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Archive | July, 2008

Virtual Property Law — Game Law Series Part III

Monday, July 28, 2008

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Virtual property is a topic that gets lots of attention from legal scholars. There is something intriguing about the lawlessness of virtual worlds. Most of the legal writing in this area focuses on which laws apply and whether traditional legal principles can be transfigured to apply to virtual worlds. As I have mentioned in earlier posts in this series, the focus of these articles is not the theoretical, but practical information for people who make games.

In a virtual world, the publisher’s Terms of Service are the Law. While scholars think theoretically about which real-world laws should and shouldn’t apply in virtual worlds, game developers fortunately have the ability to move past the issue and create their own law.  In a virtual world, this means creating a clear and well drafted Terms of Service.  A developer or publisher’s Terms of Service are the constitution for its new world. If the publisher says it is legal for people to steal in-game items from each other, then it is. If the publisher’s Terms of Service say that the publisher can suspend player’s accounts, or repossess in-game items, it can. That said, while publishers can create the law, like real world legislators, if the publisher’s laws are too restrictive, arbitrary or unfair, gamers will rebel or take up residence in a more favorable world.

As a game company develops its rule of law, there are two decisions that will have a significant effect on the type of game it creates.

Who Owns Player Created IP?

One issue that that gamers have been paying more attention to in recent years is who owns items that they create in-game.  Some publishers of virtual worlds, like Linden Lab, give IP rights in creations to the gamers that create them.  Other publishers maintain ownership of all in-world items.

There are upsides to giving players rights in their creations.  Second Life’s policies with respect to IP ownership have resulted in a vast and diverse world created primarily based on the time and effort of its players.  When Second Life shifted to a policy of allowing players to own the IP rights in their creations, development in-world increased dramatically

The downside to allowing users to own IP rights in their creations is that the publisher looses some degree of control over its world. This is less of an issue in Second Life, because it is not trying to tell a story in the way that many games do. In story driven games like the the Matrix Online or Starwars Galaxies, valuable intellectual property is embodied in the virtual worlds themselves. The Matrix and Starwars universes, for instance, are too valuable to risk allowing users to create derivative characters or stories within the world.

Whether to Acknowledge Virtual Property?

Many game companies do not consider this question in enough depth before launching their game. There are two positions a game company can take with respect to in-game property:

Disavow Virtual Property.  The first position is that in-game property has no real world value. Under this theory, in-game items (e.g., swords, articles of clothing, game cards, gold) are purely licensed rights that can be used within the game. Companies that take this approach typically ban the sale of in-game items inside and outside the game.  In most cases these companies don’t actively enforce this rule. The most compelling reason that companies take this position is to avoid anti-gambling laws.  Each State has its own rules with respect to what constitutes an illegal lottery.  To oversimplify this explanation, a common theme among the States is that gambling equals wagering plus chance (G = W + C).  Companies that take the position that virtual items in their games have no real world value are working to eliminate the wager part of this equation.  The argument is that if in-game items have no value, it is not gambling to put them at risk in a game.  The downside to this approach is that the game company looses the ability to get involved in the marketplace for in-game items, which can be a profit center.

Embrace Virtual Property (but eliminate chance).  The second position is to acknowledge that in-game items have real-world value.  This can make a game or virtual world more compelling for gamers, and can permit a game publisher to become involved in the market for virtual property within the game, but this approach comes with a variety of risks.  One risk is the gambling issue described in the previous section.  By acknowledging property rights in in-game items, a publisher reintroduces the wager element into the equation.  In order to reduce the risk of a claim that its game constitutes gambling or an illegal lottery, the element of chance must be eliminated (or reduced, depending on the jurisdiction).  This is a difficult thing to achieve, and typically involves modifying the game rules to eliminate the degree of chance involved.  The common law theory that provides this leeway for skill-based games dates back to times when governments sought to encourage athletic competition as a means of encouraging a physically fit armed forces.  The legacy is that in many states skill-based competitions are permitted, even when the participants pay an entry fee to compete for a prize.  Game companies that are interested in pursuing this approach, should consult with an attorney to help craft game rules that eliminate as much chance as possible.

