Perlindungan Hukum Atas Karya Cipta Permainan Video Menurut Undang-Undang Nomor 28 Tahun 2014 Tentang Hak Cipta

Total Page:16

File Type:pdf, Size:1020Kb

Perlindungan Hukum Atas Karya Cipta Permainan Video Menurut Undang-Undang Nomor 28 Tahun 2014 Tentang Hak Cipta DIPONEGORO LAW JOURNAL Volume 6, Nomor 2, Tahun 2017 Website : http://www.ejournal-s1.undip.ac.id/index.php/dlr/ PERLINDUNGAN HUKUM ATAS KARYA CIPTA PERMAINAN VIDEO MENURUT UNDANG-UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA Iqbal Abdul Malik*, Budi Santoso, Siti Mahmudah Program Studi S1 Ilmu Hukum, Fakultas Hukum, Universitas Diponegoro E-mail : [email protected] ABSTRAK Perkembangan teknologi dalam bidang hiburan menghasilkan jenis-jenis sarana hiburan baru, salah satunya Permainan Video. Permainan Video merupakan sarana hiburan yang merupakan suatu barang hasil Ciptaan, yang dalam proses penciptaanya memerlukan pengorbanan baik itu waktu, tenaga, pikiran, dan juga biaya, sehingga sebuah Karya Permainan Video wajib mendapat perlindungan. Permasalahan yang akan diteliti adalah menjelaskan bagaimana Permainan Video bisa dikategorikan sebagai objek perlindungan Hak Cipta dan implementasi Undang-Undang Nomor 28 Tahun 2014 tentang Hak Cipta dalam menyelesaikan masalah pelanggaran Hak Cipta Permainan Video. Metode yang digunakan dalam penelitian hukum ini adalah metode pendekatan yuridis normatif. Penelitian didasarkan pada pendekatan peraturan perundang-undangan terkait yang berlaku meskipun fakta yang dipermasalahkan dan dijadikan sebagai objek penelitian untuk dikaji adalah suatu keadaan empirik. Dari hasil penelitian yang dilakukan ditemukan bahwa Permainan Video merupakan Karya seni dan sekaligus Karya Cipta kompleks yang terdiri atas gabungan beberapa Karya Cipta seperti musik, tarian, gambar, lukisan, pemrograman, fotografi, karya sastra dan karya Cipta lainnya, sehingga layak dijadikan objek perlindungan Hak Cipta. Kata Kunci: Perlindungan Hukum, Karya Cipta, Permainan Video, Undang-Undang Nomor 28 Tahun 2014, Hak Cipta ABSTRACT The development of technology in entertainment has created new forms of entertainment, one of them is video gaming. video gaming is a form of entertainment, a creation that takes time, energy, mind, and money in its process of creation, thus a video game is a creation that is obligated to obtain protection. The case that will be researched in this paper is how video gaming can be categorized as an object of copyright protection and implementation on law no. 28 of 2014 on copyright in order to solve a problem on violation of copyright in video gaming. The method used in research is normative judicial approach. Based on the research conducted, it is found that video gaming is a form of art and a complex work that consists of the combination of other works such as music, dance, picture, painting, programming, photography, literature, and other works, thus makes it a proper object of copyright protection. Key Words: Legal Protection, Copyrights Work, Video Games, Act No. 28 of 2014, Copyrights 1 DIPONEGORO LAW JOURNAL Volume 6, Nomor 2, Tahun 2017 Website : http://www.ejournal-s1.undip.ac.id/index.php/dlr/ I. PENDAHULUAN menambah pengetahuan, atau Didalam kehidupan, manusia mengembangkan keterampilannya selalu memerlukan hiburan untuk secara objektif atau untuk menyeimbangkan kebutuhan jiwa meningkatkan keikutsertaan dalam mereka, karena hiburan adalah bermasyarakat setelah ia melepaskan kegiatan yang dijadikan sebagai diri dari pekerjaannya, keluarga, dan pelepas beban dan tekanan atas kegiatan sosial. 