Posts Tagged special projects
Clone Games and Fan Games: Legal Issues
Posted by admin in Game Development, Intellectual Property on November 20, 2009
There are a few misconceptions in the indie development community concerning the definition and legality of clone games. Some take it as given that a legal clone can be a fan game including many of the same visual and sound elements as the original. Others believe that because some game companies don’t enforce their IP rights against fan game developers all fan games must be legal. Some may even believe that a game is simple and general enough to not warrant IP protection. This entry is designed to dispel some of the confusion and inaccuracy surrounding clone games and fan games.
Let’s say you’re a huge fan of Zelda, you’re a programmer and competent indie developer, and you and your friends want to create a tribute game to the world of the Hylian race, Princess Zelda, Ganon, and, of course, Link. In your game you will likely create something akin to fan fiction as far as your storyline and script, and you want to implement the same characters in some way because you are, like most of us, somewhat attached to those icons. Obviously you want to use similar game rules and mechanics. Can you? Should you? What legal complications will arise, what risks are involved, and how can you avoid threats from the very entity to intend to honor?
Defining a “Clone”
According to Wiki a video game “clone” is a game that is “very similar” to or “heavily inspired” by another game. This is woefully vague from a legal perspective. A “legal” clone is one that does little more than implement unpatented game mechanics, rules, operations, and physics. Some “ideas” for games may also fall into the legal clone category for the simple reason that they are so common or vague that they no longer warrant copyright protection as unique expressions—for instance, a platformer or RPG with a male protagonist seeking a kidnapped princess is so common to the genre as to constitute scènes à faire under Copyright law. On the other hand an illegal clone relies heavily on the creative content of a game—namely the trademarks and trade dress of a game product, as well as the unique audiovisual and scripted elements of that game. Note that game clones containing patented mechanics may also run afoul of intellectual property law.
Layers of Protection
Games aren’t all about code. Just because you wrote your clone or fan game from scratch does not guarantee that it is legal. The intellectual property contained in a video game is truly vast. For instance the copyrights alone may include (but are by no means limited to):
- Audiovisual display
- Sound recordings
- Voice recordings
- Script
- Screenplay
- Background drawings
- Sprite drawings
- Musical compositions
- Source Code
- Object Code
Furthermore you have trademark, trade dress and unfair competition claims in the original work to worry about, including:
- Game name
- Company name
- Character names
- Character appearance and clothing
- The game’s look and feel
- game packaging
And last but not least you may even have some random claims out of left field by game actors/SAG members, including:
- Name and likeness
- Defamation
- Privacy rights
If you use any of this in your “clone” game, you may draw unwanted attention and create a legal risk for yourself. The Tetris Company has relied on several of the above-mentioned rights, including “look and feel” under both trademark and copyright law, to enforce IP rights against games that closely resemble its product. Furthermore the risk of legal action isn’t limited to clones of video game products. Creating a video game clone of board games, card games, and the like could create just as many problems. One famous example is the suit brought by Hasbro against the developers of Scrabulous, a well-known Facebook application.
As far as programming and code goes, commonplace commands are exceptions to the general rule of copyright protection. This is notable only because the most frequent argument I’ll hear concerning a person’s clone or fan game is that the “code is different” or that they “created the game from scratch”. Unfortunately the law doesn’t really care and is not on your side here if you relied on or used any of the other elements noted above. Even if you create the images, sound recordings, etc. from scratch, if those same components are clearly derived or ripped off from the original game, all your hard work may mean absolutely nothing from a legal perspective.
Protecting your Clone/Fan Game
You have a few choices here:
1. Make a “legal” clone. Rely on unprotected game elements, mechanics and processes that are so common and prolific in the game industry as to no longer warrant protection, copyright, patent or otherwise. If you’re unsure whether your particular idea falls into that category, contact an attorney.
2. Ask permission. Yes, this does put you on the owner’s “radar”, but show some respect. If you’re making a clone or fan game, at least be sincere about it—obviously you enjoy the game, so show some respect to the game’s creators and publishers and inform them of what you want to do. If they say yes, you have carte blanche right to use whatever you’ve told them you wanted to use in your product. If they don’t respond, you have a good faith laches/waiver defense. In English this means that the company/publisher has waited, with knowledge of the fact that the infringement was going to happen, until you’d already put yourself past the point of no return as far as production and distribution, before acting. Generally this conduct is frowned upon by the Court and is therefore treated as a “waiver”; otherwise the Court will honor your laches defense—this is especially true if notice to the company came in the form of a request for permission.
If the company says no, you’ve probably chosen the wrong IP to clone.
3. Come up with your own game. This is probably the best approach. If another game has inspired you, that is a wonderful thing. Let that propel your own creativity and make something unique that is truly worth playing.