Another risk associated with embracing the existence of in-game property is that a player may argue that a game publisher has taken his or her property rights if the game is discontinued, or the player is banned from the online community.  A player recently sued Linden Lab alleging this type of taking.  The player had manipulated Lindon Lab’s land purchasing engine in Second Life to purchase in-game land at below market values.  When Lindon Lab discovered the manipulation of the system, it suspended the players account.  The player sued and the case eventually settled.  Since the case didn’t proceed to judgment, the law is still unsettled.  Until such time as this issue is resolved by the courts, these risks are best mitigated through well drafted and forward-thinking Terms of Service.

Conclusion

This article is a fairly gross simplification of the framework around this area of law.  My hope is to provide some high level thoughts, without writing a treatise on gambling or skill-based gaming.  That said, if you have questions about the area, or there are glaring gaps in the summary, please feel free to let me know and I will update accordingly.

DISCLAIMER: Please read the disclaimer language using the link at the top of this page, or click here. This article is not intended to be legal advice, and no attorney client relationship should be inferred from this blog. The law varies from jurisdiction to jurisdiction and you should consult with an attorney before relying on anything you read here. This article and this blog do not reflect the views of Wilson Sonsini Goodrich and Rosati.

PREVIOUS ARTICLES IN THE SERIES:

  • Part One: Growth in the Interactive Entertainment Industry.
  • Part Two: Convergence of Games with More Traditional Media.
  • UP NEXT:

  • Part Four: On-Line Community Management.
  • Part Five: User Generated Content Issues.
  • Part Six: Talent Issues. Guild or No Guild.
  • Part Seven: Game Specific IP Issues.
  • Part Eight: New Revenue Streams for Game Companies.
  • Part Nine: Unsolicited Submissions.
  • Part Ten: Development and Publishing Agreements.
  • Part Eleven: Gambling, Lotteries, Sweepstakes and Contests.
  • Part Twelve: In-Game Currency Issues.
  • Part Thirteen: Content Regulation and Freedom of Speech.
  • Part Fourteen: Merchandising.
  • Patrick Williams and the Finishing Touch

    Friday, July 25, 2008

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    Check out Patrick Williams’ art exhibit, the Finishing Touch, on display through August 31st at the Huntington Beach Art Center in California. Photo’s below. Opening night involved a costumed monster wreaking havoc on Patrick’s incredibly detailed paper-craft city.

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    You need to a flashplayer enabled browser to view this YouTube video

    For more information about Patrick, check out his blog. For more information about the show in Huntington Beach see below:

    “Ground Us”
    Huntington Beach Art Center
    Reception Friday, June 27th, 7-9pm
    Performance: 8pm (Don’t miss this)

    538 Main St
    Huntington Beach, CA 92648
    (714) 374-1650
    Fax: 714-374-5304
    Hours: Wednesday - Saturday - 12:00 noon - 6:00 pm
    Sunday - 12:00 noon - 4:00 pm
    Closed Monday - Tuesday

    Hasbro Finally Sues Scrabbulous

    Thursday, July 24, 2008

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    Copy of the complaint below for anyone that is interested.

    Read this document on Scribd: Hasro Vs Scrabulous
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    Video Game Law: Growth and Convergence in the Interactive Entertainment Industry

    Monday, July 21, 2008

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    This article covers the first and second parts in a series about Video Game Law. There is a wealth of academic information on the topic of game law on the Internet, but my hope is to provide more practical legal insight in a way that could actually help a game developer or startup tackle some of these issues in practice and understand the lay of the land. As much fun as it is for lawyers like me to contemplate hypothetical issues, like whether there is such a thing as trespass in a virtual world like Second Life, these issues don’t generally help people make games. The goal of this series is to give game makers a practical look at the legal issues they should consider when running a game company. My clients don’t pay me to wax philosophic about laws that don’t exist yet, but I do spend a lot of time answering real questions that game makers face. This series of articles will share that insight with you.

