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Palworld maker vows to fight Nintendo lawsuit on behalf of fans and indie developers
(www.eurogamer.net)
this post was submitted on 19 Sep 2024
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Copyright only exists for the wealthy to own even more.
This is a patent lawsuit, not copyright
even worse. software patents are just more idiotic copyrights.
Might be about a design patent
Dunno, I think I prefer patents. Unlike copyright, patents usually last a flat twenty years. Copyright expires either after 95 years or 70 years after the death of the author, which is ludicrous. Both are constantly abused, but at least patents expire in a reasonable amount of time.
patents and copyright are pretty different though. IMO both are bad but you can at least make a case for protecting intelectual work from copying. Patents protect replication of ideas and ideas don't have to be unique at all. If I say it was my idea to call variables a,b,c,d,e in that order that means anyone who wants to do that in their creations needs my permission which is fucking bonkers.
I'm convinced that software patents exist purely for regulatory capture.
No, Copyright exists to protect creators. It's just been perverted and abused by the wealthy so that they can indefinitely retain IP. Disney holding on to an IP for 70 years after an author dies is messed up, but Disney taking your art and selling it to a mass audience without giving you a dime is worse.
Copyright cannot protect 99% of creators because enforcing it takes enormous amounts of time and money. This isn't really a big deal though because 99% of people who create don't need these supposed protections.
That's right, the amount of writing, art, and music that is created for non-commercial purposes dwarfs what is created for profit.
Your last tidbit is highly accurate. Big business almost exclusively uses copyright to control others work to the detriment of society.
Right, but as I said to someone else in this thread, the fact thar copyright can't protect 99% of creators is a problem with capitalism, not copyright. The fact that our courts favor the wealthy isn't the fault of copyright law itself.
Also, you're correct that most art is created for pleasure, not profit, but that doesn't mean the need to protect artists' rights to their creations isn't necessary, even beyond capitalistic reasons. Bill Waterson, the creator of Calvin & Hobbes, refused to merchandise his art simply because he didn't want to ruin the image of his characters for a licensing deal. Without copyright law, any company could have slapped his characters on t-shirts and coffee mugs to make a quick buck off of his labor. But because of copyright law, he was able to refuse his publisher's attempts to franchise his characters (reportedly, he even turned down Spielberg and Lucas' pitch for an animated series based on the strip).
I think you have bought into the lie about copyright that has been fed to us. It is really hard to look at something objectively when you have been propagandized about it your entire life.
Currently copyright and the bigger category of intellectual property only exist to benefit commercial interests, this is self-evident. It is not a natural right by any means and is a perversion of the way art and science has existed for all of human history.
We have to face the reality that in a world of billions of people nothing is really unique. If you are anything like me you would have had many great thoughts, ideas, and projects and seen many other people throughout your life with similar or sometimes identical concepts.
Who should get to rent seek for these? If I create a very similar painting or song without ever seeing or hearing of another similar one who is the first? Well the current system is first come first serve, but is that really right?
What about teachers. Should not your teacher get a portion of your creation since they inspired you? What about exposure to other art, should you pay a portion of your earnings if you were inspired by other artist?
Even when looking at case law with derivative works, what is or is not okay is hardly settled and constantly changes based on the whims of ill-informed judges.
These questions only begin to scratch the complexity of the situation because of the artificial constraints put on us by intellectual property. I don't pretend to have the answers except to say there really is no need for any of this.
Even when looking at something you may think is relatively simple like putting a characters likeness on merchandise it is never cut and dry. I have often wondered if Tigger inspired Hobbes. The likeness including even behavior is rather startling.
Who has the rights is sometimes not even the person that created it originally. This is especially evident in productions that require lots of people like movies. This leads to interesting facts like most major recording artist don't even own their own songs.
Commercial interests love to have it both ways as well. Microsoft used piracy to its advantage to spread its OS across the globe and only cracked down on it after becoming a monopoly.
I am not trying to muddy the waters here but I want to make it clear that intellectual property, including copyright was created by and for monied interests. It was ill-conceived from the start, based on false premises, and has been pushed to the breaking point from years of coordinated legal tactics.
It's literally the opposite. The first copyright law was passed in 1709 in England to give authors rights to their works instead of publishing companies. The Stationers' Company, a guild of publishers, had a monopoly over the printing industry, and they we're deciding amongst themselves who would get to reproduce and publish books. They took the labor of authors, changed it however they saw fit, and reproduced them for profit. Authors never saw a dime, and instead had to find wealthy patrons to subsidize their work.
