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AustinLeachFirstPaper 9 - 06 Jan 2012 - Main.AustinLeach
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| META TOPICPARENT | name="FirstPaper" |
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| | | Innovation, Public Good, and Resolution for the Consumer | |
<
< | As it can be difficult to separate the copyrighted elements from trademarked elements in media such as videogames, a combined copyright/trademark regime that lasts only 10 years with renewals upon use of the protected content will better promote the arts and increase the public good. Current videogame development cycles—the start of development until release date—are about two years. A copyright/trademark regime that gives parent developers and companies 10 years from the release date of a game to make a new franchise-related game is plenty of time for developers to continue to cash in on a franchise. Such a regime is better for innovation and the public good because new developers could create new content with expired franchises. This regime also accurately reflects the decreased economic value of a franchise years after its creation. Developers of popular franchises recognize the decreased value of a franchise, and so they continually capitalize on them by releasing sequels as soon as possible—normally within two or three years—after a game’s initial launch. The cycle would reset each time the parent developer released a new game, and this would exclude ports of old games or downloadable content to existing games. If the parent decides to let the franchise die in those 10 years, a new developer/company could develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the 10-year clock is reset. | >
> | As it can be difficult to separate the copyrighted elements from trademarked elements in media such as videogames, a combined copyright/trademark regime that lasts only 10 years with renewals upon use of the protected content will better promote the arts and increase the public good. Current videogame development cycles—the start of development until release date—are about two years. A copyright/trademark regime that protects parent developers and companies for 10 years from the release date of a game to make a new franchise-related game is plenty of time to continue to cash in on a franchise. Such a regime is better for innovation and the public good because new developers could create new content with expired franchises. This regime also accurately reflects the decreased economic value of a franchise years after its initial creation. Developers of popular franchises recognize the decreased value of their franchise, and so they continually capitalize on them by releasing sequels as soon as possible—normally within two or three years—after a game’s initial launch. The cycle would reset each time the parent developer released a new game, and this would exclude ports of old games or downloadable content to existing games. If the parent decides to let the franchise die by not producing new content in those 10 years, a new developer/company could develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the 10-year clock is reset. | | |
A 10 year copyright/trademark regime would allow companies to keep their franchises as long as they developed for them, and it would only really affect forgotten franchises. Such a regime gives new developers a chance to breathe life into old games and continue bringing new content to the market. In this way, the nerd rage over pulling Streets of Rage Remake could be alleviated. |
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AustinLeachFirstPaper 8 - 05 Jan 2012 - Main.AustinLeach
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| META TOPICPARENT | name="FirstPaper" |
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| | | Innovation, Public Good, and Resolution for the Consumer | |
<
< | A shortened copyright/trademark regime will better promote the arts and increase the public good, not only for videogames, but all forms of media. Since videogame development cycles—the start of development until release date—are about two years, a regime that gives parent developers and companies 10 years from the release date of a game to make a new franchise-related game is not only better for innovation and the public good, but it accurately reflects the decreased economic value of a franchise years after its creation. The cycle would reset each time the parent released a new game, and this would exclude ports of old games or downloadable content to existing games. If the parent decides to let the franchise die in those 10 years, a new developer/company could develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the 10-year clock is reset. | >
> | As it can be difficult to separate the copyrighted elements from trademarked elements in media such as videogames, a combined copyright/trademark regime that lasts only 10 years with renewals upon use of the protected content will better promote the arts and increase the public good. Current videogame development cycles—the start of development until release date—are about two years. A copyright/trademark regime that gives parent developers and companies 10 years from the release date of a game to make a new franchise-related game is plenty of time for developers to continue to cash in on a franchise. Such a regime is better for innovation and the public good because new developers could create new content with expired franchises. This regime also accurately reflects the decreased economic value of a franchise years after its creation. Developers of popular franchises recognize the decreased value of a franchise, and so they continually capitalize on them by releasing sequels as soon as possible—normally within two or three years—after a game’s initial launch. The cycle would reset each time the parent developer released a new game, and this would exclude ports of old games or downloadable content to existing games. If the parent decides to let the franchise die in those 10 years, a new developer/company could develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the 10-year clock is reset.
A 10 year copyright/trademark regime would allow companies to keep their franchises as long as they developed for them, and it would only really affect forgotten franchises. Such a regime gives new developers a chance to breathe life into old games and continue bringing new content to the market. In this way, the nerd rage over pulling Streets of Rage Remake could be alleviated. | | | | |
<
< | A 10 year copyright/trademark regime would allow companies to keep their franchises as long as they developed for them, and would allow new developers a chance to develop a franchise. In this way, the nerd rage over the pulling of Streets of Rage Remake could be alleviated. | | | |
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AustinLeachFirstPaper 7 - 05 Jan 2012 - Main.AustinLeach
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| META TOPICPARENT | name="FirstPaper" |
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| | | Background | |
<
< | Streets of Rage (SOR) is a videogame released in the US in 1991 that spawned two sequels in 1992 and 1994. The games, originally developed by SEGA for its Genesis console, have since been ported unchanged to other devices as late as 2011. SOR, an action game in the “beat ‘em up” genre, has a loose plot told mostly through gameplay images of three characters who combat the crime syndicate plaguing their city. The sequels feature slightly enhanced gameplay and new characters, with SOR 3's plot expanded to feature cut-scenes with written dialogue between levels. | >
> | Streets of Rage (SOR) is a videogame released in the US in 1991 that spawned two sequels in 1992 and 1994. The games, originally developed by SEGA for its Genesis console, have since been ported unchanged to other devices as late as 2011. SOR, an action game in the “beat ’em up” genre, has a loose plot told mostly through gameplay images of three characters who combat the crime syndicate plaguing their city. The sequels feature slightly enhanced gameplay and new characters, with SOR 3's plot expanded to feature cut-scenes with written dialogue between levels. | | | | |
<
< | Streets of Rage Remake (Remake) is a game for PC created by developer BoMbErLiNk? and was offered on www.bombergames.net. The project, which commenced in 2003 and was released in 2011, is not reverse engineered and contains no code from the original games. It was developed based on "visual interpretation, logic, and comparison of states." The game is free to the public, but its resources (the custom sprites, remixes, artwork) belong to their respective artists. Remake looks and plays like a modern throwback to the original games, with updated models and remixed music. Its original story is told through cut-scenes resembling SOR 3. | >