    DISCLAIMER: Please read the disclaimer language using the link at the top of this page, or click here. This is not legal advice. The law varies from jurisdiction to jurisdiction and you should consult with an attorney before relying on anything you read here. I also need to say that this article and this blog do not reflect the views of my employer Wilson Sonsini Goodrich and Rosati.

    Part One: Growth in the Interactive Entertainment Industry.

    This first part “Growth in the Interactive Entertainment Industry,” is not legal in nature, but is intended to give an overview of why practitioners and business people should be paying attention to this stuff. Gaming as a form of entertainment is becoming wider spread each year.

    To give you an idea of the size of the industry, game related products accounted for close to eight billion dollars in 2007. Around two out of three households in the US plays games, and that number is growing. The average age of a gamer in the States is 35. One in four gamers is over 50. The game industry spans a variety of game types, from basic but highly profitable Casual Games, to more in-depth “Hard Core” PC or console games, to virtual words and massive multiplayer online games.

    Part Two: Convergence of Games with More Traditional Media.

    As technology has improved, games have become less expensive to make, while at the same time the success of blockbuster releases like Halo 3 and Grand Theft Auto IV are fueling a wave of big budget games with cinematics and storytelling that rival motion pictures. Story telling in games has its roots in text based adventure games like Zork, where games were a hybrid of technology and literature. This was extended into graphical games like the Legend of Zelda, where the game was graphical, but the story telling was still implemented with text. Gaming in the 80s required a lot of reading, and if Zork is the gaming equivalent of a book, then the Legend of Zelda is the equivalent of a book with illustrations.

    There are still games that can be traced back to a literary tradition of story telling, but most modern games can best be compared with motion pictures. Games like Halo 3 use a combination of music, professional voice talent, and detailed cinematic cut scenes to advance the story. It is no longer enough for a game to have a good written story, the story must be brought to life with visuals and sound. Like a good motion picture, when executed properly, the player feels like they are transported into the story. The best example of this based on the current generation of games is BioShock from 2K Games. Video below:

    Games are converging with traditional media, like motion pictures and television, in terms of financial proceeds. The chart below shows revenues from music, motion pictures, and games over the past 5 years. What is more interesting, however, is the convergence of games with traditional media in terms of the entertainment value that they represent. Every year games become more compelling. Developers become more and more skilled at taking advantage of current hardware, and every 4 years or so, consoles are upgraded, causing spikes in game quality. Consider the value proposition that a motion picture or music album represents. This experience has not changed significantly in the last ten years. Movie screens are bigger, and music is now downloadable, but the content is essentially the same. Movies today don’t tell stories better than they did ten years ago. Music today has changed but is not significantly more entertaining that it was ten years ago.

    Games Music and Movies Revenue Compaired

    When you compare games today with what was available in 1997, it is clear that players are getting more for their money, and the overall gaming experience is more compelling.

    By way of example, in 1997 Sony launched its Gran Turismo series, and the top grossing movie of that year was Titanic. Watch the videos below and decide for your self which is more entertaining.

    Now skip forward ten years and take a look at Sony’s new Gran Turismo V, as compared with the top grossing movie of 2007, Spiderman 3. It is getting harder to determine which is more entertaining. The difference between Titanic and Spiderman 3 is relatively small with respect to how entertaining those movies were, but the difference in quality between the original Gran Turismo and the new Gran Turismo V is hard to ignore. Ask yourself what games will look like in another 10 years. Assuming that movies don’t reinvent themselves somehow, it is likely that movies will still be telling stories in the same format, and are unlikely to rival interactive entertainment for pure entertainment value.

    So why does this matter? Two reasons.

    From a business perspective, money. In ten years the interactive entertainment industry will be as big or bigger than the movie industry. Games will pull people away from the television and keep them from going to movies. Games are an active, as opposed to passive experience, and are increasingly social, with online play practically standard on most new console games. If you are in the advertising, music, motion picture, or televisions industries, this stuff should matter to you because it is where the money will be spent. If you are in the technology space, games will be the driver of new hardware sales (computers are already faster than they need to be for non-gaming activities).