Yes, for the majority of human history, people used to create art with no expectation of ownership, but for the majority of human history, there weren't methods to mass reproduce art. Owning the rights to your books didn't matter when the only way a second could get made is if a monk decided to hand copy it and bind it himself. When the only way to reproduce your painting was to have someone create a forgery, ownership of the physical copy was all that really mattered. If the only way you could get paid for a song was to sing it at the local tavern, it didn't really matter if you got writing credits.
We've already seen a world where the cooperations that control media production can use any work they want. They carved up artists' works like mobsters dividing up a town and kept all the profits for themselves. Maybe if we lived in a post need, post currency society, you could make an argument for abolishing copyright, but in the system we have, copyright is the only protection artists have against cooperations.
The commoner could not read or write in 1709. Even back then the law was meant for the upper class hence monied interests. So not the opposite at all. Wealthy using the law to protect their profits seems to be what has always happened. Hard to look at this as a some sort of positive for people like you and me.
What you describe is exactly what is happening in the majority of commercial writing nowadays. The corporations still have complete control. Strange how the law didn't change the status quo rather just carved out an exception for wealthy writers to be rent seekers. Once again, anyone without the means would have their work copied with no recourse.
Copying is not a bad thing as it is the foundation of all human culture. Trying to create a artificial system of scarcity perhaps made some sense to commercial interests when publishing cost so much. With the Internet though and our fast past culture it really is a ridiculous concept nowadays.
Once again owning the rights to your work doesn't matter unless a corporation wants to reprint, distribute your material, or in modern times allow you on their platform. Copyright would never stop this.
Even to this day the majority of those who create art don't expect compensation. Most do it for fun as a creative outlet. This obsession with trying to conflate art with profit has always been a lie. Only an extreme minority of people will ever make money from their art. So we are all to bow down to them copying our culture?
They did not create anything in a vacuum and they refuse to recognize this. This is what I mean when I say it is a flawed premise. We don't need to commercialize art to promote it.
We don't need to concentrate wealth for rent seekers and lawyers by creating a system of artificial scarcity. This does not promote the arts or protect them in any meaningful way.
Copyright does not protect the vast majority of artists because they don't need it and if they did would not have the resources or time to access our dubious legal frameworks in a court of law. It is a broken idea turned into a broken system.
First of all, literacy rates were about 70% in 1710, so the average commoner could absolutely read (at least among men, but copyright law isn't to blame for patriarchy). This is about 300 years after the printing press, literacy had gone up.
Second...I just don't know what to say to this anymore. You've created a strawman artist who believes their work is entirely original, even though no artist would claim they had no influences. You're pretending that copyright is an edict that says ideas can never be shared, as though the Public Domain, Creative Commons, and fair use didn't exist, or Substantial Similarity didn't have to be proved (which, by the way, is the reason that Hobbes isn't infringing on Tigger). And worst of all, you're acting like artists who want to be paid for their art are greedy capitalists, not artists that live under capitalism. How is an artist who wants make a living by creating art all day, every day, somehow less worthy than an artist who works 9 to 5 at a crappy job and then does art when they have free time?
You seem to think abolishing copyright will lead to some sort of artists' uptopia, but it's pretty much the opposite. Let's say copyright disappeared tomorrow. First, anyone making a living on Patreon will basically be done. If their videos or podcasts are now public property, there's nothing to stop anyone from uploading their Premium Content to YouTube within minutes of publishing, so no one's going to subscribe. Some of them will keep producing things, but since they'll need a new source of income, they'll definitely produce less.
Then there's the cooperations. They'll gobble up everything they can. Sure, you'll be able to make your own Spider-Man comics, but if any publisher likes them, they'll just sell them, along with any original IP you have. Of course you'll be able to sell them too, but since they can afford more advertising, higher quality printing, and merchandising, they'll out-sell you easily. You'll be lucky it anyone's even seen or heard of your version, even though you're the author. It'd be like trying to compete with Coca-Cola by opening a lemonade stand, and Coke is allowed to use your lemonade recipe.
I'm not saying copyright is being done well now; cooperations have an outsized ability to enforce copyright claims, they've manipulated the law to retain IP for an insane amount of time, and they have far more power in negotiations over licensing and rights than artists do. But your solution to that is, "What if artists had no rights? That would be better!" and I've just...I've run out of ways to react to that. It's truly insane to me.