> | Streets of Rage Remake (Remake) is a game for PC created by developer BoMbErLiNk? and was offered on www.bombergames.net. The project, which commenced in 2003 and was completed and released in 2011, is not reverse engineered and contains no code from the original games. It was developed based on "visual interpretation, logic, and comparison of states." The game is free to the public, but its resources (the custom sprites, remixes, artwork, etc.) belong to their respective artists. Remake looks and plays like a modern throwback to the original games, with updated models and remixed music. Its original story is told through cut-scenes resembling SOR 3. | | | | |
<
< | According to BoMbErLiNk, Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game's development. Within a week of Remake's release, SEGA issued a cease and desist letter. In [[http://www.wired.co.uk/news/archive/2011-04/13/sega-shuts-down-streets-of-rage-remake][statements] to videogame websites, SEGA expressed its need to protect is IP rights. | >
> | According to BoMbErLiNk, Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game's development. Within a week of Remake's release, SEGA issued a cease-and-desist letter. In statements to videogame websites, SEGA expressed its need to protect is IP rights. | | | | |
<
< | Bombergames has complied, and the game is "officially" unavailable. | >
> | Bombergames has complied with the cease-and-desist, and pulled the game from its servers. | | | | | | Videogames may be covered by the traditional forms of intellectual property—copyright, trademark, patent, and trade secret—but only copyright and trademark apply to Remake. Copyright could protect the code, the resulting images for the characters and backgrounds as they appear on screen, the music, the sound effects, and the story. Trademark may also protect the "Streets of Rage" brand, the images and likenesses of SOR's characters and game backgrounds, and perhaps any attributable sound effects. | |
<
< | SEGA has strong infringement claims against Bombergames under current law. However, is the public good served when SEGA seeks to sit on a franchise for 20 years without producing new content, and when it prevents a developer’s efforts 8 years in the making? Is there a better IP regime? | >
> | Copyright's dual nature of promoting the arts for the public good while giving the creators exclusive rights for limited times is in constant conflict with itself, but the duality weighs heavily on the exclusive rights side of copyright. Under current law, videogame characters and franchises won't see the light of day unless the original developing company allows it—unused franchises will completely lose relevancy. Videogames are complicated by the fact that they can be trademarked too. Videogame companies not only trademark their company names (SEGA is a registered trademark), but also their games ("Streets of Rage" is a dead trademark), and in some cases, presumably their characters. | | | | |
<
< | The Public Good and Resolution for the Consumer | >
> | SEGA has strong infringement claims against Bombergames under current law. However, are innovation and the public good served when SEGA seeks to sit on a franchise for almost 20 years without producing new content? Are innovation and the public good served and when SEGA prevents a developer’s efforts 8 years in the making? Isn't one company's trash another's treasure? In the interest of promoting the arts for the public good and consumption, would a more flexible regime be appropriate? | | | | |
<
< | Copyright's dual nature of promoting the arts for the public good while giving the creators exclusive rights for limited times is in constant conflict with itself. Current copyright law weighs heavily on the "exclusive rights" side of copyright. Under current law, videogame characters and franchises won't see the light of day unless the original developing company allows it—unused franchises will completely lose relevancy. Videogames are complicated by the fact that they can be trademarked too. Videogame companies not only trademark their company names (SEGA is a registered trademark), but also their games ("Streets of Rage" is a dead trademark), and in some cases, presumably their characters. Should no one be able to use those marks unless they pay for a license? Isn't one company's trash another's treasure? In the interest of promoting the arts for the public good and consumption, would a more flexible regime be appropriate? | >
> | Innovation, Public Good, and Resolution for the Consumer | | | | |
<
< | Perhaps a shortened trademark/copyright regime is the answer. Since videogame development cycles—the start of development until release date—are about two years, a regime that gives parent developers/companies 10 years from the release date of a game to make a new franchise-related game may be more appropriate. The cycle would reset each time the parent released a new game (not for ports of old games or downloadable content to existing games). If the parent decides to let the franchise die in those 10 years, a new developer/company could, in the interest of progress and innovation, develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the clock is reset. | >
> | A shortened copyright/trademark regime will better promote the arts and increase the public good, not only for videogames, but all forms of media. Since videogame development cycles—the start of development until release date—are about two years, a regime that gives parent developers and companies 10 years from the release date of a game to make a new franchise-related game is not only better for innovation and the public good, but it accurately reflects the decreased economic value of a franchise years after its creation. The cycle would reset each time the parent released a new game, and this would exclude ports of old games or downloadable content to existing games. If the parent decides to let the franchise die in those 10 years, a new developer/company could develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the 10-year clock is reset.
A 10 year copyright/trademark regime would allow companies to keep their franchises as long as they developed for them, and would allow new developers a chance to develop a franchise. In this way, the nerd rage over the pulling of Streets of Rage Remake could be alleviated. | | | | |
<
< | The 10 year regime would allow companies to keep their franchises as long as they developed for them, and would allow new developers to step in should the parent deny their child. In this way, the nerd rage over the pulling of Streets of Rage Remake could be alleviated. | | | |
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AustinLeachFirstPaper 6 - 04 Jan 2012 - Main.AustinLeach
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| META TOPICPARENT | name="FirstPaper" |
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< | | | |
The Rage Over Streets of Rage Remake | | | Introduction | |
<
< | This article explores SEGA's threats to Bombergames's Streets of Rage Remake, a fan-made freeware PC game based on SEGA's Streets of Rage franchise, and the intellectual property of videogame software. | >
> | The Copyright Act of 1790 gave exclusive control of works to their creators for 14 years with 14-year renewals. Due to corporate special interest groups, copyright extensions have culminated in The Copyright Act of 1998, with copyrights generally lasting for the life of the author plus 70 years, and up to 120 years for anonymous works, pseudonymous works, and works for hire. Arguments favoring laxer copyright laws center on increasing the public good and recognizing there is no economic value to a work a few years after creation. This article supports laxer intellectual property laws by focusing on the videogame software industry and looking at SEGA’s threats to a fan-made freeware PC game based on SEGA’s Streets of Rage franchise. | | | Background | |
<
< | Streets of Rage (SOR) is a videogame released in the US in 1991 that spawned sequels SOR 2 and 3 in 1992 and 1994 respectively. SEGA, a console/game manufacturer now turned software developer, developed SOR for its SEGA Genesis console. These games have since been ported to arcade machines, other game consoles, and handheld devices as late as 2011.