    From a legal perspective, this convergence matters because the legal needs of game companies are changing. Gaming companies have historically required legal expertise in technology and software related intellectual property. As games evolve game lawyers spend more time addressing pure entertainment issues, like rights of publicity, negotiation with talent, disputes over credits, and merchandising related to game franchises.

    These first two parts of this series are a non-legal introduction to the articles to come. In the next few weeks, I will be posting about the decisions game companies must make when introducing virtual property into their game universe. I will be posting about management of on-line communities, and how and when you can kick people out of your game. I will cover talent related issues, and whether or not your game company wants to work with guild vs. non-guild talent. Stay tuned.

    Up Next:

    • Part Three: Virtual Property Law.
    • Part Four: On-Line Community Management.
    • Part Five: User Generated Content Issues.
    • Part Six: Talent Issues. Guild or No Guild.
    • Part Seven: Game Specific IP Issues.
    • Part Eight: New Revenue Streams for Game Companies.
    • Part Nine: Unsolicited Submissions.
    • Part Ten: Development and Publishing Agreements.
    • Part Eleven: Gambling, Lotteries, Sweepstakes and Contests.
    • Part Twelve: In-Game Currency Issues.
    • Part Thirteen: Content Regulation and Freedom of Speech.
    • Part Fourteen: Merchandising.

    Legal Issues in Interactive Entertainment (update on video game law)

    Friday, July 18, 2008

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    I was in the Bay Area Tuesday to give a talk at WSGR’s Palo Alto office on recent developments in interactive entertainment law.  My practice focuses in large part on helping game companies develop and commercialize products, and the legal issues involved in making games are part of what makes me love my job.

    Since I took the effort to pull together my thoughts for the lecture, I thought I would try to cover some of the same material here on the blog.  I plan to break out the segments of the presentation into a series of posts over then next few weeks.  New posts will be in the “Law” category on this site.  Clicking this link will take you to a page that has all the posts in the category.

    This first post is just a preview of the topics I plan to cover. Think of it as the table of contents, if such a thing exists on the Internets.

    Legal Issues in Interactive Entertainment (update on video game law):

    • Part One:  Growth in the Interactive Entertainment Industry.
    • Part Two:  Convergence of Games with More Traditional Media.
    • Part Three: Virtual Property Law.
    • Part Four:  On-Line Community Management.
    • Part Five:  User Generated Content Issues.
    • Part Six:  Talent Issues.  Guild or No Guild.
    • Part Seven:  Game Specific IP Issues.
    • Part Eight:  New Revenue Streams for Game Companies.
    • Part Nine:  Unsolicited Submissions.
    • Part Ten:  Development and Publishing Agreements.
    • Part Eleven:  Gambling, Lotteries, Sweepstakes and Contests.
    • Part Twelve:  In-Game Currency Issues.
    • Part Thirteen:  Content Regulation and Freedom of Speech.
    • Part Fourteen:  Merchandising.

    If there are topics that you are interested in that are not covered here, please leave a comment, or shoot me an email at submissions@thisistech.com.

    Apple App Store (Best and Worst)

    Thursday, July 10, 2008

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    AppStore.jpg

    Apple’s iPhone App Store rolls out today, which means we will finally get a look at the breadth and quality of applications that have been developed.

    The launch applications for the App Store are less ambitious than I had hoped. There are around 500 applications available, many of which are eBooks of classic literature. Hopefully the interface on these eBooks is something special, because the same books can be read on the iPhone for free by browsing to project Gutenberg using Safari.

    Among the most interesting apps are those that tap into the iPhone’s geolocative captivities.

    The Most Interesting:

    • Loopt. Loopt is one of the more ambitious iPhone applications, allowing you to track the location of friends, among other things.

    • Pandora Radio and AOL Radio. AOL Radio and Pandora are both excellent services. Having access to them on the iPhone will be great.

    • Remote. This application allows you to control your desktop iTunes playback using your iPhone. This might be a nice alternative to an expensive system like Sonos.

