2013 of an earlier interlocutory injunction to Reckitt concerning GSK’s original syringe (Reckitt Benckiser Healthcare (UK) Ltd v GlaxoSmithKline Australia Pty Ltd [2013] FCA 583 (Reasons 1)). 
Although GSK’s application for leave to appeal is directed to the second interlocutory injunction and some related procedural orders made by the primary judge on 8 July 2013 – and not to the first interlocutory injunction – Reasons 2 should be read alongside Reasons 1, because they overlap.