海賊版とDRM関連記録 – vol.1

Filed under: 未分類 — Tags: , — sajin @ 18:00

CD Projekt Will Never Use DRM, Says CEO @ Rock, Paper, Shotgun

The mistakes so many developers make, he argues, is that they fail to say who their game is for. And a big part of that is making sure gamers find out it exists in the first place. To do this, Iwinski strongly argues that developers need to be actively communicating with gamers, appointing one person on your team to be responsible for PR and marketing. Even if it’s just Twitter and Facebook, someone needs to be focused on it,

DRM he explained at the end, just does not work. Iwinski explained it makes no difference to piracy, is instantly cracked no matter what, and only hinders people’s enjoyment of the game. And he pledged that the company will never use it again. Another error acknowleged was retailer-specific DLC, which the CEO strongly argued others should stop doing as well, because as much as it pleases retailers, it upsets the players – a problem they eventually dealt with by giving away all the different DLC two weeks after release, for free. Which of course wasn’t entirely popular with the retailers.





Why east Europeans chose internet piracyin By Michael Winfrey @ REUTERS

According to Joe Karaganis, director of Columbia University’s Social Science Research Council (SSRC), film and music studios have marketed their products worldwide but have largely ignored consumers outside the richest countries.

That makes piracy largely a supply problem of pricing and access rather than a criminal conspiracy.

“There’s an incredible divergence between this amazingly successful global marketing campaign for Hollywood goods and a real lack of interest in comparably expanding access to those goods,” he said.

For many years in Prague, the only way to see films was to catch the few Hollywood blockbusters that trickled through theatres, buy DVDs for $30 or more months after their release overseas, or to rent from the video stores that piracy has now almost driven into extinction.

Last year, Apple finally expanded its iTunes store for music and films in the EU’s 12 ex-communist states – eight years after its debut in America. But a limited selection is a turnoff for consumers used to instant access, and prices are higher despite incomes that are dwarfed by U.S. salaries.

Czech iTunes’s, for example, offers the films “Fast Five” and “Bridesmaids” under their New Releases segment for 13.99 euros ($18.37). It has no option for rental.

Those films were available in the United States last summer, where they cost $14.99 to buy and $3.00 to rent. And American viewers can now see Oscar nominees “Moneyball” and “The Help,” films available only in pirated versions in the Czech Republic.

In a study last year, the SSRC tried to discern the price of films adjusted for local incomes in developing countries.

It found that while a DVD of “The Dark Knight” cost $24 in the United States, that was the equivalent of $75 in Russia, and $641 in India when compared to local purchasing power.

The price of pirated DVDs in those countries were $25 and $54, still more expensive on a purchasing power basis than a legal copy in the United States.

“You have this amazing mix of slowly rising incomes, very high media prices, but a collapse in prices of technology,” Karaganis said. “So you have this massive new infrastructure for digital media consumption with really no corresponding increase in legal access to affordable digital media goods.”


Hollywood’s pirate cure is worse than the diseaseBy Jack Shafer @ REUTERS

The American entertainment complex—Hollywood, the networks, the stations, cable,  the record labels—has placed before Congress a simple request: Give us a law to punish Google, PayPal, the Web ad industry, and anybody else doing business on the Internet who may play some intermediary role in connecting foreign “pirates” to consumers seeking illegal access to copyrighted content.


Tom Rothman, the co-chief executive of Fox Filmed Entertainment, the opportunity to spout his industry’s pique. He says:

Our mistake was allowing this romantic word—piracy—to take hold…It’s really robbery—it’s theft—and that theft is being combined with consumer fraud…Consumers are purchasing these goods, they’re sending their credit card information to these anonymous offshore companies, and they’re receiving defective goods.


 In 1982, Jack Valenti, then head of the movie business’s trade association, told Congress in 1982 that the VCR was “to the American film producer and the American public what the Boston Strangler is to the American woman at home alone.” The happy Hollywood ending to that copyright Armageddon? The VCR made the movie industry ridiculously wealthy by creating a new sales channel.

その登場時、VCR=Video Cassette Recorderが映画館への客足を遠のけるBoston Strangler(USAのserial killer)となり映画産業を壊滅させると吹かしたが、現実はvideo tapeなどの新しい商品を成立させ、莫大な収入をもたらした。つまり既存のbusiness modelを脅かしても、それがより広汎な接続と持続をもたらせば新しいbusinessの基盤となるのであり、古いbusiness modelにしがみつくことが馬鹿げた著作権規制などをもたらしている。

The only way to stop piracy, the entertainment complex would have you believe, is to give its and the government’s warships the power to stop, inspect, and track any packet sent on the great sea of the Internet, and impound the ones it doesn’t like.


Clarifying Remarks About the Future of Consoles by Fredrik Wester @ Paradox Interactive

My own personal view is that one of the major reasons that piracy ran rampant in the early 2000’s was the inherent conservatism on big portions of the music industry that refused to look at new distribution models. Many companies say customers are conservative and do not like change — my experience is quite the opposite. Companies are typically conservative and like the old ways of working and making money, basically because it is more convenient for them, while customers always strive for the easiest and most convenient way to consume their products.


Why History Needs Software PiracyHow copy protection and app stores could deny future generations their cultural legacy.By Benj Edwards @ Technologizer

It may seem counterintuitive, but piracy has actually saved more software than it has destroyed. Already, pirates have spared tens of thousands of programs from extinction, proving themselves the unintentional stewards of our digital culture.



The main difference between then and now is that software decays in a matter of years rather than a matter of centuries, turning preservation through duplication into an illegal act. And that’s a serious problem: thousands of pieces of culturally important digital works are vanishing into thin air as we speak.



海賊版のemu romが無ければ多くの初期のPCや家庭用機、arcade用gameは既に消え去っているだろう。

The DRM found in digital app stores today poses a significant threat to our future understanding of history.

Thanks to widespread adoption of aggressive digital rights management (DRM) and a single-source model of distribution, most digitally distributed software will vanish from the historical record when those stores shut down. And believe me, they will shut down some day. If this doesn’t scare you, then you need an allegorical history lesson. Here it is:


we’d be wondering how ancient Native Americans managed to hunt game with uranium-tipped bullets.

With that in mind, think about this: What did Gmail’s interface look like just one year ago? How did Google Maps work before it added Street View? Lacking experimental access to older versions of cloud-based software tools, future historians will have to depend on screenshots and personal testimony to work out exactly what the tools were capable of at any time, if they still exist.



OnLiveやGaikaiの様なcloud gamingに到っては最悪だ。それらを稼働可能な状態で保存することは不可能に近いし、資料として残そうとすると莫大な量の動画を記録せねばならなくなる。、

operating a practical, comprehensive software library is currently illegal in the United States.

Don’t get me wrong: it is possible to create a legal software library, but its implementation would make it nearly useless. The best a library can hope to do, within its legal limits, is to stock physical copies of officially duplicated software media on physical shelves. That means that all the problems with decaying and obsolete media come along with it.


digital dataのみを抜き出してemulatorで使うということはUSAの著作権法が実物との一体性を既定しているために違法で不可能。現行の法は紙の時代を前提としたもので、現代の急速な展開にまったく追いつけていない。

If you love software, buy it, use it, and reward the people who make it. I do it all the time, and I support the industry’s right to make money from its products. But don’t be afraid to stand up for your cultural rights. If you see strict DRM and copy protection that threatens the preservation of history, fight it: copy the work, keep it safe, and eventually share it so it never disappears.







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