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List of games containing time travel

Title Year Description The 7th Saga One of the seven players can time travel from the present-day Ticondera to years into the past Ticondera right after defeating a resurrected Gariso and collecting all seven runes. There in the past the player must explore and walk all the way to the island of Melenam, explore the ice cave and go to Gorsia's castle to defeat Gorsia. Nine Hours, Nine Persons, Nine Doors The story protagonist Junpei is abducted and placed aboard a sinking cruise liner along with eight other people. It is eventually revealed that the antagonist Zero was placed into a death trap nine years prior and only survived by getting the answer from Junpei through a psychic connection through time; Zero now intends to recreate their vision to close the time loop and save themselves. Achron This real-time strategy game offers single-player and multi-player free-form time travel. Players can play at different points in time simultaneously and can stop, slow, and fast forward through the flow of time. Players can also send units through time. Adventure in Time A text adventure in which the player pursues Nostradamus through time in order to prevent the creation of a world destroying weapon. Ape Escape In this 3D platform game, when a curious ape tries on a special helmet, his intelligence is boosted. This ape, Specter, uses a time machine to conquer different time periods and establish the apes as the most dominant race. The player must travel through time and recapture the apes.[3]Back to the Future This NES game is based on the Back to the Future movie. In this game Marty Mcfly travels from to the year by mistake. Marty now has to run up the street in a Paperboy game style and collect alarm clocks in order to prevent him and his brothers and sisters from being erased from the photograph. He also has to fight bullies at the malt shop, prevent Lorraine from kissing him by breaking her heart, play the electric guitar by catching music notes and attempt to drive up to 88 MPH in his Delorean time machine car to get back to Back to the Future II & III This NES game is based on the Back to the Future II and III movies. In this game the old Biff Tannen steals the – sports almanac and takes the Delorean time machine to and gives it to his younger self. As a result, Biff alters , now ruling Hill Valley as a rich man. Marty Mcfly has to time travel in three different time periods, , , and , to gather 30 items and solve the word puzzle for each item in order to get the sports almanac book and burn it. Later, Doc Brown and Marty are stuck in the year , which should have been Marty has to gather 10 items and solve the word puzzle for each item. After the puzzles are solved, Marty and Doc can use the train to push the Delorean time machine car to get it to 88 MPH and get back to Back to the Future: The Game This game is set seven months after Back to the Future Part III in May Doc gets trapped in and needs Marty McFly's help. Ben 10 Alien Force: Vilgax Attacks Vilgax has successfully taken over Earth, so Professor Paradox sends Ben, Gwen and Kevin back far enough in time to destroy every power source for his Null Void Projector possible in the whole galaxy. Ben Omniverse When a modification for Ben's Omnitrix goes haywire, his new partner, Rook, gets sent back in time. Bill & Ted's Excellent Adventure Bill & Ted's Excellent Adventure This action-adventure game has an overhead perspective. When Bill & Ted's girlfriends are kidnapped they are forced to travel through time collecting musical notes in order to locate them.[4]Bill & Ted's Excellent Video Game Adventure This action-adventure game has an isometric perspective. It is related to the film's plot; the duo must restore historical figures to their correct time periods by exploring the game world and collecting objects.[5]Bio Senshi Dan: Increaser to no Tatakai Bioshock: Infinite Blinx 2: Masters of Time and Space Blinx: The Time Sweeper The titular character Blinx works for a Time Factory on the outskirts of reality. He is tasked with maintaining and repairing the flow of time whenever glitches and paradoxes occur. Bubsy 2 Bugs Bunny and Taz: Time Busters After Daffy Duck accidentally breaks Granny's time regulator, he is thrown into the past along with the parts needed to repair the machine. Bugs Bunny is then tasked with saving his friend and repairing the regulator. Bugs Bunny: Lost in Time After mistaking a time machine for a carrot juice dispenser, the titular character Bugs Bunny is sent traveling through time in search of five magical carrots that can return him home. Call of Cthulhu: Dark Corners of the Earth Call of Duty: Black Ops Continuing from the