SOR is an action game in the "beat 'em up" genre akin to Double Dragon. Players control characters through various levels, beating up criminals, and acquiring items along the way. SOR's introduction tells of three characters who vow to combat the crime syndicate plaguing their city. With no further exposition, the loose plot is told through the gameplay images as one progresses through the game. The sequels feature slightly enhanced gameplay and new characters. SOR 2 has a similar bare-bones story, but SOR 3's plot is expanded and features cut-scenes with written dialogue between levels. Yuzo Koshiro composed the franchise's music. | >
> | Streets of Rage (SOR) is a videogame released in the US in 1991 that spawned two sequels in 1992 and 1994. The games, originally developed by SEGA for its Genesis console, have since been ported unchanged to other devices as late as 2011. SOR, an action game in the “beat ‘em up” genre, has a loose plot told mostly through gameplay images of three characters who combat the crime syndicate plaguing their city. The sequels feature slightly enhanced gameplay and new characters, with SOR 3's plot expanded to feature cut-scenes with written dialogue between levels. | | | | |
<
< | Streets of Rage Remake (Remake) is an unofficial game for PC created by developer BoMbErLiNk? and was offered on www.bombergames.net. The project started March 17, 2003 and was released April 3, 2011. According to Bombergames, Remake is not reverse engineered and does not use a single line of code from the original games. It was developed from the ground up based on "visual interpretation, logic, and comparison of states." While the game is freeware for the public, the resources (the custom sprites, remixes, artwork, etc.) are not and belong to their respective artists. Remake looks and plays like a modern throwback to the original games. The character models have been updated, the stages are reconstructed bits from the original games, and Koshiro's "house" music is faithfully remixed. Remake's original story is told through cut-scenes resembling SOR 3. | >
> | Streets of Rage Remake (Remake) is a game for PC created by developer BoMbErLiNk? and was offered on www.bombergames.net. The project, which commenced in 2003 and was released in 2011, is not reverse engineered and contains no code from the original games. It was developed based on "visual interpretation, logic, and comparison of states." The game is free to the public, but its resources (the custom sprites, remixes, artwork) belong to their respective artists. Remake looks and plays like a modern throwback to the original games, with updated models and remixed music. Its original story is told through cut-scenes resembling SOR 3. | | | | |
<
< | According to BoMbErLiNk, Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game's development. It is unclear what the response was, but Bombergames continued developing Remake. Within a week of Remake's release, SEGA contacted Bombergames and requested that it cease distribution. SEGA released the following statement to a number of videogame websites such as IGN.com:
"SEGA is committed to supporting any fans that take an interest in our games, and where possible we do so by involving them in Beta tests and other development, marketing or research opportunities… However we need to protect our intellectual property rights and this may result in us requesting that our fans remove online imagery, videos or games in some instances." | >
> | According to BoMbErLiNk, Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game's development. Within a week of Remake's release, SEGA issued a cease and desist letter. In [[http://www.wired.co.uk/news/archive/2011-04/13/sega-shuts-down-streets-of-rage-remake][statements] to videogame websites, SEGA expressed its need to protect is IP rights. | | | Bombergames has complied, and the game is "officially" unavailable. | | | The IP at Stake | |
<
< | Videogames may be covered by the traditional forms of intellectual property—copyright, trademark, patent, and trade secret—but only copyright and trademark seem to apply to Remake. Copyright could protect the code, the resulting images for the characters and backgrounds as they appear on screen, the music, the sound effects, and the story. Trademark could also be employed to protect the brand name "Streets of Rage," the images and likenesses of SOR's characters and game backgrounds, and perhaps the sound effects if they could be attributable to SOR and Sega. | >
> | Videogames may be covered by the traditional forms of intellectual property—copyright, trademark, patent, and trade secret—but only copyright and trademark apply to Remake. Copyright could protect the code, the resulting images for the characters and backgrounds as they appear on screen, the music, the sound effects, and the story. Trademark may also protect the "Streets of Rage" brand, the images and likenesses of SOR's characters and game backgrounds, and perhaps any attributable sound effects. | | | | |
<
< | Resolving for the Consumer | >
> | SEGA has strong infringement claims against Bombergames under current law. However, is the public good served when SEGA seeks to sit on a franchise for 20 years without producing new content, and when it prevents a developer’s efforts 8 years in the making? Is there a better IP regime? | | | | |
<
< | SEGA does have potentially strong infringement claims against Bombergames. However, putting aside the fact that SEGA waited until the final version was released before threatening Bombergames to pull the download links (four beta versions were released in the years prior to 2011), SEGA's actions beg these questions: is it fair for SEGA to deny a developer's efforts 8 years in the making, when SEGA itself has not developed a new Streets of Rage game in almost 20 years? Does such an IP regime benefit the consuming gamer? | >
> | The Public Good and Resolution for the Consumer | | | | |
<
< | Copyright's dual nature of promoting the arts for the public good while giving the creators exclusive rights for limited times is in constant conflict with itself. However, life of the author plus 70 years weighs heavily on the "exclusive rights" side of copyright. Under such a regime, videogame characters and franchises won't see the light of day unless the original developing company allows it. Unused franchises will lose relevancy should consumers have to wait for life plus 70 years. Videogames are complicated by the fact that they can be trademarked too. Videogame companies not only trademark their company names (SEGA is a registered trademark), but also their games ("Streets of Rage" is a dead trademark), and in some cases, presumably their characters. Should no one be able to use those marks unless they pay for a license? Isn't one company's trash another's treasure? In the interest of promoting the arts for the public good and consumption, would a more flexible regime be appropriate? | >
> | Copyright's dual nature of promoting the arts for the public good while giving the creators exclusive rights for limited times is in constant conflict with itself. Current copyright law weighs heavily on the "exclusive rights" side of copyright. Under current law, videogame characters and franchises won't see the light of day unless the original developing company allows it—unused franchises will completely lose relevancy. Videogames are complicated by the fact that they can be trademarked too. Videogame companies not only trademark their company names (SEGA is a registered trademark), but also their games ("Streets of Rage" is a dead trademark), and in some cases, presumably their characters. Should no one be able to use those marks unless they pay for a license? Isn't one company's trash another's treasure? In the interest of promoting the arts for the public good and consumption, would a more flexible regime be appropriate? | | |
Perhaps a shortened trademark/copyright regime is the answer. Since videogame development cycles—the start of development until release date—are about two years, a regime that gives parent developers/companies 10 years from the release date of a game to make a new franchise-related game may be more appropriate. The cycle would reset each time the parent released a new game (not for ports of old games or downloadable content to existing games). If the parent decides to let the franchise die in those 10 years, a new developer/company could, in the interest of progress and innovation, develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the clock is reset.