Legal Issues Surrounding iPhone Application Development
Posted by Mona Ibrahim in Entertainment Law on March 17, 2009
The iPhone App store has been open for almost a year now, and while many of the apps provide substantial utility, most are just plain and simple fun. Game development for the iPhone is a rapidly growing industry. Below I'll cover some of the general problems that may and have come up in iPhone App development. If you are unfamiliar with iPhone App development, follow the jump for some quick pointers on getting started. If you're already a Mac user and want to develop for the iPhone, you should head over to the Apple Developer Connection to learn about the technical and procedural requirements for iPhone app development. Bear in mind that all apps are subject to Apple certification before they can be tested on an iPhone or uploaded to the iPhone App store.
Intellectual Property and Related Issues
1)App games based on PC/Console games. Many developers may want to create iPhone versions of their favorite PC, Console, or handheld games. However the creation of an iPhone app based on someone else's work may be considered a derivative work or reproduction of the original game under copyright law. Therefore recreation of the original game or even an app loosely based off an original game, no matter how novel in execution, would almost certainly expose the developer to infringement liability. Even ignoring the copyright issue there are legal claims under trademark and unfair competition that would create major problems for our would-be developer. Absent a license from the original game developer/publisher no iPhone App developer should attempt to create an app based on prior games.
2) App games based on or resembling existing iPhone apps or other games. Due to the simplicity of various iPhone Apps, it may often be the case that some apps closely resemble other apps. This can be a tricky problem—while under copyright law two authors may create identical or similar works provided one did not take or borrow from the other, the same is not necessarily true under trademark law. Furthermore, proving that you did not have "access" to someone's pre-existing app usually requires a lawsuit. While Apple reviews each application and provides certification, the reviewers are not omnipotent and may not be aware that pre-existing apps exist. Under the SDK agreement is the developer's obligation to ensure that no copyright or IP laws are being violated. The only real option is to tread carefully and check out the competition or, if you can afford it, obtain Errors & Omissions Insurance for your company/application.
3) App games that use the name and likeness of celebrities. This has actually happened on more than one occasion. Using the name and likeness of a public figure/celebrity may expose you to liability under state name and likeness laws or trademark/unfair competition law. What you consider parody may be considered defamation by the individual in question or worse, a judge. Unless you want to argue your case for parody and fair use in court, your best bet is to avoid potential exposure by using your own fictional characters.
** Addendum: Trademark matters. As pointed out by Dan Rosenthal over at GamesLaw, one issue that deserves mentioning is the trademark problem– frequently iPhone apps will contain deceptive names that closely resemble the trademarks of other products or similar services. Absent a license or permission from the trademark holder, developing an app using someone else's service or trademark can and in all likelihood will expose you to some legal liability. This is particularly true if your game also uses other IP elements. See the iBorat app for a good example of the kind of use I mean.
Contract and Related Issues
1) User privacy. Under the SDK Agreement developers are required to comply with "all applicable privacy and data collection laws". This includes state, federal, and international laws. Privacy laws prevent the dissemination of user data and information to third parties. If your program uses user location, identity, or other data, it is necessary to review the laws that may apply to your application. In some cases it will be necessary to inform users prior to purchase of the use of their information in connection with the app.
2) Use of Music. It should go without saying that any music used in your game needs to be licensed to you or owned by you. Normally I would have stuck this in the IP section, but the SDK agreement makes a specific provision for this.
3) Use of Open Source Software. Any use of open source software requires compliance with open source licenses. The SDK Agreement takes an additional step by requiring that the use does not in any way contaminate the SDK code. There is an argument that this additional language is superfluous, but to be safe you should review the license for any open source code to ensure that it is covered by an approved open source licenses (GPL, BDL, etc).
4) Rejection of your App. Apple reserves the right to reject your application for the app store. The reason may be based on non-compliance with the SDK or other developer agreements, or because the application does not otherwise comply with marketplace demand. It may even be based on your app competing with other Apple products.
For more strange contract policies that upset some users, follow the jump.
Collaboration Agreements and Online Development Teams
Posted by Mona Ibrahim in Contracts on November 4, 2008
Online collaborations are a frequent occurrence in the independent game development community. However, the legalities surrounding this kind of team building raises a variety of questions. Problems like privacy, jurisdictional issues, and age all make these relationships potentially problematic. I'll cover some of the major issues below.
What to Put in the Contract
You've found a few people online that you want to work with. You want to make a game that each of you can use in your respective portfolios, and maybe you hope to get some kind of profit out of the deal. However, none of you have met in person. How can you make sure that your interests are protected? You sign a contract, of course! The agreement may be a collaboration agreement or a work-for-hire agreement depending on the project.
Apart from standard contract terms (term, identification of project, substantive duties of each party, compensation, etc.) the contract should include:
1. Identification of the Parties: Once you've decided to enter into a legal and potentially for profit agreement, be wary of anyone who wants to maintain anonymity. If anonymity is an issue, include a confidentiality provision in the agreement. However, it is important that the actual name and address of the parties be clearly stated in the agreement. Some Courts may not enforce agreements if pseudonyms or non-entities are used as opposed to real names, so it's important to state the legal names of the parties.