World at War Zombies map "Der Riese," Edward Richtofen, Tank Dempsy, Nikolai Belinski, and Takeo travel from to in a WWII German theater using a teleporter overcharged with a Wunderwaffe DG-2, a fictional weapon. Causality The game is about guiding a group of astronauts to safety. Chibi-Robo! Chrono Cross The sequel to Chrono Trigger. A boy named Serge accidentally arrives in an alternate universe where he died as a child, and ends up on a time-travelling adventure to avert catastrophe. Chrono Trigger A group of heroes from different eras travel back and forth through time in an attempt to prevent the end of the world in the year Chronomaster Adventure game by SF&F novelist Roger Zelazny. A designer of "pocket universes" investigates someone stopping time in several of them. Chronos Twin City of Heroes Clive Barker's Jericho Clive Barker's Undying Clock Tower 3 An ordinary schoolgirl, oblivious to the knowledge that her female ancestors have been defending humanity from evil for centuries. During the game, Alyssa is hunted by serial killers who want to take her heart from her corpse. She travels through time to destroy supernatural killers after their final murders. Command & Conquer: Red Alert series –present Albert Einstein travels back in time to kill Hitler, causing an alternative world war in the s between the USSR and Allies. Time travel would later be used in the campaigns of Command & Conquer: Red Alert 2 and its expansion pack, Yuri's Revenge, in Allied POV, they reset time where Soviets attack San Francisco to destroy the Psychic Dominator, foiling Yuri and signing a peace treaty with the Soviets, in the Soviet POV, they capture the Time Machine and use a base they built in the past, destroy the Dominator, eliminate Einstein's Lab in Black Forest and undoing their defeat in the present, and eliminate Yuri once and for all. In Command & Conquer: Red Alert 3, the events are further changed when the Soviets utilize their own time machine to kill Einstein in the past and erase him from history, which causes the Soviet Union to not be defeated in war against the Allies, Nuke and Prism technology are non-existent/ and, unintentionally creates a superpower named The Empire of the Rising Sun. Connections It's a Mind Game "Connectionsprovides the ultimate challenge for the quizzical mind. Travel from one environment to the next, looking for clues that explain how you entered this world—and how you can escape."[6] "Lose yourself in hours of mind-twisting gaming simulations. Capture your entire imagination in reality-based situations. Encounter James Burke and other live-action characters who add vitality to the experience."[6] The 3D environments will "draw you into a time and space that you cannot leave without the answers."[6]Crash Bandicoot 3: Warped The series' traditional wormholes to the various levels now transport Crash to different points in history. Cryostasis: Sleep of Reason The main protagonist has the ability to penetrate other characters' memories and change the actions taken by them in the past. Daikatana Dark Chronicle The game's central story revolves around the protagonist Maxwell attempting to reconstruct the future by recreating events in the past that were destroyed by the story's antagonist Lord Griffon. Darkest of Days Darkest of Days takes the player through time into historic battles in an effort to save key individuals from death. The battles range from Custer's Last Stand at the Battle of Little Bighorn in to fighting in Pompeii as ash and fire rain down from an erupting Mt. Vesuvius in 79 AD. Other locations include the battles of Antietam and Tannenberg, and a German World War II P.O.W. camp. Dino Eggs Time Master Tim must be guided through prehistoric landscapes in order to collect dinosaur eggs and transport them through time to the present. Dishonored 2 In a particular level the player can freely switch between past and present. He can also see the past/present in realtime through the device. Dragon Age: Inquisition A quest in the main timeline transports the main character into an apocalyptic future. The circumstances of the apocalypse are a direct result of the main character's abrupt disappearance earlier in time. Completing the quest by returning to the past allows the character to prevent the apocalyptic future they experienced from occurring. Dragon Ball Z: Kakarot When Goku ends Frieza, a kid named Trunks (Vegeta's son) travels with a time machine from the future to tell Kakarot that Androids will come to destroy the Earth and its livings. After finishing Mecha Frieza, he leaves the past and returns to his present. Dragon Quest VII EarthBound The journey of main character Ness begins after a time traveler, Buzz Buzz, tells him about a future apocalypse