Don't Reproduce Me, Pt. II

While I hope that last week's post demonstrated the rationale behind DRM systems, there exist a number of technical limitations that, in my opinion, render its use unwise.

Perhaps the most important of these limitations is the analog hole. This phenomenon means that any media file, regardless of its type, must be preserved completely intact within an encryption. For practical purposes, this means that any software DRM protection is inherently vulnerable to circumvention. And thanks to numerous other vulnerabilities inherent to DRM systems, it's quite common for DRM on video games to be cracked the very day the game is released.

What does this mean for us? A number of things. First, it has ushered in the passage of particularly harsh anti-circumvention legislation. It is currently illegal in most cases for you to circumvent a DRM protection, even if  your reproduction of the file would otherwise be legal. Randall Munroe, the author of xkcd, puts it quite eloquently:

In other words, it would be illegal (under DMCA 1201) to "try to keep" music that you purchased legitimately because you would be cracking DRM protections. This glaring legislative oversight aside, the comic also brings up another interesting point: that DRM makes a product less appealing. 

Consider the plight of a gamer who wants to play Assassin's Creed II. Because of the flaws inherent to all DRM systems, there are unrestricted, free copies of the game readily available. If the consumer was to purchase a legitimate copy of the game, it would be laden with DRM. Never mind the $60 difference in price (which is by no means negligible); the requirement that players maintain a constant online connection in order to play the game has rendered the legitimate copy objectively inferior to the pirated version, which has no such limitation. Which way do the incentives point? 

This brings us about to my last point about DRM: that it creates far more problems for legitimate users than it does for pirates. As I stated above, pirates are capable of circumventing even the most advanced protections available. In a very real sense, people who choose to purchase a legitimate copy of Assassin's Creed II are being punished for crimes they did not commit. All the while, pirates everywhere are enjoying a superior version of the game. 

To be honest, this isn't much of an exaggeration 

Don't Reproduce Me, Pt. I

Given the nature of today's CAT 125 lecture (as well as the readings preceding it), I thought I might shift gears this week and discuss a topic even nearer and dearer to my heart than net neutrality: copyright. Copyright law is my chosen profession (at least for the time being), and  I always intended to have this blog expand to digital rights issues beyond net neutrality. Today's lecture presented an opportunity to do just that. 

Last March, the video game developer/publisher Ubisoft released a PC version of its critically acclaimed title Assassin's Creed II.

Embedded in its code was one of the more invasive forms of DRM (Digital Rights Management) protection yet conceived: "Always-on DRM." Players were required, even in single player mode, to maintain a constant connection to Ubisoft's servers; if their internet connection was interrupted or even sufficiently slowed, players would be immediately booted from their legitimately purchased game. The company reasoned that this could prevent piracy by remotely authenticating each and every copy of the title.

Some argue that this technology—a radical departure from the simple cd-checks of the past—places too many restrictions on legitimate users. Rather than focus on this particular measure, however, I'd like to discuss the logic underlying DRM as a whole. What lead to its implementation?

In many ways, it's as easy to understand the rationale behind Ubisoft's desire to control its product as it is to understand the rationale behind the opposition to net neutrality. In several respects, these positions are very similar and very rational. Any content producer must be primarily interested in collecting revenue from its content. They can't be expected to work for free, and every pirated copy of a game is one less copy that could have been sold. Given the exponential increases in the cost of game development over the past ten years, it's understandable that publishers are growing more protective of their margins.

Perhaps the biggest problem with DRM is that it's a fantastic idea...in theory. Given the ubiquity of copying technology, a perfect technical measure that could prevent unauthorized reproductions of a work would likely incentivize the production of new content. It would inhibit what many content producers consider to be stealing. The caveat is that no such system is perfect. It has been argued by some that the externalities associated with these measures have proven worse than the problems they were intended to prevent, and I intend to go over some of those issues next week.