The 10 year regime would allow companies to keep their franchises as long as they developed for them, and would allow new developers to step in should the parent deny their child. In this way, the nerd rage over the pulling of Streets of Rage Remake could be alleviated. | |
<
< | Too much of this essay
is spent providing background facts, and too much of that time is
spent hiding the relevant facts. If someone makes a close copy of a
copyrighted work, copying not ideas or functions but expressions,
including closely copying visual designs and music, it's not
surprising that they receive a cease and desist request at the
appropriate time. It's hard to understand why the equities are
supposed to be relevant here, unless you mean to criticize the
underlying copyright regime more fundamentally. Why there should be
a 90-year term on most corporate copyrights but one only one-ninth as
long for all the graphics, music, etc. used in a videogame escapes
me, as I suspect it will escape every reader given the thinness of
the argument you are presenting. If your argument is that graphics,
music, etc. shouldn't be copyrightable, explain why there should be
copyright at all. If there should be copyright, and if other forms
of music and graphics are copyrightable, why should these particular
expressions be subject to radically different rules? How will that
differentiation be sustained in view of the overriding incentives
that everyone will have to blur them in order to obtain maximum
protection?
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AustinLeachFirstPaper 5 - 07 Nov 2011 - Main.EbenMoglen
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| META TOPICPARENT | name="FirstPaper" |
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<
< | This is ready for comments. | | | | | | Introduction | |
<
< | This article explores SEGA’s threats to Bombergames’s Streets of Rage Remake, a fan-made freeware PC game based on SEGA’s Streets of Rage franchise, and the intellectual property of videogame software. | >
> | This article explores SEGA's threats to Bombergames's Streets of Rage Remake, a fan-made freeware PC game based on SEGA's Streets of Rage franchise, and the intellectual property of videogame software. | | | Background
Streets of Rage (SOR) is a videogame released in the US in 1991 that spawned sequels SOR 2 and 3 in 1992 and 1994 respectively. SEGA, a console/game manufacturer now turned software developer, developed SOR for its SEGA Genesis console. These games have since been ported to arcade machines, other game consoles, and handheld devices as late as 2011. | |
<
< | SOR is an action game in the “beat ’em up” genre akin to Double Dragon. Players control characters through various levels, beating up criminals, and acquiring items along the way. SOR’s introduction tells of three characters who vow to combat the crime syndicate plaguing their city. With no further exposition, the loose plot is told through the gameplay images as one progresses through the game. The sequels feature slightly enhanced gameplay and new characters. SOR 2 has a similar bare-bones story, but SOR 3’s plot is expanded and features cut-scenes with written dialogue between levels. Yuzo Koshiro composed the franchise’s music. | >
> | SOR is an action game in the "beat 'em up" genre akin to Double Dragon. Players control characters through various levels, beating up criminals, and acquiring items along the way. SOR's introduction tells of three characters who vow to combat the crime syndicate plaguing their city. With no further exposition, the loose plot is told through the gameplay images as one progresses through the game. The sequels feature slightly enhanced gameplay and new characters. SOR 2 has a similar bare-bones story, but SOR 3's plot is expanded and features cut-scenes with written dialogue between levels. Yuzo Koshiro composed the franchise's music. | | | | |
<
< | Streets of Rage Remake (Remake) is an unofficial game for PC created by developer BoMbErLiNk? and was offered on www.bombergames.net. The project started March 17, 2003 and was released April 3, 2011. According to Bombergames, Remake is not reverse engineered and does not use a single line of code from the original games. It was developed from the ground up based on “visual interpretation, logic, and comparison of states.” While the game is freeware for the public, the resources (the custom sprites, remixes, artwork, etc.) are not and belong to their respective artists. Remake looks and plays like a modern throwback to the original games. The character models have been updated, the stages are reconstructed bits from the original games, and Koshiro’s “house” music is faithfully remixed. Remake’s original story is told through cut-scenes resembling SOR 3. | >
> | Streets of Rage Remake (Remake) is an unofficial game for PC created by developer BoMbErLiNk? and was offered on www.bombergames.net. The project started March 17, 2003 and was released April 3, 2011. According to Bombergames, Remake is not reverse engineered and does not use a single line of code from the original games. It was developed from the ground up based on "visual interpretation, logic, and comparison of states." While the game is freeware for the public, the resources (the custom sprites, remixes, artwork, etc.) are not and belong to their respective artists. Remake looks and plays like a modern throwback to the original games. The character models have been updated, the stages are reconstructed bits from the original games, and Koshiro's "house" music is faithfully remixed. Remake's original story is told through cut-scenes resembling SOR 3. | | | | |
<
< | According to BoMbErLiNk, Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game’s development. It is unclear what the response was, but Bombergames continued developing Remake. Within a week of Remake’s release, SEGA contacted Bombergames and requested that it cease distribution. SEGA released the following statement to a number of videogame websites such as IGN.com:
“SEGA is committed to supporting any fans that take an interest in our games, and where possible we do so by involving them in Beta tests and other development, marketing or research opportunities… However we need to protect our intellectual property rights and this may result in us requesting that our fans remove online imagery, videos or games in some instances." | >
> | According to BoMbErLiNk, Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game's development. It is unclear what the response was, but Bombergames continued developing Remake. Within a week of Remake's release, SEGA contacted Bombergames and requested that it cease distribution. SEGA released the following statement to a number of videogame websites such as IGN.com:
"SEGA is committed to supporting any fans that take an interest in our games, and where possible we do so by involving them in Beta tests and other development, marketing or research opportunities… However we need to protect our intellectual property rights and this may result in us requesting that our fans remove online imagery, videos or games in some instances." | | | | |
<
< | Bombergames has complied, and the game is “officially” unavailable. | >
> | Bombergames has complied, and the game is "officially" unavailable. | | |
The IP at Stake | |
<
< | Videogames may be covered by the traditional forms of intellectual property—copyright, trademark, patent, and trade secret—but only copyright and trademark seem to apply to Remake. Copyright could protect the code, the resulting images for the characters and backgrounds as they appear on screen, the music, the sound effects, and the story. Trademark could also be employed to protect the brand name “Streets of Rage,” the images and likenesses of SOR’s characters and game backgrounds, and perhaps the sound effects if they could be attributable to SOR and Sega. | >
> | Videogames may be covered by the traditional forms of intellectual property—copyright, trademark, patent, and trade secret—but only copyright and trademark seem to apply to Remake. Copyright could protect the code, the resulting images for the characters and backgrounds as they appear on screen, the music, the sound effects, and the story. Trademark could also be employed to protect the brand name "Streets of Rage," the images and likenesses of SOR's characters and game backgrounds, and perhaps the sound effects if they could be attributable to SOR and Sega. | | | Resolving for the Consumer | |
<
< | SEGA does have potentially strong infringement claims against Bombergames. However, putting aside the fact that SEGA waited until the final version was released before threatening Bombergames to pull the download links (four beta versions were released in the years prior to 2011), SEGA’s actions beg these questions: is it fair for SEGA to deny a developer’s efforts 8 years in the making, when SEGA itself has not developed a new Streets of Rage game in almost 20 years? Does such an IP regime benefit the consuming gamer? | >
> | SEGA does have potentially strong infringement claims against Bombergames. However, putting aside the fact that SEGA waited until the final version was released before threatening Bombergames to pull the download links (four beta versions were released in the years prior to 2011), SEGA's actions beg these questions: is it fair for SEGA to deny a developer's efforts 8 years in the making, when SEGA itself has not developed a new Streets of Rage game in almost 20 years? Does such an IP regime benefit the consuming gamer? | | | | |
<
< | Copyright’s dual nature of promoting the arts for the public good while giving the creators exclusive rights for limited times is in constant conflict with itself. However, life of the author plus 70 years weighs heavily on the “exclusive rights” side of copyright. Under such a regime, videogame characters and franchises won’t see the light of day unless the original developing company allows it. Unused franchises will lose relevancy should consumers have to wait for life plus 70 years. Videogames are complicated by the fact that they can be trademarked too. Videogame companies not only trademark their company names (SEGA is a registered trademark), but also their games (“Streets of Rage” is a dead trademark), and in some cases, presumably their characters. Should no one be able to use those marks unless they pay for a license? Isn’t one company’s trash another’s treasure? In the interest of promoting the arts for the public good and consumption, would a more flexible regime be appropriate? | >
> | Copyright's dual nature of promoting the arts for the public good while giving the creators exclusive rights for limited times is in constant conflict with itself. However, life of the author plus 70 years weighs heavily on the "exclusive rights" side of copyright. Under such a regime, videogame characters and franchises won't see the light of day unless the original developing company allows it. Unused franchises will lose relevancy should consumers have to wait for life plus 70 years. Videogames are complicated by the fact that they can be trademarked too. Videogame companies not only trademark their company names (SEGA is a registered trademark), but also their games ("Streets of Rage" is a dead trademark), and in some cases, presumably their characters. Should no one be able to use those marks unless they pay for a license? Isn't one company's trash another's treasure? In the interest of promoting the arts for the public good and consumption, would a more flexible regime be appropriate? | | | | |
<
< | Perhaps a shortened trademark/copyright regime is the answer. Since videogame development cycles—the start of development until release date—are about two years, a regime that gives parent developers/companies 10 years from the release date of a game to make a new franchise-related game may be more appropriate. The cycle would reset each time the parent released a new game (not for ports of old games or downloadable content to existing games). If the parent decides to let the franchise die in those 10 years, a new developer/company could, in the interest of progress and innovation, develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the clock is reset. | >
> | Perhaps a shortened trademark/copyright regime is the answer. Since videogame development cycles—the start of development until release date—are about two years, a regime that gives parent developers/companies 10 years from the release date of a game to make a new franchise-related game may be more appropriate. The cycle would reset each time the parent released a new game (not for ports of old games or downloadable content to existing games). If the parent decides to let the franchise die in those 10 years, a new developer/company could, in the interest of progress and innovation, develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the clock is reset. | | |
The 10 year regime would allow companies to keep their franchises as long as they developed for them, and would allow new developers to step in should the parent deny their child. In this way, the nerd rage over the pulling of Streets of Rage Remake could be alleviated. | |
>
> | Too much of this essay
is spent providing background facts, and too much of that time is
spent hiding the relevant facts. If someone makes a close copy of a
copyrighted work, copying not ideas or functions but expressions,