which only he and his friends can stop. In the last part of the game, the protagonists travel to the past, when the villain Giygas is most vulnerable. One of Giygas' minions, Porky, escapes to another time period and becomes the main antagonist of Mother 3. Ecco the Dolphin: Defender of the Future The player must travel through different times and time lines in order to restore history. The Elder Scrolls II: Daggerfall The end of the game results in the Agent giving the Totem of Tiber Septim to one of eight factions. Somehow, all eight factions receive the Totem at the same time, and controlling the Numidium, a giant brass golem, with the Totem, achieved whatever goals they had. This event is called "The Warp" in the West, and is thought to have happened due to a "break" in time, in which multiple timelines converged into one. The Elder Scrolls V: Skyrim The Dovahkiin uses an Elder Scroll in a "time wound" to look back into time to when the time wound was created, which was when that particular Elder Scroll was last used. This is so the Dovahkiin can learn the "Dragonrend" shout, which was used as a key component in banishing Alduin, the main antagonist of the game. Empire Earth During the game's Russiancampaign, Sergei Molotov/Molly Ryan must build a time machine to come back to the year and destroy Grigor Illyanich Stoyanovich's Empire, Novaya Russia. Escape From Monkey Island At one point in the game, the protagonist Guybrush meets his future self, who gives him a key for a gate and some other (useless) items in a certain order, and answers a random question. A few screens later, in order to progress, the player must give his past self the items in the same order and answer the question just as Guybrush in the future did. EverQuest: Seeds of Destruction Players must travel back in time to prevent the forces of Discord from altering the history of Norrath. Evil Dead: Hail to the King Ash Williams travels to medieval Damascus (year ). Evil Dead: A Fistful of Boomstick Ash Williams travels through several time periods (the early 20th century, years , , and medieval Asia). Evoland 2 Players travel between four different time periods, each with its own historical setting and graphical art style that match up with Game Boy graphics, 8-bit graphics, bit graphics and 3D graphics. Exile Console remake of XZR II. Final Fantasy The villain Garland travels 2, years into the past with the help of the Four Fiends. Garland then sends the Four Fiends 2, years into the future to cause global destruction and send his present-day body into the past. Final Fantasy VIII The character Ellone has the ability to send the consciousness of a person she knows back in time and junction it to another person she knows in the past. The plot of Final Fantasy VIII also deals with a sorceress from the future and "Time Compression", in which past, present, and future all mix together. Final Fantasy XI Once the "Wings of the Goddess" expansion has been applied, players can travel between the present and past during play. Final Fantasy XIII-2 Noel Kreiss comes from the distant future, where he is the last human who travels back in time to change the future. Gameplay heavily involves time travel, including visiting same locations in different eras and using time travel to complete quests and solve mysteries. Final Fantasy XIV Louisoix sends the player character five years into the future at the conclusion of the original release. In the Heavensward expansion, the Alexander raid series involves the titular primal's ability to time travel as part of a secret society's efforts to rewrite history. In the Shadowbringers expansion, the Crystal Tower and its caretaker, the Crystal Exarch, were transported to the First from an alternate timeline where the Eighth Umbral Calamity decimated the Source. Final Fantasy Legend III This game involves time traveling by boarding a Talon spaceship. To travel to the past, the player must find the past item unit in Elan Present, then use the Past Warp unit at the Talon controls to go to the past, then also find the future item in the Castle of Chaos, then use the Future Warp unit at the Talon controls to go to the future. Fire Emblem: Awakening Lucina, the daughter of the main protagonist, Chrom, travels back from a post-apocalyptic future where the dragon Grima has taken over. Lucina's friends also travel to the past with her. First Samurai This game involves time traveling with the Samurai character, who is chasing after the Demon King through time in each level. Freedom Force Both this game and its sequel, Freedom Force vs. the Third Reich, feature a villainous character named Time Master who has absolute power over time. Futurama The crew must travel back to prevent the sale of Planet Express. They