Canadian Copyright Consultations: Vancouver

SFFaudio Online Audio

Tony Clement (Minister Of Industry) and James Moore (Minister of Heritage) announcing copyright consultation

A few days ago the Canadian government’s copyright consultations site posted the audio from the Vancouver consultations. The audio |MP3| shows a wide variety of sensible copyright ideas. But the most pernicious was that of the Entertainment Software Association of Canada‘s 6 minute argument in favour of a more draconian version of the failed Bill C-61 from last year. Their spokesperson, Danielle LaBossiere Parr, argued along these lines…

Premise 1. The video game industry makes $2.2 Billion a year in Canada (if you include “hardware sales”).
Premise 2. The video game industry is extremely lucrative (“we had a record breaking year”).
Premise 3. There’s been a 300% increase in piracy (but video games “haven’t been affected” – and our research shows Canada is twice as bad as the USA).
Premise 4. DRM TPM is good. You don’t need to own or be able to control what we sell you (and we can’t provide essential services without it).

Conclusion: To avoid losing our $2.2 Billion a year business Canada has to make the breaking of DRM a statutory fineable offense and remove judicial oversight from corporate claims of copyright over materials in the public domain.

My analysis:

-Parr’s choice of Steam as an example of good DRM is interesting because it completely bypasses Canadian sales (being that it operates out of the USA and doesn’t collect PST or GST). Also, who knows what percentage of that $2.2B is hardware?

-Premise two seems to be in direct contradiction to premise three.

-Premise Four is the active portion of the argument. If you buy into the idea that TPM (DRM) is good for consumers you can accept it. If you like being prevented from using what you own you’ll like DRM.

-What Parr didn’t say in her speech is that the “entertainment software industry in Canada is export-intensive. Fifty per cent of firms rely on exports for 90-100% of their revenues, much of which comes from the United States.”* That surely doesn’t support her claim that the Canadian industry is threatened unless we make DRM breaking fineable. Her claim that TPMs facilitate “parental controls” and allow games to be distributed on a “trial or demo” basis is belied by the fact that such features have existed without invasive TPM/DRM.

Here’s her full speech (15:46 – 21:16):

“Thank you very much for hosting the consultation we’re very pleased to be at the table. And certainly Minister – took note of your comments this morning., I uh was at the digital forum and I know in a lot of the comments made there was ‘what about content? We need to deal with content’ So was encouraged to hear your comments that this is an important part of the overall digital strategy.

So here we’d agree – we’re here in Vancouver we are the largest, the largest hub for video game development in Canada. Canada in fact is the third largest producer of video games in the world. We are hitting well above our weight class, we are extremely successful and uh we are uh you know right behind Japan and the U.S. and if you look at on a proportional basis with our population it’s especially impressive. Um you know in Canada sales of entertainment software and hardware 2.2 billion dollars it was record breaking year and we’re continuing to see growth. So and I say that because our industry has huge potential for the Canadian economy and uh I think its important to … to think about that when you’re crafting policy to protect intellectual policy.

Um now you might also say, and we’ve heard this argument, ‘well you’re doing so well, why should we worry about you?’ But if you look at our online piracy statistics uh between 2007 and 2008 we saw 300% increase in online piracy. Uh, you know video games are we haven’t been affected as quickly perhaps as music and movies have in part because of our file size, they’re massive. And so as broadband speed catches up it becomes easier and easier to download games online so we really have to take action now action to prevent further harm to our industry.

When it comes to Bill-C61 we were actually really happy with the anti circumvention provisions of Bill-C61. You know certainly from our perspective our business is the sale of intellectual property, we don’t sell concert T-shirts, that sort of thing, we sell intellectual property and that is the backbone of our business and the only way we’re successful.. So certainly creating protection for digital locks is essential and uh we thought that C-61 did a good job at that. On the other side we felt that the ‘notice and notice’ regime in C-61 didn’t go far enough from our perspective. We would like to see ‘notice and takedown.’

And the reason for that is with sales of video games you look at Halo 2 for example, when it was launched, the vast majority of sales was in the first couple of weeks. It’s something like 80 or 90 percent of the sales are right around the launch date. So when a game is made available online, sometimes even before its released, there is a tremendous amount of harm that’s done in terms of sales to legitimate Canadian retailers and to the rights-holders as well. And so that’s why we think notice and takedown is necessary, because the time that you need to take to get an injunction, to have offending content removed, for example, notice and notice doesn’t compel them to remove the content. We feel that a notice and takedown regime would be in the best interest of video game publishers in Canada.

Um, the other thing the other point I’d like to make is that Canada, when it comes to video game piracy is disproportionate in terms of its offending. We did some research with gamers in both Canada and the US and we asked them the same questions. We found that 17% of U.S. consumers or U.S. gamers admitted to owning pirate product. Whereas 34% of Canadians gamers said the same. So it’s double the rate of piracy in Canada. Um, so it’s time to act now I mean certainly circumvention devices and protecting TPMs its allowing content owners to choose the business model that makes sense. And ultimately the market will decide if they don’t think that TPMs are fair or that they don’t like the way the service is being provided ultimately consumers will decide. And the business model will be adapted. But we really do have to offer protection under the law for digital locks or TPMs and allow consumers really to decide.