including closely copying visual designs and music, it's not
surprising that they receive a cease and desist request at the
appropriate time. It's hard to understand why the equities are
supposed to be relevant here, unless you mean to criticize the
underlying copyright regime more fundamentally. Why there should be
a 90-year term on most corporate copyrights but one only one-ninth as
long for all the graphics, music, etc. used in a videogame escapes
me, as I suspect it will escape every reader given the thinness of
the argument you are presenting. If your argument is that graphics,
music, etc. shouldn't be copyrightable, explain why there should be
copyright at all. If there should be copyright, and if other forms
of music and graphics are copyrightable, why should these particular
expressions be subject to radically different rules? How will that
differentiation be sustained in view of the overriding incentives
that everyone will have to blur them in order to obtain maximum
protection? | | | | |
>
> | | | | |
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AustinLeachFirstPaper 4 - 31 Oct 2011 - Main.AustinLeach
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| META TOPICPARENT | name="FirstPaper" |
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>
> | This is ready for comments. | | | | |
<
< | It is strongly recommended that you include your outline in the body of your essay by using the outline as section titles. The headings below are there to remind you how section and subsection titles are formatted. | | | The Rage Over Streets of Rage Remake | | | Background | |
<
< | Streets of Rage (SOR) is a videogame released in the US in 1991 that spawned sequels SOR 2 and 3 in 1992 and 1994 respectively. SEGA, a console/game manufacturer now turned software developer, developed the for its SEGA Genesis console. These games have since been ported to arcade machines, other game consoles, and handheld devices as late as 2011. | >
> | Streets of Rage (SOR) is a videogame released in the US in 1991 that spawned sequels SOR 2 and 3 in 1992 and 1994 respectively. SEGA, a console/game manufacturer now turned software developer, developed SOR for its SEGA Genesis console. These games have since been ported to arcade machines, other game consoles, and handheld devices as late as 2011. | | | | |
<
< | SOR is an action game in the “beat ’em up” genre akin to Double Dragon. Players control characters through various levels, beating up criminals, and acquiring items along the way. SOR featured three characters who, as is explained in the game’s introduction, vowed to combat the crime syndicate plaguing their city. With no further exposition, the plot is told through the gameplay images as one progresses through the game. The sequels feature similar gameplay with enhancements and new characters. SOR 2 has a similar bare-bones story, but SOR 3’s plot is expanded and features cut-scenes with written dialogue between levels. Yuzo Koshiro composed the franchise’s music. | >
> | SOR is an action game in the “beat ’em up” genre akin to Double Dragon. Players control characters through various levels, beating up criminals, and acquiring items along the way. SOR’s introduction tells of three characters who vow to combat the crime syndicate plaguing their city. With no further exposition, the loose plot is told through the gameplay images as one progresses through the game. The sequels feature slightly enhanced gameplay and new characters. SOR 2 has a similar bare-bones story, but SOR 3’s plot is expanded and features cut-scenes with written dialogue between levels. Yuzo Koshiro composed the franchise’s music. | | | | |
<
< | Streets of Rage Remake (Remake) is an unofficial game for PC created by developer BoMbErLiNk? and was offered on www.bombergames.net. The project started March 17, 2003 and was released April 3, 2011. According to Bombergames, Remake is not reverse engineered and does not use a single line of code from the original games. It was developed from the ground up based on “visual interpretation, logic, and comparison of states.” While the game is freeware for the public, the resources (the custom sprites, remixes, artwork, etc.) are not and belong to their respective artists. Remake looks and plays like a modern throwback to the original games. The character models have been updated, the stages are reconstructed bits from the original games, and Koshiro’s “house” music is faithfully remixed. Remake’s story is completely original and is told through cut-scenes resembling SOR 3. | >
> | Streets of Rage Remake (Remake) is an unofficial game for PC created by developer BoMbErLiNk? and was offered on www.bombergames.net. The project started March 17, 2003 and was released April 3, 2011. According to Bombergames, Remake is not reverse engineered and does not use a single line of code from the original games. It was developed from the ground up based on “visual interpretation, logic, and comparison of states.” While the game is freeware for the public, the resources (the custom sprites, remixes, artwork, etc.) are not and belong to their respective artists. Remake looks and plays like a modern throwback to the original games. The character models have been updated, the stages are reconstructed bits from the original games, and Koshiro’s “house” music is faithfully remixed. Remake’s original story is told through cut-scenes resembling SOR 3. | | | According to BoMbErLiNk, Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game’s development. It is unclear what the response was, but Bombergames continued developing Remake. Within a week of Remake’s release, SEGA contacted Bombergames and requested that it cease distribution. SEGA released the following statement to a number of videogame websites such as IGN.com:
“SEGA is committed to supporting any fans that take an interest in our games, and where possible we do so by involving them in Beta tests and other development, marketing or research opportunities… However we need to protect our intellectual property rights and this may result in us requesting that our fans remove online imagery, videos or games in some instances." | | | SEGA does have potentially strong infringement claims against Bombergames. However, putting aside the fact that SEGA waited until the final version was released before threatening Bombergames to pull the download links (four beta versions were released in the years prior to 2011), SEGA’s actions beg these questions: is it fair for SEGA to deny a developer’s efforts 8 years in the making, when SEGA itself has not developed a new Streets of Rage game in almost 20 years? Does such an IP regime benefit the consuming gamer?