fail in doing so and get themselves killed which provides an infinite loop as the game starts all over again. Future Wars A window cleaner is transported through time. Gemini: Heroes Reborn Using a variety of superpowers such as telekinesis and time travel, Cassandra must battle her way through an enemy-filled underground facility called The Quarry in order to save her abducted friend and solve a family mystery. Ghost Trick: Phantom Detective The main character has the ability to change fate by traveling back in time to four minutes before a person's death. God of War II The main character, Kratos, travels back in time to avoid being killed by Zeus. Later in the game, Kratos uses the power of the sisters of fate to travel to a time before the Olympian gods held power over the world and bring the Titans back to his time to destroy the gods. GrimGrimoire Student from a magic school main character, Lillet Blan, mysteriously travels back to the past to stop a great demon and archmage from creating chaos. She travels back in time constantly at the end of the fifth day unknowingly without fail and attempts to find the root cause of how the archmage and great demon came to be, while saving her friends and teachers. Growlanser Wayfarer of Time Two angels from the future travel back in time: Achiel wants to annihilate the humankind, while Youriel, sympathizes with the humans and wants to save them. Guardians of Infinity Text game that has the player travel back in time to save President Kennedy from being assassinated and prevent a disastrous spacetime rift. InFamous The superpowered main character, Cole MacGrath, finds out that the main antagonist, Dr. Kessler, is actually a future version of himself from an alternate timeline, who, after his family was killed by an entity known as "The Beast", travelled back in time to prevent his past self from making the same mistakes he did. Jak II The plot begins with the protagonist Jak being taken through the "precursor rift gate" to the same location years in the future. Near the end of the game it is revealed that a young kid in this future is actually Jak while he was young, and that he was sent back in time to learn the skills necessary to defeat the antagonist, Kor. Jazz Jackrabbit 2 The protagonists must chase the villainous Devan Shell through various points in time. Jazz Jackrabbit 3 This cancelled sequel would have seen Jazz traveling to a future ruled by Devan Shell. The Journeyman Project series – The player controls Gage Blackwood, Agent 5 of the Temporal Security Agency (TSA), a secret organization in charge of guarding the timestream from being altered. Players have to bounce back and forth in time to solve puzzles and find clues, visiting real historical places (Leonardo da Vinci's workshop) or places of legend (Atlantis). Players were also encouraged to not be seen either by avoiding contact with citizens of that time period, appearing as another inhabitant or becoming invisible altogether. JumpStart Adventures 3rd Grade: Mystery Mountain The goal of the game is to prevent a bratty girl from altering history so that her answers to a history quiz she failed will be correct. Kelvin and the Infamous Machine This 2D point-and-click adventure involves Kelvin, assistant to an eccentric scientist, using the time machine (which resembles a portable shower) to stumble irresponsibly through history and help legendary geniuses complete their masterworks. Kingdom Hearts II Sora, Donald and Goofy travel to a past time period (called the Timeless River) when Disney Castle is being built. Black Pete tries to take the Cornerstone of Light that protects the castle from evil, but is stopped by Sora and company, along with Pete's past version. Kingdom Hearts 3D: Dream Drop Distance Sora and Riku are sent back in time by Master Yen Sid during the events of Kingdom Hearts to travel through Sleeping Worlds in order to fulfill their Mark of Mastery and become Keyblade Masters. Along the way, they encounter Ansem, Xemnas, and Young Xehanort who have also travelled through time and attempt to make Sora the thirteenth vessel needed for Master Xehanort to complete the real Organization XIII, or the 13 seekers of darkness. Kingdom Hearts III Master Xehanort, the main antagonist of the game, transferred the hearts of his younger self, Ansem, Xemnas, Vanitas, and Riku Replica from the past into Vexen’s incomplete replicas and his past heart from Birth by Sleep into Terra's recompleted body to fill in ranks for the Organization. Later in the Final World after being defeated by Terra-Xehanort, Sora uses the Power of Waking to save the Guardians of Light from the Lich Heartless and resets reality back right before their defeat. This action leads to an alternate history