2 segala macam rutinitas hidup sehari- Apabila kita kaitkan hari yang manusia hadapi, serta teknologi dengan hiburan, hal ini kebutuhan akan hiburan ini semakin dapat kita saksikan bagaimana dibutuhkan oleh masyarakat modern perubahan teknologi pada perangkat yang tinggal di perkotaan dengan hiburan berupa film. Apabila sekitar berbagai kompleksitas permasalahan beberapa puluh tahun yang lalu film hidup. diputar dengan menggunakan Hiburan sendiri berisikan proyektor film dan memakai media berbagai macam kegiatan yang mana berupa pita film yang terkesan sangat seseorang akan mengikuti tidak efisien, belum lagi penonton keinginannya sendiri baik untuk harus mendatangi bioskop-bioskop beristirahat, menghibur diri sendiri, untuk menontonnya. Seiring dengan menambah pengetahuan, atau penggunaan televisi yang semakin mengembangkan keterampilannya memasyarakat diperkenalkanlah secara objektif atau untuk penggunaan kaset video yang lebih meningkatkan keikutsertaan dalam praktis sehingga mereka yang ingin bermasyarakat setelah ia melepaskan menonton film cukup menyalakan diri dari pekerjaannya, keluarga, dan televisi di rumah dan kegiatan sosial. 1 menghubungkannya dengan video Didalam kehidupan, manusia selalu player. Perkembangan lebih lanjut memerlukan hiburan untuk adalah penggunaan keping laser disc menyeimbangkan kebutuhan jiwa yang menghasilkan kualitas gambar mereka, karena hiburan adalah dan suara yang lebih bagus daripada kegiatan yang dijadikan sebagai kaset video. Kemudian pada dekade pelepas beban dan tekanan atas terakhir ini diperkenalkan segala macam rutinitas hidup sehari- penggunaan keping compact disc hari yang manusia hadapi, serta (CD) dan digital video disc (DVD) kebutuhan akan hiburan ini semakin sebagai penyimpan data termasuk dibutuhkan oleh masyarakat modern berupa film yang dapat diputar yang tinggal di perkotaan dengan dengan menggunakan VCD/ DVD berbagai kompleksitas permasalahan player yang lebih praktis dan efisien. hidup. Hiburan sendiri berisikan Selain perkembangan berbagai macam kegiatan yang mana teknologi pada film, teknologi yang seseorang akan mengikuti berkembang pesat dalam bidang keinginannya sendiri baik untuk hiburan adalah permainan. beristirahat, menghibur diri sendiri, Permainan adalah setiap kontes 1 Tolkidsen George, Leisure and Recreation 2 Miarso Yusufhadi, Definisi Teknologi Management, Routledge, New York, 2005, Pendidikan, (Jakarta: Rajawali Pers, 2007), P. 27. hal. 62. 2 DIPONEGORO LAW JOURNAL Volume 6, Nomor 2, Tahun 2017 Website : http://www.ejournal-s1.undip.ac.id/index.php/dlr/ antara pemain yang berinteraksi satu karya, entah itu berbentuk tulisan, sama lain dengan mengikuti aturan- lagu, lukisan, atau bentuk karya aturan tertentu untuk mencapai lainnya, adalah sebuah aset. Aset tujuan tertentu pula.3 Permainan adalah sumber daya yang dikuasai sekarang ini bagi sebagian besar oleh seseorang atau badan hukum, orang muda maupun tua menjadi sebagai akibat dari peristiwa masa kebutuhan yang tak terpisahkan, lalu dan diharapkan dapat bahkan tak jarang diantara mereka menimbulkan keuntungan di masa sangat menggilai permainan. Jika depan. Seniman atau Pencipta yang dahulu kita mengenal permainan ular membuat musik, lukisan, atau bentuk tangga, monopoli, catur, dan jenis karya lainnya, dapat menjual karya permainan konvensional lainnya, mereka tersebut dan mendapat pada era millennium sekarang keuntungan dari itu, sehingga karya- permainan sudah dimainkan melalui karya cipta tersebut adalah aset. alat elektronik yang canggih dengan Begitu pula Pencipta Permainan tampilan yang sangat realistis atau Video, semua sumberdaya berupa yang biasa disebut Permainan Video karya-karya yang ada yang (Video Games). digunakan dalam mencipta Proses penciptaan Permainan Video Permainan Video, beserta Permainan dilakukan dengan memprogram data- Videonya sendiri, adalah aset karena data elektronik, lalu pencipta juga motif mereka mencipta adalah untuk memasukan unsur-unsur lainnya mendapatkan keuntungan ekonomi. seperti gambar, foto, desain, suara, Kemudian Permainan Video beserta dan lagu. Dilihat dari unsur yang aset-aset lainnya tersebut haruslah membentuknya, tidak heran jika