2. Distribution of Rights: Depending on the type of project, the people involved, and the leverage of the individuals, rights distribution can be problematic. Simply put, there is no hard and fast rule to how rights should be distributed. If the project is not for profit, individuals may want to retain their rights to the project—under Copyright Law, each major contributor is automatically a joint author and co-owner in the work, so unless you get an agreement stating otherwise you won't be able to do much with the work without the permission of the other contributors. In a collaboration agreement, this can be handled in a multitude of ways:
a. Assignment: The contributors may assign their rights to a single individual or company in exchange for a royalty, credit, or some other for-value consideration. This may streamline the process of exploiting the work, but it also puts all of the power in the hands of one person or entity. In virtual collaborations, the credibility of that entity or individual may be suspect. If you are assigning your rights in this kind of agreement, it is important to carefully research the people you're working with and to obtain references. If the person is unwilling to provide references or some other means of verification, you should be unwilling to assign your rights.
b. Power of Attorney: Another method of streamlining exploitation is to allow individuals to retain their rights, but to allow one individual or entity to have power of attorney to enter into agreements on behalf of the rest of the contributors with regard to the work. The individual could be the lead contributor or even a third-party trustee. In this kind of agreement, full disclosure should be required—this means that the person acting with power of attorney should be required to open all books to the other contributors to ensure fair and accurate disclosure of all agreements, licensing efforts, revenue and expenditures. The agreement should also state that the individual with power of attorney owes a fiduciary duty to the other contributors.
c. Work-for-Hire: The contract may be nothing more than a work-for-hire agreement. In that case, it is important to be very clear about how you're going to be compensated. You also want to ensure that you receive credit for your contribution and permission to personally exploit the work in your own portfolio. Non-compete clauses are often included in work-for-hire agreements. However, these provisions are problematic in online collaborations due to the lack of geographic boundaries. Geographic limitations to non-compete clauses should be clearly stated, or the clauses should be avoided all together.
3. Jurisdiction, Venue, and Choice of Law: Jurisdiction, Venue and Choice of Law determine where and under what laws the contract is enforceable. If you're the person in charge of the project, you obviously want the jurisdiction and choice of law to be convenient to you—jurisdiction should be your state and country, venue should be the state court closest to you, and choice of law should be the law most favorable to you, provided that the choice doesn't contradict your jurisdiction's choice-of-law rules.
Any time you decide to make things legal and binding via a contract, it's worth the time and investment to have the contract drafted or at the very least reviewed by a competent attorney.
How to Enforce the Contract
Each collaborator must sign the agreement. This can be done in a few ways, and some jurisdictions have specific rules concerning contract enforceability. Be sure that the contract includes a provision stating that photocopies made at time of execution are original agreements, and check your local rules to ensure your chosen method is enforceable.
1. Snail Mail—send a signed copy of the agreement to each party requesting their signature, and include a return, pre-paid envelope. Once you receive their signed copy, make additional copies of the signed copies and return one signed copy to the collaborator for their own files.
2. Fax—send a signed copy of the agreement to each party requesting their signature via fax. Have them fax back the signed copy.
3. Electronic Signatures—This is tricky, as not all jurisdictions recognize electronic signatures as enforceable. An electronic signature may require a unique identifier along with the person's name to ensure the identity of the individual. For instance, a date of birth or the last four digits of a social security number, or any other means that can be used to prove identity, may be necessary.
Once the agreement is signed, the agreement can be enforced under the terms of the Jurisdiction, Venue, and Choice of Law provisions of the Agreement.
Other Issues
1. Age: In the U.S. and in many other countries, contracts against minors (under 18) are unenforceable. This means that if a minor signs a contract and doesn't perform, there isn't much you can do against that individual.
2. Local Rules: IP rights, causes of action, and court rules vary from state to state, country to country. One example is droit morale. Moral Rights, while typically ignored under U.S. law, are an issue in many European nations. If those issues aren't addressed in your contract, a contributor from another country may attempt to assert rights that are not included in the agreement, thereby avoiding the jurisdiction and choice of law provisions of the contract. It is therefore important to understand what causes of action a contributor may try to assert against you in their home territory.
3. Veracity, Reliability, and Credibility: The Internet exposes you to a wide variety of people, many of whom have loose ethical standards with regard to business relationships. It is sometimes difficult to ensure that the people you're working with are reliable, truthful, and credible. Getting references and prior work history is mandatory if this is a venture where your property or money is at stake. Even with the appropriate research, it is important to tread carefully.
4. Language barriers: It is important that you understand what you're agreeing to. Be sure that nothing is being lost in translation. Make sure your agreement is written in clear English (or your native tongue), and try to ensure that everyone is on the same page as far as definitions and general understanding.