| |
<
< | Copyright’s dual nature of promoting the arts for the public good while giving the creators exclusive rights for limited times is in constant conflict with itself. However, life of the author plus 70 years weighs heavily on the “exclusive rights” side of copyright. Under such a regime, videogame characters and franchises won’t see the light of day unless the original developing company allows it. The franchises lose relevancy should consumers have to wait for life plus 70 years. Videogames are complicated by the fact that they can be trademarked too. Videogame companies not only trademark their company names (SEGA is a registered trademark), but also their games (“Streets of Rage” is a dead trademark), and in some cases, presumably their characters. Should no one be able to use those marks unless they pay for a license? Isn’t one company’s trash another’s treasure? In the interest of promoting the arts for the public good (read: consumption), would a more flexible regime be appropriate? | >
> | Copyright’s dual nature of promoting the arts for the public good while giving the creators exclusive rights for limited times is in constant conflict with itself. However, life of the author plus 70 years weighs heavily on the “exclusive rights” side of copyright. Under such a regime, videogame characters and franchises won’t see the light of day unless the original developing company allows it. Unused franchises will lose relevancy should consumers have to wait for life plus 70 years. Videogames are complicated by the fact that they can be trademarked too. Videogame companies not only trademark their company names (SEGA is a registered trademark), but also their games (“Streets of Rage” is a dead trademark), and in some cases, presumably their characters. Should no one be able to use those marks unless they pay for a license? Isn’t one company’s trash another’s treasure? In the interest of promoting the arts for the public good and consumption, would a more flexible regime be appropriate? | | | | |
<
< | Perhaps a shortened trademark/copyright regime would be more appropriate. Since videogame development cycles—the start of development until release date—are about two years, a regime that gives parent developers/companies 10 years from the release date of a game to make a new franchise-related game may be more appropriate. The cycle would reset each time the parent released a new game (not for ports of old games or downloadable content to existing games). If the parent decides to let the franchise die in those 10 years, a new developer/company could, in the interest of progress and innovation, develop their own game in a similar likeness. This would essentially be a free license. Should the parent want the franchise back, the clock is reset and new developers are estopped. | >
> | Perhaps a shortened trademark/copyright regime is the answer. Since videogame development cycles—the start of development until release date—are about two years, a regime that gives parent developers/companies 10 years from the release date of a game to make a new franchise-related game may be more appropriate. The cycle would reset each time the parent released a new game (not for ports of old games or downloadable content to existing games). If the parent decides to let the franchise die in those 10 years, a new developer/company could, in the interest of progress and innovation, develop their own game in the franchise. This would essentially be a free license. Should the parent want the franchise back, they need only release a new game, and the clock is reset. | | | | |
<
< | The 10 year regime described above would allow companies to keep their franchises as long as they developed for them, and would allow new developers to step in should the parent deny their child. In this way, the nerd rage over the pulling of Streets of Rage Remake could be alleviated. | >
> | The 10 year regime would allow companies to keep their franchises as long as they developed for them, and would allow new developers to step in should the parent deny their child. In this way, the nerd rage over the pulling of Streets of Rage Remake could be alleviated. | | | |
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AustinLeachFirstPaper 3 - 27 Oct 2011 - Main.AustinLeach
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| META TOPICPARENT | name="FirstPaper" |
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It is strongly recommended that you include your outline in the body of your essay by using the outline as section titles. The headings below are there to remind you how section and subsection titles are formatted. | | | Introduction | |
>
> | This article explores SEGA’s threats to Bombergames’s Streets of Rage Remake, a fan-made freeware PC game based on SEGA’s Streets of Rage franchise, and the intellectual property of videogame software. | | | Background | |
<
< | Streets of Rage (SOR), known in Japan as Bare Knuckle, is a videogame that was released in 1991 and spawned sequels Streets of Rage 2 and Streets of Rage 3 in 1992 and 1994 respectively. SEGA, the once powerful console manufacturer and software developer that rivaled Nintendo in the late 1980s and 1990s, developed the game in-house for its SEGA Genesis console. These games have since been ported to arcade machines, other game consoles, and handheld devices, including the iPhone in April 2011. | | | | |
<
< | SOR is an action game in the “Beat ’em up” genre akin to Double Dragon and Final Fight. Players control characters through various levels, beating up criminals, fighting bosses, and picking up items along the way. The original game featured three characters who, as it is explained in the game’s introduction, vowed to combat the crime syndicate plaguing their city. There is no further dialogue or story. The sequels feature similar gameplay with slight enhancements and new characters. SOR 2 has a similar bare-bones story, but SOR 3’s plot is expanded and features cut-scenes and dialogue explaining the story between levels. Music for the SOR franchise was composed by Yuzo Koshiro. | >
> | Streets of Rage (SOR) is a videogame released in the US in 1991 that spawned sequels SOR 2 and 3 in 1992 and 1994 respectively. SEGA, a console/game manufacturer now turned software developer, developed the for its SEGA Genesis console. These games have since been ported to arcade machines, other game consoles, and handheld devices as late as 2011. | | | | |
<
< | Streets of Rage Remake (Remake) is an unofficial game for PC created by developer BoMbErLiNk? through the website www.bombergames.net. The project started in March 17, 2003 with over 20 designers and musicians working on the project, and was completed and released April 3, 2011. According to Bombergames, Remake is not reverse engineered and does not use a single line of code from the original games. It was developed from the ground up based on “visual interpretation, logic, and comparison of states.” While the game itself is free to the public, but the resources (the custom sprites, remixes, artwork, etc.) are not and belong to their respective artists. Remake looks and plays like a modern throwback to the original games. The character models have been updated, the stages resemble mix and use images from the original games, and the music contains remixes of Koshiro’s “house” music. Remake’s story is completely original, but is told through cut-scenes resembling SOR 3. | >
> | SOR is an action game in the “beat ’em up” genre akin to Double Dragon. Players control characters through various levels, beating up criminals, and acquiring items along the way. SOR featured three characters who, as is explained in the game’s introduction, vowed to combat the crime syndicate plaguing their city. With no further exposition, the plot is told through the gameplay images as one progresses through the game. The sequels feature similar gameplay with enhancements and new characters. SOR 2 has a similar bare-bones story, but SOR 3’s plot is expanded and features cut-scenes with written dialogue between levels. Yuzo Koshiro composed the franchise’s music. | | | | |
<
< | According to BoMbErLiNk? , Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game’s development. It is unclear what the response was, but Bombergames continued developing Remake. Within a week of Remake’s release in April 2011, SEGA contacted Bombergames and requested that the site cease distribution of its game. SEGA released the following statement to a number of videogame websites such as IGN.com: | >
> | Streets of Rage Remake (Remake) is an unofficial game for PC created by developer BoMbErLiNk? and was offered on www.bombergames.net. The project started March 17, 2003 and was released April 3, 2011. According to Bombergames, Remake is not reverse engineered and does not use a single line of code from the original games. It was developed from the ground up based on “visual interpretation, logic, and comparison of states.” While the game is freeware for the public, the resources (the custom sprites, remixes, artwork, etc.) are not and belong to their respective artists. Remake looks and plays like a modern throwback to the original games. The character models have been updated, the stages are reconstructed bits from the original games, and Koshiro’s “house” music is faithfully remixed. Remake’s story is completely original and is told through cut-scenes resembling SOR 3.
According to BoMbErLiNk, Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game’s development. It is unclear what the response was, but Bombergames continued developing Remake. Within a week of Remake’s release, SEGA contacted Bombergames and requested that it cease distribution. SEGA released the following statement to a number of videogame websites such as IGN.com: | | | “SEGA is committed to supporting any fans that take an interest in our games, and where possible we do so by involving them in Beta tests and other development, marketing or research opportunities… However we need to protect our intellectual property rights and this may result in us requesting that our fans remove online imagery, videos or games in some instances." | |
>
> | Bombergames has complied, and the game is “officially” unavailable.
