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CopyBot

November 15th, 2006

It certainly seems like everyone is talking about this issue. Both Cory and Robin have had their say, Second Lifers are organizing boycotts and ‘legislation’, and the original authors of the code that led to CopyBot seem slightly flummoxed by the whole thing.

In short, what’s happening is a small-scale social crisis that brings into sharp relief the split between the hacker-ethic-libertarian-info-must-be-free ethos that underpins much of the technology of virtual worlds, and the rampant commercialism that has actually enabled its embodiment. What we have here is a case of bone fighting blood.


I have talked before about what exactly MUDs and MMOs are, and why they all deserve to fall under the rubric of “virtual world.” Much of it boils down to the fact that client is a representation of a server simulation, and that therefore any given server could have many possible representations.

In the post discussing this, I noted that

The real difference between the MUDs of yore and the modern MMORPG client isn’t the sim on the backend; it’s the fact that the datastream is tokenized. When you connect to a MUD and it attempts to inform you of the presence of an object, say a chair, it actually sends the definition of that chair down: the words that make up its description. When you connect to a graphical MMORPG, instead you are sent an index number, a token that lets you look up on your local client install the description of that chair (which these days, is likely to be a 3d model).

A client install is nothing more than an elaborate caching scheme. Tokens are used to minimize bandwidth during play, but these days we see more and more worlds returning to the older practice of sending down the descriptions of objects, and not just their lookups, with titles such as Second Life but also games like Dofus or Runescape, which “stream” off the web. Text was the original streaming technology. Non-streaming games are (to use a phrase that seems to get me in trouble a lot) a historical aberration, a transitional technological hack to get around bandwidth limitations and the idiosyncrasies of embryonic delivery systems.

Here’s the issue with streams: you can capture them.

In Second Life, a protocol is used that fully describes an object. Much like HTML, if you know how to parse this protocol, you can recreate what the client is describing. Everyone finds this fascinating and wonderful when we’re talking about using it to fab objects, but the fact is that once you have the secret code, you can use this data for absolutely anything. Such as, for example, feeding it back into something else (as in the fabject example), converting it to a different format (taking an SL model and importing it into Maya, perhaps), or even feeding it right back into the system where it originated — and this latter is what CopyBot does.

In some ways, this is very similar to what people do do get around copy protection on any other digital media. Encoded signals are received by a proprietary client, and then they are parsed and decoded and finally presented to the end user. At the stage of presentation, you can always grab a copy and re-encode it. In crudest form, “the analog hole” so to speak, you can videotape a screen, you can record the audio coming off your speakers, and so on. In more sophisticated form, you can capture digital output post-decoding and then re-encode in whatever format you prefer.

This is the same thing that is giving the recording and movie industries fits (though they are increasingly seeming to reach some accommodation). This is a slow-moving extended fit — the only reason that things like blank cassettes were allowed to be sold (remember cassettes?) is because the recording industry managed to get themselves a royalty on blank media. Now we see a similar thing happening with Universal getting a royalty on digital media players.

Yesterday, Microsoft agreed to share revenue from Zune sales with record labels and artists. Forcing the issue was Universal Music Group, which at deadline is the only label named in the program. UMG refused to license its music to the Zune unless it could receive a percentage of each device sold, in addition to standard music licensing fees for downloads and subscriptions.

“These devices are just repositories for stolen music, and they all know it,” UMG chairman/CEO Doug Morris says. “So it’s time to get paid for it.”

Microsoft is working with all major and independent labels to establish similar revenue-sharing agreements.

The net was full of vilification for poor Mr. Doug Morris. But he’s absolutely right. Statistically speaking, what teenager actually owns 60 gigabytes of mp3s legally purchased? That’s thousands of dollars worth of iTunes sales.

Those on the copyleft side, the free culture side, the share-and-share-alike side will make the case that there are many excesses to DRM — and they are right. They will point out that the freer availability of music now that it is in digital form has led to an explosion of diversity on the market — and they are right. They will mention that direct distribution has enabled producers of content to reach audiences that they previously could not — and they are right.

All this is to some degree beside the point; the issue here is not which side is right, but which side owns the soul of the stream. You see, in something like Second Life, it’s not the megacorps who are having their stuff copied, it’s us. It’s not the big companies that are trying to profit, it’s the little guys. And all of a sudden, the same folks who likely argue cyberliberties and donate to the EFF and have gigs of video stored on RAIDs they keep in their garage suddenly feel the sting of perfect digital copying. CopyBot is a mirror, and what we see reflected in it is the unsavory fact that we all want DRM, if it favors us.

Van Hemlock notes that this whole thing rather recalls the old Law of Online World Design,

Never trust the client.
Never put anything on the client. The client is in the hands of the enemy. Never ever ever forget this.

This principle was first articulated, to my knowledge, by Kelton Flinn, though the phrasing above is my own rendering of it. The thing is, this statement is about as perfect a philosophy as one can imagine for the proponents of DRM, “trusted computing,” and the like. It is born out of practicality, in the case of virtual worlds: unlike music, where the harm in copying is difficult to trace, and in some cases theoretical, in a virtual world users who can alter the backend simulation can cause real harm to other users.

However, there’s one aspect in which the client must in fact be trusted: rendering. (Hence the many hacks for FPS shooters which make opponents more visible). CopyBot and the many other examples of its ilk that I am sure will soon appear are not doing anything whatsoever to the server-side simulation. They are merely feeding in data that happens to look just like some data that is already there.

It is theoretically possible to encode database matching for similarity. You could analyze a new model and find that it is 100% commonality with someone else’s model, and is therefore a replica, and therefore to be rejected. But then at some point you will run into the nasty issue of what exactly “fair use” means in a digital world like this. We always build on the shoulders of giants. Are we allowed to use 25% of the giant, or 95% of it?

The issue is that at its core, the underlying philosophy on which virtual worlds are built is one that encourages copying. The further we move towards the inevitable world of streaming rather than cached worlds, the more of this we will see — just as stylesheets, images and whole websites are rather indiscriminately reused, remixed, and repurposed all over the web, quite without the original author’s permission. Just as tools that we find incredibly useful are built out of scraping data off of someone else’s screen. In fact, the whole Web 2.0 philosophy, which is many many ways MUDs anticipated by a few decades, is based on spitting out data streams for this express purpose, so that new uses can be barnacled on them.

The Second Life dilemma here is that the business model for so many of their users is built on content, not on service or functionality. As I have pointed out before, the market value of content is plummeting. Kevin Lim astutely points out that this whole thing is very much like the world described in Star Trek after the replicator showed up:

…after such a machine was invented, currency as we knew it ceased to be function. Since everyone had the capability to create (replicate) anything they desire, capitalism as we knew it died, and the new dawn of perfect Marxian philosophy was adopted by the Federation.

The bottom line:

It is commerce that enabled these worlds to reach the levels they are at today. It is the blood and muscle and sinew that animates the skeleton provided by the technology and the hacker ethos. Nowhere have we seen this more than in Second Life, where the commerce was pushed to the hands of the users, and the shackles of megacorps were supposedly broken. But.

As long as Second Life creators are relying on creating content like textures and models — the exact same sort of stuff that drives costs so high in other worlds, the exact same stuff that is most commodified, and the exact same stuff that is streamed — they will continue to face the same dilemmas as any other content industry. They will be copied. They will be ripped off. They will find their market prices falling. They will agitate for DRM. They will form lobbies with the analogue to a government, and argue that they are in fact the primary cultural contributors in the system. They will, in the end, come to embody everything about the broader, commercial Web that they fled to Second Life in order to escape.

They will, in effect, be hoist by their own petard.

*

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