4Th Annual State of Application Security Report
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Computer Game Mods, Modders, Modding, and the Mod Scene
Computer Game Mods, Modders, Modding, and the Mod Scene Walt Scacchi Institute for Software Research and Center for Computer Games and Virtual Worlds University of California, Irvine 92697-3455 USA March 2010 Abstract Computer games have increasingly been the focus of user-led innovations in the form of game mods. This paper examines how different kinds of socio-technical affordances serve to organize the actions of the people who develop and share their game mods. The affordances examined include customization and tailoring mechanisms, software and content copyright licenses, game software infrastructure and development tools, career contingencies and organizational practices of mod teams, and social worlds intersecting the mod scene. Numerous examples will be used to ground this review and highlight how such affordances can organize, facilitate or constrain what can be done. Overall, this study helps to provide a deeper understanding of how a web of associated affordances collectively serve to govern what mods get made, how modding practices emerge and flourish, and how modders and the game industry serve each others' interests, though not always in equivocal terms. Introduction Computer game mods are a leading form of user-led innovation in game design and game play experience. But modded games are not standalone systems, as they require the user to have an originally acquired or authorized copy of the unmodded game. Thus, there are questions of not only who creates what and who owns such modified games, but also whether or how the practice of game modding is controlled or governed by external parties to ultimately exploit the efforts of game modders. -
Online Software Copyright Infringement and Criminal Enforcement
Online Software Copyright Infringement and Criminal Enforcement Submitted: May 14, 2005 Randy K. Baldwin American University Washington College of Law What are Warez and Who Trades Them? This paper will discuss infringement of software copyrights with a focus on criminal ‘warez trading‘ of copyrighted software on the Internet. Warez are infringing electronic, digital copies of copyrighted works whose copy protection measures have been removed.1 Warez are most often ‘cracked’ software programs whose digital rights management (DRM) and copy control measures have been circumvented. Once DRM controls have been disabled, warez are subsequently distributed and traded on the Internet, usually without any direct financial gain to the distributors and traders.2 Distribution of warez usually starts as small-scale deployments from password- protected file transfer protocol (FTP) servers and encrypted and/or password-protected web sites run by warez groups. Warez are then traded on the Internet among broader groups via direct peer-to-peer (P2P) connections, and encrypted emails with warez attachments. Trading and downloading of warez is coordinated via closed, invite-only Internet Relay Chat (IRC) channels, Pretty Good Privacy (PGP) encrypted email, Instant Messaging (IM), private chat rooms, direct connect P2P networks, and messages posted to Usenet groups under pseudonyms.3 Servers and sites hosting warez and communications means used by warez traders are designed to avoid detection and identification by law enforcement.4 File and directory names are intentionally 1 Goldman, Eric, A Road to No Warez: The No Electronic Theft Act and Criminal Copyright Infringement. 82 Or. L. Rev. 369, 370-371 (2003). [hereinafter Road to No Warez], available at http://ssrn.com/abstract=520122 (last visited May 9, 2005) (on file with author) (Defines warez and warez trading. -
Histories of Internet Games and Play: Space, Technique, and Modality Teodor E
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Law, Humanities and the Arts 2017 Histories of internet games and play: space, technique, and modality Teodor E. Mitew University of Wollongong, [email protected] Christopher L. Moore University of Wollongong, [email protected] Publication Details Mitew, T. E. & Moore, C. L. "Histories of internet games and play: space, technique, and modality." The Routledge companion to global internet histories. Ed.G. Goggin & M. J. McLelland. London, United Kingdom: Routledge, 2017, 448-460. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Histories of internet games and play: space, technique, and modality Keywords space, play, histories, games, modality, internet, technique Disciplines Arts and Humanities | Law Publication Details Mitew, T. E. & Moore, C. L. "Histories of internet games and play: space, technique, and modality." The Routledge companion to global internet histories. Ed.G. Goggin & M. J. McLelland. London, United Kingdom: Routledge, 2017, 448-460. This book chapter is available at Research Online: https://ro.uow.edu.au/lhapapers/3657 HISTORIES OF INTERNET GAMES AND PLAY: SPACE, TECHNIQUE, AND MODALITY Teodor Mitew and Christopher Moore Introduction It would be a daunting task to attempt an authoritative history of the Internet and play, and it is not our intention to sketch such an account, in the singular, even if the space allowed for it. Rather, we have undertaken a preliminary mapping of those elements which, we argue, should participate in the telling of the histories of Internet games. -
Are We a Bunch of Robin Hoods?” Filesharing As a Folk Tradition of Resistance Benjamin Staple
Document generated on 09/27/2021 8:47 a.m. Ethnologies “Are We a Bunch of Robin Hoods?” Filesharing as a Folk Tradition of Resistance Benjamin Staple Crime and Folklore Article abstract Crime et folklore On the edge of the digital frontier, far from the oceans of their maritime Volume 41, Number 1, 2019 namesakes, pirate communities flourish. Called outlaws and thieves, these file-sharers practice a vernacular tradition of digital piracy in the face of URI: https://id.erudit.org/iderudit/1069852ar overwhelming state power. Based on ethnographic fieldwork conducted with DOI: https://doi.org/10.7202/1069852ar Warez Scene cracking groups and the Kickass Torrents community, this article locates piracy discourse as a site of contested identity. For file-sharers who embrace it, the pirate identity is a discursively-constructed composite that See table of contents enables users to draw upon (and create) outlaw folk hero traditions to express themselves and affect small-scale change in the world around them. This article argues that pirate culture is more nuanced than popularly depicted and Publisher(s) that, through traditional practice, piracy is a vernacular performance of resistance. Association Canadienne d’Ethnologie et de Folklore ISSN 1481-5974 (print) 1708-0401 (digital) Explore this journal Cite this article Staple, B. (2019). “Are We a Bunch of Robin Hoods?”: Filesharing as a Folk Tradition of Resistance. Ethnologies, 41(1), 197–224. https://doi.org/10.7202/1069852ar Tous droits réservés © Ethnologies, Université Laval, 2020 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Piracy Landscape Study