mendapat perlindungan. permainan video merupakan sebuah Selain itu Pencipta Permainan produk yang memiliki banyak Video juga mengerahkan sumber muatan Hak Kekayaan Intelektual, daya lain, seperti rekan/mitra kerja, khususnya Hak Cipta. sejumlah uang, dan hal lainnya untuk Seseorang atau perusahaan menghasilkan sebuah karya yang yang mengembangkan Permainan dapat dibanggakan serta tentunya Video mungkin menghabiskan waktu memiliki nilai jual ketika nanti bertahun-tahun untuk dipasarkan, sehingga laris dan mengembangkan suatu karya menghasilkan banyak keuntungan. permainannya. Melalui berbagai Disebarluaskannya penggunaan macam pengorbanan yang dilakukan floppy disk drive pada PC hingga alat oleh sang Pencipta baik secara yang saat ini populer yaitu CD-RW materiil maupun moril, pada dan DVD-RW membuat kasus akhirnya kita dapat menikmati karya pembajakan software khususnya mereka sebagai sarana hiburan. Permainan Video semakin marak di Bagi para pelaku ekonomi kreatif, seluruh dunia. Kemampuan alat ini ide yang dituangkan ke dalam sebuah untuk menciptakan software lebih banyak dimanfaatkan oleh pengguna 3 Sadiman, Media Pendidikan: Pengertian, komputer untuk menggandakan Pengembangan, dan Pemanfaatannya, software dengan mudah tanpa (Jakarta: PT. Raya Grafindo Persada, 1996), mengurangi kualitas produknya. hal. 76. 3 DIPONEGORO LAW JOURNAL Volume 6, Nomor 2, Tahun 2017 Website : http://www.ejournal-s1.undip.ac.id/index.php/dlr/ Bahkan produk hasil sistematis, dan konsisten. penggandaannya akan berfungsi Metodologi berarti sesuai dengan sama seperti software yang asli. metode atau cara tertentu, sistematis Selain mengakibatkan kerugian pada adalah berdasarkan sistem, pengembang dan penerbit Permainan sedangkan konsisten berarti tidak Video, pembajakan juga adanya hal-hal yang bertentangan mengakibatkan pelanggaran terhadap dalam kerangka tertentu.4 Hak Kekayaan Intelektual (HKI) Penelitian hukum merupakan khususnya Hak Cipta. upaya untuk mencari dan Pemerintah mengeluarkan menemukan pengetahuan yang benar aturan hukum berkaitan dengan Hak mengenai hukum, yaitu pengetahuan Cipta yang tertuang
Recommended publications
  • Benchmarking End-To-End Behavioural Cloning on Video Games
    Benchmarking End-to-End Behavioural Cloning on Video Games Anssi Kanervisto* Joonas Pussinen* Ville Hautamaki¨ School of Computing School of Computing School of Computing University of Eastern Finland University of Eastern Finland University of Eastern Finland Joensuu, Finland Joensuu, Finland Joensuu, Finland anssk@uef.fi [email protected].fi villeh@uef.fi Abstract—Behavioural cloning, where a computer is taught to still requires considerable engineering. Even worse, after the perform a task based on demonstrations, has been successfully environment is created, training the agents may take thousands applied to various video games and robotics tasks, with and of years of in-game time [4], [6]. without reinforcement learning. This also includes end-to-end approaches, where a computer plays a video game like humans An alternative approach is imitation learning, in which do: by looking at the image displayed on the screen, and sending agents learn to replicate demonstrators’ actions. Behavioural keystrokes to the game. As a general approach to playing video cloning (BC) [9] is the simplest form of this: given an games, this has many inviting properties: no need for specialized observation and an associated action from a demonstrator, modifications to the game, no lengthy training sessions and the predict this action based on observation (i.e a classification ability to re-use the same tools across different games. However, related work includes game-specific engineering to achieve the task). This has been used to kick-start RL agents [6], [10], but results. We take a step towards a general approach and study also applied alone in e.g.