where the Guardians of Light defeat Xehanort and the Organization once and for all. Later, in the ReMind DLC episode, he uses the power once again to travel back at the final battle and travels through the hearts of Ventus, Aqua, Terra, Roxas, himself, Riku and King Mickey in order to revive Kairi after she was destroyed by Xehanort in order to create the X-Blade. Kingdom Hearts Union x[Cross] Maleficent has travelled back in time after her first defeat from Sora in order change her destiny. After being thwarted again, she encounters “Darkness”, who takes her to the Ark inside the clock tower of Daybreak Town and she fights Lauriam. This device will enable her to travel back to her original time during the events of Kingdom Hearts II. Kokotoni Wilf The eponymousprotagonist must travel through various time periods to recover the pieces of the Dragon Amulet. Last Epoch The game takes place over the course of four eras. Characters travel through the eras to defeat "The Void", an unknown entity attempting to destroy the universe and time itself. Actions taken in one era affect future eras. Legacy of Kain series – The game series states that "history abhors a paradox". In the Kain series, the "Timestream" is immutable. Changes made by individuals have no effect on the general flow of time, but major changes can be made by introducing a paradox, at which point the Timestream is forced to reshuffle itself to accommodate the change in history. The Legend of Zelda: Skyward Sword Time traveling is used in this Legend of Zelda game. A time gate portal in the Faron area in the Forest Temple allows the player to time travel years into the past. Lego Marvel Super Heroes 2 After the time traveller Kang the Conqueror has plucked various realms from time and space (like Asgard and Wakanda) out of their time stream and fused them to his kingdom Chronopolis, several super heroes from the conquered realms (specifically the Avengers and the Guardians of the Galaxy) have to team up to attack Kang's citadell and end his reign.

Several Characters, including Kang or Doctor Strange, also have the "Time Manipulation"-Ability to warp time backwards or forwards and affect certain objects.

Life Is Strange Life Is Strange is a graphic adventure game that tells the story of student Max Caulfield, a 12th-grade student in an Oregon private high school, and her attempts to alter future events using time travel. It appears as a gameplay element, allowing Max to alter events, and as a plot point, with her traveling back in time to try to solve dilemmas in her present. Looney Tunes: Acme Arsenal Lost in Time After exploring a shipwreck in the year , a woman is transported back to where she begins to uncover mysteries about her past. The Lost Vikings series The Magic of Scheherazade Maniac Mansion: Day of the Tentacle The player switches freely between three characters, each trapped in a different era (past, present and future). Gameplay requires sending items back and forth through time and altering historic events in one era to affect another. One humorous example involves altering Betsy Ross' plans for the American flag in order to turn it into a costume to disguise the player in a future controlled by sentient tentacles. Mario & Luigi: Partners in Time Mario and Luigi travel to the past to help their younger selves fight off an alien invasion. Mario's Time Machine This educational video game involves Bowser stealing precious artifacts from history, such as Shakespeare's pen and Magellan's ship's steering wheel, and displaying them in his museum. Mario must go back in time to stop Bowser's plan. MediEvil 2 Millennia: Altered Destinies Mortal Kombat In the beginning of the story, a severely weakened Raiden is about to be killed by Shao Kahn, but casts a last-minute spell on the shattered pieces of his magical amulet, directing it to contact his past self with the vague message "He must win". The act eventually reboots the events of the franchise, though it is successful by the end of the story. The New Adventures of the Time Machine An adaptation of H.G. Wells' works, you are a male protagonist thrown out of your own time period and only one can help you - a mythical being, the demi-god Khronos. A New Beginning This point-and-click adventure game takes place in a post-apocalyptic scenario, where Earth has been destroyed by forces of nature. In the 26th century a group of people execute The Phoenix Plan, in which they travel into the past in an attempt to manipulate the fate of the future. No Time After you escaped with a time machine from a secret facility you go on a trip through time. No Time to Explain Side-scrolling platformer. Multiple versions of the protagonist from different times and alternate timelines are rescuing each