I am not going to split hairs about whether the commoner would use copyright back in 1710. You know they would not.
For the privilege of copyright your idea must be truly unique to deprive others the right to use it. Perhaps you have never thought through the reality of creating artificial scarcity.
Your elaborate strawman is apparently copyright is needed for the arts which I have pointed out is not true and I had thought you agreed with.
We will never know if the creator of Calvin and Hobbes choose not license merchandising for the reality they could have been hit with trademark infringement.
Certainly if Nintendo can go after Palworld, Disney could have come after Calvin and Hobbes. This is all I was alluding to.
Almost everything you've said is just factually incorrect. We know why Calvin and Hobbes wasn't franchised; in Bill Waterson's own words, he wanted to, "write every word, draw every line, color every Sunday strip, and paint every book illustration," not, "run a corporate empire." His publisher had no worries about copyright infringement though, and pressured him to franchise.
Also, there was no chance he would have run into trademark issues because that's not what trademark means. Trademark is a name, copyright is the content. Trademark is why I can open a restaurant called Spider-Man, copyright is why I can't publish my own Spider-Man comics. While we're at it, Nintendo is suing Palworld for Patent violations, not copyright, so this has nothing to do with the similarity of the characters, it has to do with some game mechanic that Nintendo believes is proprietary technology.
Finally, the average working class person wasn't writing, but they were consuming printed media, and that's why publishers were making so much money off of authors. That's why copyright mattered. Copyright only lasted 14 years, with the option to renew it for another 14, and its sole purpose was to break up the publishers' monopoly. The idea that it was designed to create an artificial scarcity of ideas is an ahistorical conspiracy theory that you've dreamed up.
Looks like you are just spinning your wheels at this point. No, trademark is not just name. I suggest looking it up if you are not sure about it.
The fact that you can't accept that copyright creates artificial scarcity just shows that you don't really understand what it means. That is okay, it is clear you have not put a lot of thought into it.
Nice talking with you.
This isn't about copyright. Is there anybody here that has actually read the article? It's absolutely insane how everyone just opens their mouths without understanding anything.
Idk about that, maybe indefinite copyrights would be but limited term is entirely fair. Like imagine you spend 5 years and $50M to develop something (random numbers here), then the next day someone just copies it and sells it cheaper since they had no overhead in copying your product. There's no incentive to create if all it does is put you in debt, so we do need copyrights if we want things. However Pokemon came out in 96, that's 28 years. There's been very little innovation in their games since. And seeing as Digimon wasn't sued it's not about the monsters, it's about the balls. But those balls haven't changed in almost three decades so I don't think the really have a case to complain
The problem is that IP laws eventually are lobbied by the big copyright holders into being excessively long. How long did Steamboat Willie really have to be copyrighted for, and has their release into the public domain really affected Disney?
Eventually after you get back the money you invested, it's just free money, and people like free money so much they pay lawyers and lobbyists that free money so that they can keep it coming.
Pokemon: The innovative RPG where you couldn't even walk diagonally until generation 6...
I can see the opposite argument made for copyright that if someone can coast off the success of their first work that in and of itself can de-incentivize them from making anything new, this is why movie companies just remake the same movies and stories every few years, it's to coast on the success of the old one, and this is even a problem with shorter term copyrights. Their limiting factor is with the technology of the time making the old ones look dated, not so much the copyright expiring. If it didn't look dated, they would just re-release the same ones over and over and over again.
Copyright was made for Joe, or a small business, but applying that to a big business doesn't work, and is in fact a bad-faith argument, trying to tug at our heart-strings to make us feel bad for someone that we shouldn't feel bad for. If Disney couldn't sue people for copyright infringement they'd still find a way to go after them, they have more than enough money to hire a PI to ruin the person's life, or you know just hire a hitman. It doesn't do anyone any favors to Compare Disney, Paramount, Amazon, Facebook, or Google to a small business who needs our help to not be screwed over.
Ironically in this day and age it doesn't do as much for those small businesses anymore because they don't have the money needed to fight those claims, you know who does though, the big ones, the ones who don't need protection at all. They're free to predate on these smaller people if they choose, and those smaller people will be otherwise powerless to fight back, and even if by some stroke of luck they do, it'll likely bankrupt them because of it.