    [Show full text]
  • Designing Controllers for Computer Generated Forces with Evolutionary Computing: Experiments in a Simple Synthetic Environment
    Designing controllers for computer generated forces with evolutionary computing: Experiments in a simple synthetic environment A. Taylor Defence Research and Development Canada – Ottawa Technical Memorandum DRDC Ottawa TM 2012-162 October 2013 Designing controllers for computer generated forces with evolutionary computing: Experiments in a simple synthetic environment A. Taylor Defence Research and Development Canada – Ottawa Technical Memorandum DRDC Ottawa TM 2012-162 October 2013 c Her Majesty the Queen in Right of Canada as represented by the Minister of National Defence, 2013 c Sa Majesté la Reine (en droit du Canada), telle que représentée par le ministre de la Défense nationale, 2013 Abstract Military exercises and experiments are increasingly relying on synthetic environments to reduce costs and enable realistic and dynamic scenarios. However current simulation tech- nology is limited by the simplicity of the controllers for the entities in the environment. Realistic simulations thus require human operators to play the roles of red and white forces, increasing their cost and complexity. Applied research project 13oc aims to re- duce that human workload by improving artificial intelligence in synthetic environments. One approach identified early in the project was to use learning in artificial intelligence (AI). Further work identified evolutionary computing as a method of simplifying the design of AI. Described herein are experiments using evolutionary computing to design controllers in a simple synthetic environment. Controllers with a simple framework are evolved with genetic algorithms and compared to a hand-crafted finite-state-machine controller. Given careful parameter choices, the evolved controller is able to meet the performance of the hand-crafted one.
    [Show full text]
  • Exergames and the “Ideal Woman”
    Make Room for Video Games: Exergames and the “Ideal Woman” by Julia Golden Raz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Christian Sandvig, Chair Professor Susan Douglas Associate Professor Sheila C. Murphy Professor Lisa Nakamura © Julia Golden Raz 2015 For my mother ii Acknowledgements Words cannot fully articulate the gratitude I have for everyone who has believed in me throughout my graduate school journey. Special thanks to my advisor and dissertation chair, Dr. Christian Sandvig: for taking me on as an advisee, for invaluable feedback and mentoring, and for introducing me to the lab’s holiday white elephant exchange. To Dr. Sheila Murphy: you have believed in me from day one, and that means the world to me. You are an excellent mentor and friend, and I am truly grateful for everything you have done for me over the years. To Dr. Susan Douglas: it was such a pleasure teaching for you in COMM 101. You have taught me so much about scholarship and teaching. To Dr. Lisa Nakamura: thank you for your candid feedback and for pushing me as a game studies scholar. To Amy Eaton: for all of your assistance and guidance over the years. To Robin Means Coleman: for believing in me. To Dave Carter and Val Waldren at the Computer and Video Game Archive: thank you for supporting my research over the years. I feel so fortunate to have attended a school that has such an amazing video game archive.
    [Show full text]
  • Smiljanić Veljko Full Text
    ADVERGAMING: A LAWYER’S TAKE by Veljko Smiljanić 1. Introduction “Can you pitch a product to a god when even mortals go out of their way to avoid us?” Ilya Vedrashko There is no need to explain the importance of advertising in the age when information is paramount, and presence on the stage highly coveted, this is an established fact. Little space should be devoted to extolling the virtues of new forms of media in getting ideas or products noticed1. Advergaming is one such attempt to woo the networked consumer and make him listen. One of the facets of digital culture is corporate and technological convergence, which has now produced a seamless integration of content and advertising. The opening quote summed up the challenge that awaits a marketing expert who travails this new medium. Gamers are a strange sort, the creators, heroes and deities of their experience, at the same time shackled like no one in the real world2 and with powers parallel to none. Computer games are surging to prominence in the modern media and entertainment structure3 so much that there is more and more talk about the “gamification”4 of everyday activities. It seems that everybody plays these days – which naturally opens the door to a whole slew of connected enterprise. The forests of advergaming are still untamed, opportunities considered abundant and possibilities of expression refreshing. Indeed, it is a tree that has been expected to bear serious fruit for a while. When the author first broached this topic, advergaming seemed like a hip, new idea. “The rise of the social networks”, the “advent of the casual gamer”, were the headlines supposed to dominate this introduction.
