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Bruce Boyden

Lost Potential

Lost_title_card_sm(Part 1 of 2) Back when I was a teenager, I used to play Dungeons & Dragons with a group of friends. D&D, for those who have never played it, is essentially a pen-and-paper version of World of Warcraft. Instead of a computer running the game, that role in D&D was served by a person — the “Dungeon Master,” or DM — whose job it was to map out a location in advance and fill it with monsters, traps, and other characters and events, and keep that material hidden from the players until they reached certain points in the game. Whereas computer games display information visually to the players as they wander through the game world, in D&D the DM simply describes what happens, according to his or her pre-established plan and a set of fixed rules governing things like combat.

One of my friends was a particularly good DM. He would create settings full of portentous omens, intrigue, and mysterious characters. Seemingly random encounters would lead to unexpected coincidences. The world he created seemed richly populated with deeper meaning, and my friends and I loved exploring it.

But we ultimately discovered that there was no deeper meaning; there was no there there. He was making it all up on the fly, and when we started scratching beyond the surface, improbable barriers such as invulnerable gods and invincible monsters began to block our path. The narrative structure of the world collapsed under its own weight.

I’m reminded of all that by the final season of Lost. Lost, I think, illustrates a trap that the creators of D&D dungeons and network television series alike are apt to fall prey to: it is much, much more tempting to build suspense than to resolve it.Read More »Lost Potential

Games and Other Uncopyrightable Systems

All the King's HorsesI’ve long been interested in copyright and games — an interest that began with copyright and video games, but worked its way backwards to consider games generally. Games exist at the boundary of copyright law: they seem to include much that is protectable, and yet there is a general rule in copyright doctrine that games are not copyrightable. (For more, see my four–part series on PrawfsBlawg in 2008, in particular Part III and Part IV; also this post).

I’ve now uploaded a new paper to SSRN, Games and Other Uncopyrightable Systems, that explains the purpose and argues for the continued vitality of that rule. Some may recognize the paper as what used to be Part I — the “background” section — of my long-awaited video games paper. The questions surrounding the copyrightability of games proved to be so intricate that it required a separate paper just to address them. In short, games are uncopyrightable because they are systems — a conclusion that is only moderately helpful, because systems themselves are not well understood. I therefore tackle that issue as well. Here is the abstract:Read More »Games and Other Uncopyrightable Systems