In terms of the video game example, I’ll sort of conclude I know I’ve talked a lot. Um, we’ve used TPMs in a number of ways. It’s not just preventing piracy, but it’s also allowing more choice for consumers in the sense that … no, services like Steam, for example, that allow you to have a subscription, essentially, to a video game. You can login when you’re traveling, from this computer, or you can login from your home computer, as opposed to only being to access the game when its downloaded on your home PC for example. That’s facilitated by DRM. Um same thing when it comes to parental controls.

So you know if you want to restrict, not allow your kids to play M-rated games for example. Or in World Of Warcraft you don’t want your kid more than 6 hours a week time all of those things are facilitated by DRM. And finally so time trials and VIP areas of sites and allowing people to try before they buy – all thiose jkinds of things that are really beneficial for consumers. Uh you know I think the video game industry has done a real good job of using DRM in a positive way. Thank you.”

There’s also an official transcript |HERE| it includes all the other speakers as well.

Posted by Jesse Willis

Stephen Fry’s history of copyright

SFFaudio Online Audio

Stephen Fry's Podgrams 2.0Stephen Fry’s latest podcast, recorded at the iTunes festival (a U.K. music festival), is a moral history of copyright. After the very funny and informative speech Fry takes questions from the audience and twitter. Is there’s anyone cooler than Stephen Fry? He’s like a comedic John Lennon minus the Yoko.

Have a listen |MP3| or subscribe to the podcast:

http://www.stephenfry.com/media/audio/rss/mp3/

Posted by Jesse Willis

BBC R2 / RA.cc: The Hunt For Sexton Blake

Aural Noir: Online Audio

BBC Radio 2RadioArchive.ccHere’s a reminder that tonight sees the beginning of The Adventures Of Sexton Blake in a six week run on BBC Radio 2. But if you’re still not sure who this Blake bloke is, I’ve got the solution. Using my amazing skills of research (RadioArchive.cc) I’ve uncovered a July 28th, 2009 documentary about this Sexton Blake character. It’s called The Hunt For Sexton Blake and runs a full hour. Interested parties can find the well seeded torrent for it through RadioArchive.cc. It’s filed in the “factual” section there. Here’s the description:

BBC Radio 2 - The Hunt For Sexton BlakeWho exactly is Sexton Blake? People under the age of 45 might ask that question, but anyone older is likely to have read one of the 4000 stories by over 200 authors, or seen the films, the stage adaptations, the many TV shows, or listened to his adventures on radio.

Sexton Blake is one of the most famous and long-lived fictional detectives and adventurers of all time, who battled opium smugglers, bandit chiefs and the Kaiser. In his heyday he was more widely read than Sherlock Holmes – enjoyed by working people all over the British Empire – and whilst Holmes features in very few stories, Blake appeared in thousands.

In this hour long profile and exploration of Blake’s impact, David Quantick talks to author Michael Moorcock, who used to edit the Sexton Blake Library; Jack Adrian a former writer; and comic book illustrator Kevin O’Neil, who co-created The League Of Extraordinary Gentlemen and other heroes.

That Blake didn’t have the same critical recognition, could be attributed to the fact the stories were published in cheap magazines, rather than in proper books. Or because the writers themselves didn’t move in the right circles, to make friends and influence people. While Ian Fleming had been to Eton and Sandhurst, the Blake authors were a rag tag bunch of eccentrics, whose own lives were worked into the tales. Michael Moorcock tells David that the Blake writers were puzzled at how James Bond was liked by critics, when the early novels were badly plotted and featured cartoon-like villains hiding in volcanoes.

David also hears about the Blake author who vanished under mysterious circumstances. The writer’s wife sent in his remaining Blake manuscripts without saying he’d disappeared, and then passed off her new partner’s work as that of her dead husband. It wouldn’t take Sexton Blake to tell you there was something fishy going on there!

Posted by Jesse Willis

Review of Way Station by Clifford D. Simak

SFFaudio Review

Audible Frontiers - Way Station by Clifford D. SimakSFFaudio EssentialWay Station
By Clifford D. Simak; Read by Eric Michael Summerer
Audible Download – Approx. 7 Hours 5 Minutes [UNABRIDGED]
Publisher: Audible Frontiers
Published: 2009
Themes: / Science Fiction / Aliens / Galactic Civilization / Immortality /

In this Hugo Award-winning classic, Enoch Wallace is an ageless hermit, striding across his untended farm as he has done for over a century, still carrying the gun with which he had served in the Civil War. But what his neighbors must never know is that, inside his unchanging house, he meets with a host of unimaginable friends from the farthest stars.

This story spans more than a century, but most of the ‘action’ takes place in the middle of the 20th century, over a couple of months. See, a friendly alien recruited Enoch Wallace to become something of a galactic station master shortly after the American Civil War. Now, with his neighbors generally accepting his mysterious eternal youth, Enoch has a curious and unseen visitor watching him from the woods. Enoch is lonely, with his only friends being a completely deaf and mute young woman and his kindly mailman. Will the visitor in the trees learn the truth? Will Enoch help guide the Earth to its ultimate destiny? Read on!