    [Show full text]
  • Imitation-Driven Cultural Collapse
    1 Imitation-driven Cultural Collapse a,* a,* 2 Salva Duran-Nebreda and Sergi Valverde a 3 Evolution of Technology Lab, Institute of Evolutionary Biology (UPF-CSIC), Passeig de la Barceloneta, E-08003, 4 Barcelona. * 5 [email protected]; [email protected] 6 ABSTRACT A unique feature of human society is its ever-increasing diversity and complexity. Although individuals can generate meaningful variation, they can never create the whole cultural and technological knowledge sustaining a society on their own. Instead, social transmission of innovations accounts for most of the accumulated human knowledge. The natural cycle of cumulative culture entails fluctuations in the diversity of artifacts and behaviours, with sudden declines unfolding in particular domains. Cultural collapses have been attributed to exogenous causes. Here, we define a theoretical framework to explain endogenous cultural collapses, driven by an exploration-reinforcement imbalance. This is demonstrated by the historical market crash of the 7 Atari Video Console System in 1983, the cryptocurrency crash of 2018 and the production of memes in online communities. We identify universal features of endogenous cultural collapses operating at different scales, including changes in the distribution of component usage, higher compressibility of the cultural history, marked decreases in complexity and the boom-and-bust dynamics of diversity. The loss of information is robust and independent of specific system details. Our framework suggests how future endogenous collapses can be mitigated by stronger self-policing, reduced costs to innovation and increased transparency of cost-benefit trade-offs. 8 Introduction 9 Comparative studies between humans and other animals emphasize the unique aspects of human learning, including their 1,2 10 capacity for high-fidelity copying .
    [Show full text]
  • Parody As Brand: the Case of [Adult Swim]'S Paracasual Advergames
    Article Convergence: The International Journal of Research into Parody as brand: The New Media Technologies 2016, Vol. 22(2) 177–198 ª The Author(s) 2014 case of [adult swim]’s Reprints and permission: sagepub.co.uk/journalsPermissions.nav paracasual advergames DOI: 10.1177/1354856514546097 con.sagepub.com David Gurney Texas A&M University – Corpus Christi, USA Matthew Thomas Payne University of Alabama, USA Abstract Advergames – a neologism for video games designed to advertise a product or service – are marketing devices employed to impact consumers’ purchasing decisions and, more frequently, shape their impressions of a promoted brand. The online advergames of the programming block- turned media brand [adult swim] (AS) present a clear case in which the games act as rich signifiers of brand aesthetics even if they are not directly connected to the content of the brand’s television shows, live events, and other assorted merchandise. Although these ‘casual’-style titles have game- play mechanics that are accessible to broad audiences, these advergames often exhibit a critical stance toward other games, which differentiates them from the vast majority of casual games on the market. But rather than being anti-casual, we argue that these games are best understood as being paracasual because they use parody to both trouble prevailing definitions of casual games and advergames, and deploy an aesthetic disposition that further helps define the brand. Further- more, they are an increasingly visible and vital component of a constellation of texts and practices that function as what James Paul Gee calls an ‘affinity space’ for a lucrative audience demographic.
    [Show full text]
  • Bringing Roguelikes to Visually-Impaired Players by Using NLP
    Proceedings of the LREC 2020 Workshop Games and Natural Language Processing, pages 59–67 Language Resources and Evaluation Conference (LREC 2020), Marseille, 11–16 May 2020 c European Language Resources Association (ELRA), licensed under CC-BY-NC Bringing Roguelikes to Visually-Impaired Players by Using NLP Jesus´ Vilares, Carlos Gomez-Rodr´ ´ıguez, Lu´ıs Fernandez-N´ u´nez,˜ Dar´ıo Penas, Jorge Viteri Universidade da Coruna,˜ CITIC, LyS Research Group, Dept. of Computer Science & Information Technologies Facultade de Informatica,´ Campus de Elvina,˜ 15071 – A Coruna,˜ Spain fjesus.vilares,carlos.gomez,[email protected] ffernandezn.luis,[email protected] Abstract Although the roguelike video game genre has a large community of fans (both players and developers) and the graphic aspect of these games is usually given little relevance (ASCII-based graphics are not rare even today), their accessibility for blind players and other visually-impaired users remains a pending issue. In this document, we describe an initiative for the development of roguelikes adapted to visually-impaired players by using Natural Language Processing techniques, together with the first completed games resulting from it. These games were developed as Bachelor’s and Master’s theses. Our approach consists in integrating a multilingual module that, apart from the classic ASCII-based graphical interface, automatically generates text descriptions of what is happening within the game. The visually-impaired user can then read such descriptions by means of a screen reader. In these projects we seek expressivity and variety in the descriptions, so we can offer the users a fun roguelike experience that does not sacrifice any of the key characteristics that de- fine the genre.