The IP at Stake
Videogames may be covered by the traditional forms of intellectual property—copyright, trademark, patent, and trade secret—but only copyright and trademark seem to apply to Remake. Copyright could protect the code, the resulting images for the characters and backgrounds as they appear on screen, the music, the sound effects, and the story. Trademark could also be employed to protect the brand name “Streets of Rage,” the images and likenesses of SOR’s characters and game backgrounds, and perhaps the sound effects if they could be attributable to SOR and Sega.
Resolving for the Consumer
SEGA does have potentially strong infringement claims against Bombergames. However, putting aside the fact that SEGA waited until the final version was released before threatening Bombergames to pull the download links (four beta versions were released in the years prior to 2011), SEGA’s actions beg these questions: is it fair for SEGA to deny a developer’s efforts 8 years in the making, when SEGA itself has not developed a new Streets of Rage game in almost 20 years? Does such an IP regime benefit the consuming gamer?
Copyright’s dual nature of promoting the arts for the public good while giving the creators exclusive rights for limited times is in constant conflict with itself. However, life of the author plus 70 years weighs heavily on the “exclusive rights” side of copyright. Under such a regime, videogame characters and franchises won’t see the light of day unless the original developing company allows it. The franchises lose relevancy should consumers have to wait for life plus 70 years. Videogames are complicated by the fact that they can be trademarked too. Videogame companies not only trademark their company names (SEGA is a registered trademark), but also their games (“Streets of Rage” is a dead trademark), and in some cases, presumably their characters. Should no one be able to use those marks unless they pay for a license? Isn’t one company’s trash another’s treasure? In the interest of promoting the arts for the public good (read: consumption), would a more flexible regime be appropriate?
Perhaps a shortened trademark/copyright regime would be more appropriate. Since videogame development cycles—the start of development until release date—are about two years, a regime that gives parent developers/companies 10 years from the release date of a game to make a new franchise-related game may be more appropriate. The cycle would reset each time the parent released a new game (not for ports of old games or downloadable content to existing games). If the parent decides to let the franchise die in those 10 years, a new developer/company could, in the interest of progress and innovation, develop their own game in a similar likeness. This would essentially be a free license. Should the parent want the franchise back, the clock is reset and new developers are estopped.
The 10 year regime described above would allow companies to keep their franchises as long as they developed for them, and would allow new developers to step in should the parent deny their child. In this way, the nerd rage over the pulling of Streets of Rage Remake could be alleviated.
| | | | |
<
< | Subsection A | | | | |
<
< | Subsection B | | |
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AustinLeachFirstPaper 2 - 26 Oct 2011 - Main.AustinLeach
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| META TOPICPARENT | name="FirstPaper" |
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<
< | The Rage Over Streets of Rage Remake | | | It is strongly recommended that you include your outline in the body of your essay by using the outline as section titles. The headings below are there to remind you how section and subsection titles are formatted. | |
<
< | Paper Title | >
> | The Rage Over Streets of Rage Remake | | | -- By AustinLeach - 25 Oct 2011 | |
<
< | Section I | >
> | Introduction | | | | |
<
< | Subsection A
Subsub 1
Subsection B
Subsub 1 | | | | |
>
> | Background
Streets of Rage (SOR), known in Japan as Bare Knuckle, is a videogame that was released in 1991 and spawned sequels Streets of Rage 2 and Streets of Rage 3 in 1992 and 1994 respectively. SEGA, the once powerful console manufacturer and software developer that rivaled Nintendo in the late 1980s and 1990s, developed the game in-house for its SEGA Genesis console. These games have since been ported to arcade machines, other game consoles, and handheld devices, including the iPhone in April 2011. | | | | |
<
< | Subsub 2 | >
> | SOR is an action game in the “Beat ’em up” genre akin to Double Dragon and Final Fight. Players control characters through various levels, beating up criminals, fighting bosses, and picking up items along the way. The original game featured three characters who, as it is explained in the game’s introduction, vowed to combat the crime syndicate plaguing their city. There is no further dialogue or story. The sequels feature similar gameplay with slight enhancements and new characters. SOR 2 has a similar bare-bones story, but SOR 3’s plot is expanded and features cut-scenes and dialogue explaining the story between levels. Music for the SOR franchise was composed by Yuzo Koshiro. | | | | |
>
> | Streets of Rage Remake (Remake) is an unofficial game for PC created by developer BoMbErLiNk? through the website www.bombergames.net. The project started in March 17, 2003 with over 20 designers and musicians working on the project, and was completed and released April 3, 2011. According to Bombergames, Remake is not reverse engineered and does not use a single line of code from the original games. It was developed from the ground up based on “visual interpretation, logic, and comparison of states.” While the game itself is free to the public, but the resources (the custom sprites, remixes, artwork, etc.) are not and belong to their respective artists. Remake looks and plays like a modern throwback to the original games. The character models have been updated, the stages resemble mix and use images from the original games, and the music contains remixes of Koshiro’s “house” music. Remake’s story is completely original, but is told through cut-scenes resembling SOR 3. | | | | |
>
> | According to BoMbErLiNk? , Bombergames contacted SEGA about the project in 2007 by email and sent a formal letter notifying them of the game’s development. It is unclear what the response was, but Bombergames continued developing Remake. Within a week of Remake’s release in April 2011, SEGA contacted Bombergames and requested that the site cease distribution of its game. SEGA released the following statement to a number of videogame websites such as IGN.com:
“SEGA is committed to supporting any fans that take an interest in our games, and where possible we do so by involving them in Beta tests and other development, marketing or research opportunities… However we need to protect our intellectual property rights and this may result in us requesting that our fans remove online imagery, videos or games in some instances." | | | | |
<
< | Section II | | | Subsection A |
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AustinLeachFirstPaper 1 - 25 Oct 2011 - Main.AustinLeach
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| META TOPICPARENT | name="FirstPaper" |
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The Rage Over Streets of Rage Remake
It is strongly recommended that you include your outline in the body of your essay by using the outline as section titles. The headings below are there to remind you how section and subsection titles are formatted.
Paper Title
-- By AustinLeach - 25 Oct 2011
Section I
Subsection A
Subsub 1
Subsection B
Subsub 1
Subsub 2
Section II
Subsection A
Subsection B
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