Piracy Landscape Study: Analysis of Existing and Emerging Research Relevant to Intellectual Property Rights (IPR) Enforcement of Commercial-Scale Piracy Prepared for the U.S. Patent and Trademark Office Solicitation Number: 1333BJ19Q00142004 Brett Danaher Michael D. Smith Rahul Telang Chapman University Carnegie Mellon University Carnegie Mellon University This Version: March 20, 2020 Table of Contents Executive Summary ...................................................................................................................... 3 1. The Piracy Ecosystem........................................................................................................... 4 1.1 Piracy of Physical Goods................................................................................................ 6 1.1.1 Manufacturing......................................................................................................... 7 1.1.2 Discovery ................................................................................................................ 7 1.1.3 Distribution ............................................................................................................. 8 1.1.4 Communication, Payment Processing and Fulfillment ......................................... 11 1.2 Piracy of Digital Goods ................................................................................................ 11 1.2.1 Sources.................................................................................................................. 12 1.2.2 -
How to Download Torrent Anonymously How to Download Torrent Anonymously
how to download torrent anonymously How to download torrent anonymously. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66b6c3aaaba884c8 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Download Torrents Anonymously: 6 Safe And Easy Ways. Who doesn’t want to know how to download torrents anonymously? The thing is, in order to download torrents anonymously you don’t need to have a lot of technical know-how. All you need to download torrents anonymously is some grit and a computer with an internet connection. The technology world never remains the same. In fact, new development and discoveries come to the surface of this industry every day. They also come into the attention of online users every year. Moreover, this allows us to do much more than we could do in the past, in faster and easier ways. A highly relevant aspect to mention at this stage is that: Now we can also download torrents anonymously from best torrent sites. -
The Effect of Film Sharing on P2P Networks on Box Office Sales
The effect of film sharing on P2P networks on box office sales Kęstutis Černiauskas Faculty of Computing Blekinge Institute of Technology SE-371 79 Karlskrona Sweden i This thesis is submitted to the Faculty of Computing at Blekinge Institute of Technology in partial fulfillment of the requirements for the degree of Master in Informatics (120 credits). Contact Information: Author(s): Kęstutis Černiauskas E-mail: [email protected] University advisor: Sara Eriksén Department Faculty of Computing Internet : www.bth.se Blekinge Institute of Technology Phone : +46 455 38 50 00 SE-371 79 Karlskrona, Sweden Fax : +46 455 38 50 57 ii ABSTRACT Context. Online piracy is widespread, controversial and poorly understood social phenomena that affects content creators, owners, and consumers. Online piracy, born from recent, rapid ITC changes, raises legal, ethical, and business challenges. Content owners, authors and content consumers should benefit from better understanding of online piracy. Improved, better adapted to marketplace and ITC changes content distribution models should benefit content owners and audiences. Objectives. Investigate online piracy effect on pirated product sales. Improve understanding of online piracy behaviors and process scale. Methods. This observational study investigated movie-sharing effect on U.S. box office. Movie sharing was observed over BitTorrent network, the most popular peer-to-peer file-sharing network. Relationship between piracy and sales was analyzed using linear regression model. Results. File sharing was found to have a slightly positive correlation with U.S. box office sales during first few weeks after film release, and no effect afterwards. Most of newly released movies are shared over BitTorrent network. -
Good Money Still Going Bad: Digital Thieves and the Hijacking of the Online Ad Business
GOOD MONEY STILL GOING BAD: DIGITAL THIEVES AND THE HIJACKING OF THE ONLINE AD BUSINESS A FOLLOW-UP TO THE 2014 REPORT ON THE PROFITABILITY OF AD-SUPPORTED CONTENT THEFT MAY 2015 @4saferinternet A safer internet is a better internet CONTENTS CONTENTS ......................................................................................................................................................................................................................ii TABLE OF REFERENCES ..................................................................................................................................................................................iii Figures.........................................................................................................................................................................................................................iii Tables ...........................................................................................................................................................................................................................iii ABOUT THIS REPORT ..........................................................................................................................................................................................1 EXECUTIVE SUMMARY ..................................................................................................................................................................................... 2 GOOD MONEY STILL GOING BAD -
United States Attorney's Office District of Connecticut Press Release