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    Worst iPhone Apps:

    • Phone Saber. This application appears to make light saber noises when you move your iPhone around.

    [Update: I just saw that Mike Arrington at TechCrunch thinkgs this is going to be a sleeper hit. I hope he is joking. I love Star Wars too, but come on. Using the iPhone SDK to create a crazy expensive version of a toy, is a waste of the opportunity that Apple gave developers. They have greeting cards with enough processing power to make these noises. The iPhone can handle 3d graphics, has network functionality and GPS, and you use the SDK to create a program that makes noises when you shake the phone. Am I alone in thinking this is lame?]

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    Saber.jpg

    • Quick Light / Flashlight. These two applications make your screen light up so you can use your iPhone as a flashlight. I know this might be usefull for some people, but seriously, this is embarrassing.

    • Cow Toss. This application is a picture of a cow that you can drag with your finger to throw the cow. WTF.

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    Monocycle by Ben Wilson

    Monday, July 7, 2008

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    21st Century Monocycle by Ben Wilson: ”

    Ben Wilson Monocycle, Ben Wilson Design UK, Ben Wilson Design, XXIst Century Man Exhibition, XXIst Century Man Exhibit Tokyo, monowheel, monocycle, human powered transportation, pedal powered transportation, bicycles, bike transportation

    Are traditional bikes a bit too pedestrian for you? Ben Wilson recently unveiled a sleek monocycle at this year’s XXIst Century Man Exhibition in Tokyo. Wilson’s pedal-powered prototype one-ups those tendentious ‘bi-cycles’ with a single center-seated wheel. The elegant nimbus may not provide for the smoothest ride, but it more than makes up for it via its pure awesome appeal.”

    (Via Inhabitat.)

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    In Defense of E-Books

    Saturday, July 5, 2008

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    Fever PitchImage via Wikipedia

    Author Nick Hornby posted an entry on his blog this week enumerating the reasons that eBooks are doomed. Hornby is an acclaimed author, and has written several successful novels that have been adapted to films (Fever Pitch, Figh Fidelity and About a Boy).

    Comparing books to music, Hornby gives the following concerns about the viability of eBooks:
    1) Book readers like books, whereas music fans never had much affection for CDs;

    2) People don’t buy many books. Seven per person per year;

    3) The advantages of the liad and the Kindle - that you can take vast numbers of books away with you - are of no interest to the average book-buyer;

    4) Book-lovers are always late adapters, and generally suspicious of new technology.
    Nick is missing some of the subtle and game changing aspects of eBooks. There are lots of reasons that eBooks make sense for both readers and publishers, and Hornby, as an author, is in the group that should be most excited about this new platform.

    1) Hornby’s reasoning, that the average reader only buys 7 books a year, doesn’t account for the fact that owning an eBook reader increase the number of books readers buy. The Amazon Kindle allows readers to sample the first 30 pages or so of the books that it sells.

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    Copyright Protection: When does it make sense to file?

    Tuesday, July 1, 2008

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    Copyright symbol

    Image via Wikipedia

    In response to my open call for questions post, I received an email asking, “when does it makes sense to file a copyright?”

    The short answer is that if you have a copyrighted work worth protecting, file early. Copyright applications are fairly inexpensive and (for better or worse) provide very long term protection.  By way of background, copyright is a form of intellectual property protection that is provided for “original works of authorship.”  This includes things like literary works (like books, screenplays, technical documentation, and computer software), works of the performing arts (like musical compositions and movies), visual art works (like paintings or photographs), and sound recordings.

    Copyright protection exists automatically from the moment that a work of authorship is “fixed” in a tangible medium of expression.  This means that the work is recorded in some way, for example written down, or video recorded. So if copyright protection exists automatically, why would a company or someone want to spend the money and time to file an application?  The answer is that registration give you a variety of additional benefits that don’t apply automatically.

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    About

    This site is edited by Michael Schneider, an attorney with the firm of Wilson Sonsini Goodrich and Rosati. When not working with clients on legal issues, Michael enjoys tracking and writing about emerging technology and the Internet.