    [Show full text]
  • The Senescence of Creativity: How Market Forces Are Killing Digital Games
    The Senescence of Creativity: How Market Forces are Killing Digital Games Matthew M. White Memorial University [email protected] Abstract This paper examines the recent wave of repetitive, derivative commercial off-the-shelf games as a phenomenon posing dangerous implications for the health and viability of the video games industry, foreshadowing particularly a major crash or paradigm shift in the near future. Implicated in these predictions are the games industry's ignorance of player wants, needs, and individualities, the dangerous economic precedent of the generation of derivative works, and the evidence of gamer dissatisfaction through free and open gaming communities. The paper poses solutions in the form of player-centred game development and participatory design, arguing that facets of each may be the measures needed to allow the games industry to emerge from the aforementioned slump. Author Keywords Innovation; creativity; slump; video games industry; game production; games studies; theory; opinion Introduction In the decades since digital games first arrived in the home, the creative process by which games come into existence has undergone a significant paradigm shift. As technology, platforms, graphics and sound have become more advanced, barriers to entry have been created, both legal and financial. Gone are the days of the Atari 2600, during which any lone designer could develop and publish a game with relative ease. Today, licenses and copyrighted engines are generally required to develop for home consoles. With those licenses come financial and logistic hurdles for aspiring game designers. The lack of originality in games is well observed among those who play them; one need look only so far as the repeating series of slightly altered “license” games released each year, some examples include the FiFA series', or Madden series.
    [Show full text]
  • Learning Exergame Enjoyment
    Learning Exergame Enjoyment A Major Qualifying Project Submitted to the faculty of Worcester Polytechnic Institute In partial fulfillment of the requirements for the Degree in Bachelor of Science in Computer Science On March 22, 2018 By Cameron Maitland Submitted to: Professor Emmanuel Agu _______________________________________ Abstract This Major Qualifying Project used data collection on how study participants played Pokémon Go to perform analysis and classify the enjoyment of Exergames. Using an Android app developed for this project, data about how users played the game was gathered and then uploaded for analysis. Descriptive statistics and analyses were performed using Plot.ly, while classification and classification result analysis were performed with MATLAB. 2 Table of Contents Abstract…………………………………………………………………………………………………..2 Table of Contents………………………………………………………………………………………..3 1 Introduction…………………………………………………………………………………………....5 1.1 The Importance of Physical Activity……………………………………………………………..5 1.2 Lack of Exercise in the United States…………………………………………………………….5 1.3 First Console Exergames Promote Physical Activity…………………………………………….6 1.4 Declining Interest in Console Exergames………………………………………………………...7 1.5 Exergames Move to Mobile Devices……………………………………………………………..7 1.6 Geocaching and Exergame Enjoyment…………………………………………………………...8 1.7 Why do Players Quit Exergames? ……………………………………………………………….9 1.8 The Goal of this MQP…………………………………………………………………………….9 2 Background……………………………………………………………………………………………11 2.1 History of Mobile Games………………………………………………………………………...11
    [Show full text]
  • Astrogue: a Roguelike Using Procedural Content Generation for Levels and Plots in a Computer Game Bachelor of Science Thesis in Computer Science
    Astrogue: A Roguelike Using Procedural Content Generation for Levels and Plots in a Computer Game Bachelor of Science Thesis in Computer Science SIMON ALMGREN LEO ANTTILA DAVID OSKARSSON FABIAN SÖRENSSON SAMUEL TIENSUU Chalmers University of Technology University of Gothenburg Department of Computer Science and Engineering Göteborg, Sweden, June 2014 The Author grants to Chalmers University of Technology and University of Gothenburg the non-exclusive right to publish the Work electronically and in a non-commercial purpose make it accessible on the Internet. The Author warrants that he/she is the author to the Work, and warrants that the Work does not contain text, pictures or other material that violates copy- right law. The Author shall, when transferring the rights of the Work to a third party (for example a publisher or a company), acknowledge the third party about this agreement. If the Author has signed a copyright agreement with a third party regarding the Work, the Author warrants hereby that he/she has obtained any necessary permission from this third party to let Chalmers University of Tech- nology and University of Gothenburg store the Work electronically and make it accessible on the Internet. Astrogue: A Roguelike Using Procedural Content Generation for Levels and Plots in a Computer Game SIMON W. ALMGREN LEO M. ANTTILA C. DAVID OSKARSSON J. FABIAN Z. SÖRENSSON SAMUEL A. M. TIENSUU c SIMON W. ALMGREN, June 2014. c LEO M. ANTTILA, June 2014. c C. DAVID OSKARSSON, June 2014. c J. FABIAN Z. SÖRENSSON, June 2014. c SAMUEL A. M. TIENSUU, June 2014. Examiner: B. ARNE LINDE Chalmers University of Technology University of Gothenburg Department of Computer Science and Engineering SE-412 96 Göteborg Sweden Telephone + 46 (0)31-772 1000 The cover picture is the logo used for the game Astrogue.