United States Attorney's Office District of Connecticut Press Release August 29, NEW YORK MAN INVOLVED IN SOFTWARE PIRACY 2008 CONSPIRACY IS SENTENCED Nora R. Dannehy, Acting United States Attorney for the District of Connecticut, today announced that ROBERT HARDICK, also known as “tcut,” 58, of Getzville, New York, was sentenced yesterday, August 28, by Senior United States District Judge Ellen Bree Burns in New Haven to three years of probation, the first six months of which must be served in home confinement, for conspiring to commit criminal copyright infringement. HARDICK pleaded guilty to the charge on May 14, 2008. According to documents filed with the Court and statements made in court, HARDICK and others participated in the “warez scene,” which is an underground online community consisting of individuals and organized groups who use the Internet to engage in the large-scale, illegal distribution of copyrighted software. In the warez scene, certain participants (known as “suppliers”) are able to obtain access to copyrighted software, video games, DVD movies, and MP3 music files, often before those titles are even available to the general public. Other participants, known as “crackers,” then use their technical skills to circumvent or “crack” the digital copyright protections. Others, known as “couriers,” then distribute the pirated software to various file storage sites (“FTP sites”) on the Internet for others to access, reproduce, and further distribute. HARDICK and others helped to establish and maintain the FTP site known as “The Boxer Rebellion” (“TBR”) and initially hosted that site at his home. In addition, HARDICK helped to populate the TBR site by accessing other FTP sites and downloading pirated works from them onto the TBR site. -
Computer Demos—What Makes Them Tick?
AALTO UNIVERSITY School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Markku Reunanen Computer Demos—What Makes Them Tick? Licentiate Thesis Helsinki, April 23, 2010 Supervisor: Professor Tapio Takala AALTO UNIVERSITY ABSTRACT OF LICENTIATE THESIS School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Author Date Markku Reunanen April 23, 2010 Pages 134 Title of thesis Computer Demos—What Makes Them Tick? Professorship Professorship code Contents Production T013Z Supervisor Professor Tapio Takala Instructor - This licentiate thesis deals with a worldwide community of hobbyists called the demoscene. The activities of the community in question revolve around real-time multimedia demonstrations known as demos. The historical frame of the study spans from the late 1970s, and the advent of affordable home computers, up to 2009. So far little academic research has been conducted on the topic and the number of other publications is almost equally low. The work done by other researchers is discussed and additional connections are made to other related fields of study such as computer history and media research. The material of the study consists principally of demos, contemporary disk magazines and online sources such as community websites and archives. A general overview of the demoscene and its practices is provided to the reader as a foundation for understanding the more in-depth topics. One chapter is dedicated to the analysis of the artifacts produced by the community and another to the discussion of the computer hardware in relation to the creative aspirations of the community members. -
Piratebrowser Artifacts
PirateBrowser Artifacts Written by Chris Antonovich Researched by Olivia Hatalsky 175 Lakeside Ave, Room 300A Phone: 802/865-5744 Fax: 802/865-6446 http://www.lcdi.champlin.edu Published Date Patrick Leahy Center for Digital Investigation (LCDI) Disclaimer: This document contains information based on research that has been gathered by employee(s) of The Senator Patrick Leahy Center for Digital Investigation (LCDI). The data contained in this project is submitted voluntarily and is unaudited. Every effort has been made by LCDI to assure the accuracy and reliability of the data contained in this report. However, LCDI nor any of our employees make no representation, warranty or guarantee in connection with this report and hereby expressly disclaims any liability or responsibility for loss or damage resulting from use of this data. Information in this report can be downloaded and redistributed by any person or persons. Any redistribution must maintain the LCDI logo and any references from this report must be properly annotated. Contents Introduction ............................................................................................................................................................................. 2 Background: ........................................................................................................................................................................ 2 Purpose and Scope: ............................................................................................................................................................ -
Digital Citizens Alliance
GOOD MONEY STILL GOING BAD: DIGITAL THIEVES AND THE HIJACKING OF THE ONLINE AD BUSINESS A FOLLOW-UP TO THE 2013 REPORT ON THE PROFITABILITY OF AD-SUPPORTED CONTENT THEFT MAY 2015 A safer internet is a better internet CONTENTS CONTENTS ......................................................................................................................................................................................................................ii TABLE OF REFERENCES ..................................................................................................................................................................................iii Figures.........................................................................................................................................................................................................................iii Tables ...........................................................................................................................................................................................................................iii ABOUT THIS REPORT ..........................................................................................................................................................................................1 EXECUTIVE SUMMARY ..................................................................................................................................................................................... 2 GOOD MONEY STILL GOING BAD ........................................................................................................................................................3