PIRATKOPIERING OCH ILLEGAL NEDLADDNING En Studie Om Piratkopieringsskydd Och Dess Påverkan På Konsumenterna

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PIRATKOPIERING OCH ILLEGAL NEDLADDNING En Studie Om Piratkopieringsskydd Och Dess Påverkan På Konsumenterna PIRATKOPIERING OCH ILLEGAL NEDLADDNING En studie om piratkopieringsskydd och dess påverkan på konsumenterna Viktor Pedro, Nazar Larsson Examensarbete på kandidatnivå, 15 hp Digital Medieproduktion SPB 2020.30 Abstract In this modern day and age where internet reigns supreme and the digital age is neigh, there are many ways to copy and illegally acquire software. It is called online piracy. The “crackers” crack the software code which then is illegally distributed online, giving the ability to other users to download the software. Ever since game industry exploded on the market, there has been a “cat-and-mouse game” between game developers and online pirates. Game developers trying to stop the pirates from cracking their products, while pirates finding ways around the code. This is an eternal battle and today we are in a situation where there seems to be a common belief that the protection software affects the performance of video games. By taking a deeper dive in to the game industry, we have concluded that in fact, generally video games that use a 3rd party protection are the most affected in terms of performance. To say that this is non consumer-friendly is an understatement, whereas in this situation people who buy the video game gets the version with worse performance than a pirated copy. This results in clash of developers thinking they are saving themselves some money by stopping the pirates, but, pirating does not necessarily have a bad impact on sales. If sales are not affected, then why would you release a software with protection which performs worse than their counterpart, only for it to be sold less through bad performance and negative feedback from community? We conclude that these kinds of security are far too drastic. It does not matter what level of protection there is, with time anything will be broken down. As we have noted the pirates have too low of impulse control, which is the biggest reason why they are downloading. We say that a protection that inflicts minor to non, performance dips is the right way to go. Give the consumer good reasons to buy the video game, rather than forcing them to purchase a product with performance issues. 2 Innehållsförteckning 1. Inledning........................................................................................................................... 5 1.1 Syfte ...................................................................................................................... 5 2. Bakgrund .......................................................................................................................... 6 2.1 Historia ................................................................................................................. 6 2.1.1 Analog upphovsrätt ................................................................................. 6 2.1.2 Digital kopieringsskydd .......................................................................... 7 2.1.3 Piratkopiering ......................................................................................... 8 2.2 Faktorer i piratkopieringen .................................................................................. 9 2.2.1 Moral och psykologi ................................................................................ 9 2.2.2 Kommersiellt .......................................................................................... 9 2.2.3 Mediaskillnader .................................................................................... 10 2.3 Relaterad forskning ............................................................................................. 11 3. Metod ............................................................................................................................. 13 3.1 Datainsamling och tidigare studier .................................................................... 13 3.1.1 Urvalskrav och sökord ........................................................................... 13 3.1.2 Sökresultat och bedömning................................................................... 14 3.1.3 Extern data och källor ........................................................................... 14 3.2 Kvalitativ datainsamling .................................................................................... 15 3.2.1 Frågor och intervjustruktur .................................................................. 15 3.2.2 Urval av intervjukandidater .................................................................. 15 3.2.3 Intervju genomförandet........................................................................ 16 3.2.4 Sammanfattning och kategorisering av intervjuer ............................... 16 3.3 Metodkritik och brister ...................................................................................... 16 3.4 Forskningsetik ................................................................................................... 17 4. Datasammanställning .................................................................................................... 18 4.1 Konsument intervjuer ........................................................................................ 18 4.2 Producent intervju .............................................................................................20 4.3 Speltester ........................................................................................................... 22 4.3.1 “Assassin’s Creed Origins” .................................................................... 22 4.3.2 “Batman Arkham Knight” ..................................................................... 23 4.3.3 Extra speltester ..................................................................................... 23 5. Analys ............................................................................................................................. 24 5.1 Analys av speltester ............................................................................................ 24 5.2 Analys av intervjuer ........................................................................................... 24 3 5.2.1 Prenumerationstjänster ........................................................................ 24 5.2.2 Streaming plattformar .......................................................................... 25 5.2.3 Värde propositionen ............................................................................. 25 5.2.4 Affärsmodeller ...................................................................................... 26 6. Diskussion ...................................................................................................................... 27 6.1 Skyddsåtgärder och påverkan ............................................................................ 27 6.2 Impulser och prenumerationstjänster ............................................................... 27 6.3 Alternativa tillvägagångssätt .............................................................................. 28 7. Slutsats ...........................................................................................................................30 Referenser .......................................................................................................................... 31 4 1. Inledning Om man skapar en produkt, oavsett om det är text, foto, konst eller musik, lägger man ett kopieringsskydd eller ansöker om ett patent för skapelsen, för att undvika att det blir olovligt stulet. Det finns alltid en risk att någon gör det och publicerar det under sitt namn, som om den personen har gjort allt jobb med denna produkt. Därför existerar kopieringsskydd, för att skydda produkter från att bli stulna. Första lagen kom 1710 i England och Skottland varav den spred sig senare till andra länder och delar av världen (Intellectual Property Rights Office, 2006). Eftersom textbaserad media var först ut, var den först till att få kopieringsskydd. Under senare åren har det även spridit sig till andra områden, till exempel konst. Framförallt, blev det en väldigt viktig del av den digitala världen, särskilt när internet blev ett stort fenomen (Stamatoudi, 2002, 23). Generellt kan man se att kopieringsskydd har varit med sedan 1800-talet. I dagens läge, när internet är en del av vardagen och den digitala världen är en del av oss, har också kopieringsskyddet utvecklats. Även om kopieringsskydd har blivit bättre genom årens gång, är förlusten i inkomst från piratkopiering fortfarande hög och är en del av vardagen för vissa (CNBC, 2016). Företag jobbar att hitta på nya metoder för att stoppa piratkopiering och dess spridning. Nu för tiden existerar streaming och prenumerationstjänster, vilket har blivit en populär lösning för film och musik. I spelvärlden är det mer komplicerat att anpassa samma system. Därför läggs istället externa kopieringsskydd in i spelen för att förhindra piratkopiering. Däremot enligt olika källor ute på internet ska dessa nya metoder och åtgärder försämra prestandan och kvalitén på spelen, framförallt på dem som är officiella och icke-piratkopierade (How-To Geek, 2018). Detta innebära att konsumenterna som betalar för sina spel får den sämre produkten och att i deras försök att stoppa pirater, stoppas även kunder. Frågan som uppstår är: kan dem nya metoder och kopieringsskydd göra det svårare, alternativt ge sämre prestanda och kvalité till kunder som har betalat, till exempel för ett spel genom officiella plattformar? Denna skrift börjar med att beskriva bakgrund och tidigare studier kringgående
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