    [Show full text]
  • Behavioral Cloning in Atari Games Using a Combined Variational Autoencoder and Predictor Model
    Behavioral Cloning in Atari Games Using a Combined Variational Autoencoder and Predictor Model Brian Chen§ Siddhant Tandon§ David Gorsich Department of Mathematics Department of Aerospace Engineering Ground Vehicle Systems Center University of Michigan University of Michigan U.S. Army DEVCOM Ann Arbor, USA Ann Arbor, USA Warren, USA [email protected] [email protected] Alex Gorodetsky Shravan Veerapaneni Department of Aerospace Engineering Department of Mathematics University of Michigan University of Michigan Ann Arbor, USA Ann Arbor, USA Abstract—We explore an approach to behavioral cloning in some soldiers do better than others without doing surveys video games. We are motivated to pursue a learning architecture and interviews after experiments. On the other hand, it may that is data efficient and provides opportunity for interpreting be possible to extract this information from gaming data player strategies and replicating player actions in unseen situ- ations. To this end, we have developed a generative model that using ideas from machine learning (ML). Moreover if their learns latent features of a game that can be used for training actions can be learned through ML, it may be possible to an action predictor. Specifically, our architecture combines a train autonomous agents to play in the games to mimic these Variational Autoencoder with a discriminator mapping the latent actions and behaviors. space to action predictions (predictor). We compare our model One such research area within ML that utilizes game data performance to two different behavior cloning architectures: a discriminative model (a Convolutional Neural Network) mapping is called ‘learning from demonstration’ (LfD) or better known game states directly to actions, and a Variational Autoencoder as imitation learning [2].
    [Show full text]
  • Exploring the Virtual Worlds of Advergaming (Virus Bulletin
    EXPLORING THE VIRTUAL WORLDS OF ADVERGAMING BOYD EXPLORING THE VIRTUAL reasons why people would want to move into the ad-supported space. WORLDS OF ADVERGAMING Chris Boyd THE ORIGINS OF ADVERGAMING Malwarebytes, UK In 1978, what was arguably the fi rst piece of advergaming was born when the text adventure Adventureland inserted a Email [email protected] reference to another title by the same developers called Treasure Island [5]. From there, other forms of advertising followed including the placing of Doom mod CDs in cereal ABSTRACT boxes, and the realization that visual adverts could be placed into game titles directly. The games market was worth US$90+ billion in 2016, and with an estimated billion hours a month globally spent playing In 1983, Coca Cola released Pepsi Invaders, a Space Invaders mobile games alone [1], there has never been such great clone in which the aliens were replaced with the word ‘Pepsi’ opportunity for making money where in-game advertising is and the spaceships were replaced with coke bottles. Other concerned. However, that desire for profi t also comes with companies followed suit through the years, releasing problems for device owners, who frequently fi nd themselves at ‘alternative’ titles, which often required the purchase of the mercy of poor disclosure and intrusive advertising. child-focused food in order to gain access to them. As adverts in gaming (‘advergaming’) ecosystems continue to Early electronic toys were also forerunners of downloadable become more sophisticated, so the potential complications content (DLC), where the original product effectively becomes grow for parents, children and gamers, who just want to play the marketing tool for additional fi nancial buy-in.
    [Show full text]