The people spending 5 years to develop something arent the ones that own the rights to the end product. Like I said, copyright exists so rich people can own more. The people that own the rights to pokemon are not game developers, artists, writers, anyone that put actual work into creating the games and other media. Its people that had a lot of money, shareholders and executives. And then they receive the biggest share of the profits off others work and the feedback loop continues.
First, not really, there’s been a LOT of innovation in Pokémon, as much as people want to deny it.
And second, 28 years is really not that much. We’re not in the Disney realm of copyright-hogging, I think 50 years is a fair amount of time. The issue is that it’s often way too broad: it should protect only extremely blatant copies (i.e. the guy who literally rereleased Pokémon Yellow as a mobile game), not concepts or general mechanics. Palworld has a completely different gameplay from any Pokémon game so far, and (most of) the creatures are distinct enough. That should suffice to make it rightfully exist (maybe removing the 4/5 Pals that are absolute ripoffs, sure).
50 years.. 5 maybe. If you have not earned back your investment by then you are just squatting on it.
50 years is already excessive, dude or dudette. The north american law originally gave 14 years, plus another 14 years if the creators actively sought after and were approved (most did not even ask, and approval was not guaranteed). This is comparable time to patents, which serve the exact same function, but without the absurd time scales (Imagine if Computers were still a private tech of IBM ... those sweet mainframes the size of a room). 28 years, or lets put 30 years fixed at once, is more than sufficient time for making profit for the quasi totality of IPs that would make a profit (and creators can invest the money received to gain more, or have 30 years to think of something else). 30 years ago was 1994, think of everything the Star Wars prequels have sold, now remeber the 1st film was from 1999, would star wars prequels ventures really suffer if they started losing the IP from 2029 onwards ?
I still think if copyright laws weren’t so oppressive, 50 years would be fair (And still a huge improvement from the current situation).
Maybe have it in tiers or something? First 10 years: full copyright - until 30: similar products allowed, but no blatant reproduction - until 50: reproduction allowed as long as it’s not for-profit - post 50: public domain?
Humm..., i don't think this scheme would work out in practice. The definitions of several concepts are fuzzy, and therefore can be circumvented or challenged or abused by all sides of the equation. What is a 'similar product' that is allowed after 30 years (and therefore what is a 'dissimilar product' that would be forbidden before), how would a non-profit that just pays high salaries to its managers fare between the marks of 30 and 50 years (and just gives some little money to research or charity). And again, why give artists and creative companies so much more time of IP protection than we give STEM inventors and companies time in patents (this random site claims patents last 15 to 20 years only) ?
They are, but it’s not like they’re very definite nowadays either.
I’d say “similar product” is anything that doesn’t try to pass off as the original one, and is mechanically different enough. Palworld for example, or all the other Pokéclones that popped up in recent years.
They wouldn’t, in that period I’d allow stuff like piracy or free cultural events, stuff like that. Obviously the copyright holder would still be able to profit off of their own products, but everyone else would have to ask them to do so.
Because those are things that humanity needs to progress. I do think they could be longer in a different way, like “they can be used by anyone without consent from the inventor, but they need to pay a small percentage in royalties” or something like that, just to ensure they have a permanent source of income that’s enough to live off. I’m not knowledgeable enough about that to talk though, so I can’t really answer that question without going into baseless speculations.
I think 50 is generally too much, but I think it should depend on categories, so that it is based upon the efforts put into an idea to create and how much it value (like in expected ROI).
I fear, that is hard to define
As an artist 20-50 depending on context is where I'm hovering. It is very hard to define.
I agree with you almost entirely, but if we're being honest, there really hasn't been a lot of innovation in their games since Gen 4, and that was almost 20 years ago. Once they figured out the physical/special split, nothing really changed in the major mechanics. They have a new gimmick mechanic every game, like Z-Moves or Dynamax, but they're always dropped by the next game. I guess camping/picnics are evolving into a new feature, but that's about it.
If we’re talking PvP, battling has constantly evolved through new abilities, even without gimmicks the way the game is played changed a lot through the years.
In single player they also changed a lot of stuff since gen 4, although the positive changes were mostly in gen 5/6 and the later ones like wild areas and the switch to “””open world””” were… not as well received.
Well, I think we'll just have to agree to disagree. To me, most of the updates have been set dressing, not significant changes to the formula or gameplay. But I guess that's a matter of opinion, not fact.
Even when it doesn't, it becomes its eventual outcome.