I find myself arguing with a lot of my fiction writing friends about what makes a good story. They typically talk about ‘the rules’ or ‘the formula’ that makes a story work. I typically talk about clarity, consistency (story logic) and originality of a story. We usually agree about style.

A couple years back a friend of mine (a filmmaker and used bookstore owner) was telling me about one of the scripts he was working on. He said something to the effect of “every story must have conflict.” That’s probably not a new concept, not original to him, but it was new to me – at least in those words. Now I love such sweeping declarations – they give my dialectical brain something to hack away at. It seems a fairly straightforward a concept – and on the face of it seems likely – but, that always gets me thinking: If it sounds so obvious it is probably at least partially false. So I thought about it for maybe thirty seconds and then pointed out that ‘pornographic films need not have conflict – but they can still have a story.’ Illustrating I said “Pizza delivery guy comes to the door – half naked woman answers – sex follows.” It has a beginning, a middle and a money shot. My friend and I both laughed. But, I’ve been thinking about this meme ever since. Now, with Way Station I think I have a more serious defeater to my friend’s all encompassing rule about storytelling. There is very little conflict in Way Station. That is actually a pretty common thing for author Clifford D. Simak. His stories are highly pastoral, full of backstories being revealed, mysterious farmers and friendly aliens. Conflict may be mentioned, as having happened long ago (or in some distant future) – but shots are rarely fired in anger. I’m thinking back on all of the Simak I’ve read, and in it all I can’t recall much conflict at all. And yet, I love his stories.

Eric Michael Summerer does a terrific job narrating this pastoral masterpiece. He portrays Simak’s characters with all the honesty, decency, and humanity that Clifford D. Simak put into them. Audible Frontiers has very kindly added an excellent and informative introduction written and read by another of Science Fiction’s most humane authors, Mike Resnick! Audible Frontiers has been adding so many new titles it is hard to keep up. This one will slow things down for you and even make life a little simpler. Thanks Simak!

Posted by Jesse Willis

Review of The Three Stigmata Of Palmer Eldritch by Philip K. Dick

SFFaudio Review

The Three Stigmata of Palmer Eldritch by Philip K. DickThe Three Stigmata of Palmer Eldritch
By Philip K. Dick; Read by Tom Weiner
6 CDs – 6.8 Hours [UNABRIDGED]
Publisher: Blackstone Audio
Published: 2008
ISBN: 9781433248221
Themes: / Science Fiction / Religion / Drugs / Mars / Aliens /

Not too long from now, when exiles from a blistering Earth huddle miserably in Martian colonies, the only things that make life bearable are the drugs. Can-D “translates” those who take it into the bodies of Barbie-like dolls. Now there’s competition: a substance called Chew-Z, marketed under the slogan “God promises eternal life. We can deliver it.” The question is: What kind of eternity? And who—or what—is the deliverer?

Reading Philip K. Dick is the literary equivalent of taking deliriants in church. Dick’s world is fully realized, his characters being windows into Dick’s own sympathies, his own passions. Dick seems to have observed the writing advice that goes: “Write what you know.” What Dick knows about is drugs, suburban druggie life, revealed religion, the conflict between an individual and the group, between women and men. If you look at the basic plot The Three Stigmata Of Palmer Eldritch scans as most similar to Alfred Bester’s The Demolished Man, in that a corporate war between the solar system’s two biggest multi-planetaries drives the action. But it doesn’t feel that way, it feels like a scaled-up version of Dick’s short story Wargame. Sure, the novel is supposed to be about life on Mars and big corporate business, but Dick’s Mars is mostly confined to a few intemperate draftees who couldn’t fake their way out of the draft. Upset with their new colonial life they spend all their time playing with Barbie style playhouses and taking mind altering drugs. I can almost picture Dick sitting in his living room watching his young daughters playing with their Barbie dolls. They sit on the floor, coveting their Barbie corvettes, their Barbie clothes and decorating their Barbie dream houses while Dick, sitting in an armchair above, looks down compassionately and philosophicaly as he reaches for the typewriter. Strangely, the novel also feels extremely prescient. At multiple times throughout I paused and thought about the PC game called The Sims – a game where your avatar must eat, sleep, and furnish her virtual home with virtual goods as you plan her idealized life. We seem to have gotten what Dick was driving at. For what is World Of Warcraft if not a Dickian reality minus the drugs? William Gibson would describe it as “a consensual hallucination” – Dick called it The Three Stigmata Of Palmer Eldritch.

Originally published in 1965, this is the first commercial audiobook release of The Three Stigmata Of Palmer Eldritch. Narrator Tom Weiner seems to be Blackstone Audio’s go-to guy when it comes to narrating the heavy hitters of Science Fiction. This is a good thing as Weiner brings a vast gravitas to his reading. Fans of George Guidall’s narrations will find Weiner similarly impactful. The cover art for The Three Stigmata Of Palmer Eldritch is all original for this production. This is more and more the case at Blackstone, which makes me happy, for I am covetous.

Posted by Jesse Willis