other from kidnappings and trying to find the culprit. Ōkami Omega Boost A 3D shoot ‘em up released in The game was short (only 9 levels) but saw a pilot operating the Omega Boost mecha back in time to stop the artificial intelligence AlphaCore from implanting a virus into ENIAC as part of a war between humans and AlphaCore. Onimusha 3: Demon Siege This game features two playable characters who have switched places in time due to the instability of an antagonist's time machine. A feudal Samurai was sent to modern-day Paris, while a modern-day French officer was transported to feudal Japan. Original War In this RTS/RPG, American and Russian troops are sent 2 million years back in time in order to secure the precious mineral "siberit" for themselves. Each campaign features a different plot and several endings. Outcast Outer Wilds The player wakes up 22 minutes before the supernova of their sun and must relive the last moments of their home system, or explore the system to find a way to prevent the supernova, utilizing the time loop to buy virtually unlimited time to figure things out. Pac-In-Time Pepper's Adventures in Time A girl, Pepper, and her dog, Lockjaw, travel back in time to Philadelphia in Pepper is responsible for ensuring that history unfolds the way it should, as well as first locating and subsequently reuniting with Lockjaw. Plants vs. Zombies 2 The player's neighbor Crazy Dave eats a taco and enjoys it so much he decides to travel back in time to eat it again, drawing the player into a time-hopping adventure. Please Don't Touch Anything 3D Please do not touch anything is a puzzle video game developed by Russian indie studio Four Quarters and published by Bulkypix and Plug In Digital. It was released on March 26, on Steam for Windows, Mac OS X and Linux and on October 21, for iOS and Android. Pokémon Mystery Dungeon: Explorers of Sky The fifth special episode added to the sister game is about saving the paralyzed future in Grovyle's path, following the player's adventure to the last dungeon. Pokémon Mystery Dungeon: Explorers of Time and Explorers of Darkness The player travels back in time to save the future, in which time has stopped altogether. However, it travels to the future and the past with two partners as the events unfold. Prince of Persia: The Sands of Time series An unnamed Prince discovers a fabled artifact called the Dagger of Time, allowing him the ability to manipulate time. Prisoner of Ice The player travels back in time to reveal crucial information to the player, and to prevent his own death. Professor Layton and the Unwound Future The story is set in motion by a letter from ten years in the future and a failed time machine demonstration. Quantum Break Radiant Historia Rascal The player travels through time to save his father from aliens. The main weapon of the game is a gun that transports enemies to different timelines. Ratchet and Clank Future: A Crack In Time Throughout the game, the protagonists make use of various time travel elements, using a gigantic mechanism known as the Great Clock, which regulates time across the universe. In one instance, Ratchet goes back in time two years to find out what happened to Clank's father, and in another the duo travel back ten years to alter the outcome of a large battle on planet Morklon. Rift As part of the tutorial area of the Defiant faction. Robotrek In this Super NES game, after the player fights the boss Blackmore at the air base, the base blows up, sending the player to the past of Rococo, with the option to alter the past. Rock of Ages This game follows the story of Sisyphus as he travels through time from ancient Greece through the Middle Ages, Renaissance, and more, ending up in the Romantic era. Sam & Max Season Two, , "Chariots of the Dogs" (and to a lesser extent "What's New, Beelzebub?" and "Ice Station Santa") all have time travel in them. Serious Sam series –present The games First Encounter, Second Encounter, and Next Encounter involve a hero from the future sent back in time by means of ancient Sirian alien technology in order to find a means to reach the homeworld of the alien overlord Mental, who has ravaged Earth in the future. Sam visits ancient Egypt, Incan ruins, English villages, Chinese cities and Roman temples, albeit sometime after their respective civilizations have died off. Serious Sam 2 abandons the time travel theme in favor of various planets. Shadow of Memories The main character has to travel back in time to prevent his own death and discover his assailant's identity and motive. Shiren the Wanderer 3: The Sleeping Princess and the Karakuri Mansion Before Shiren, Koppa and Asuka enter the Karakuri Mansion for the first time, Shiren gets hallucinated by a mysterious girl and travels 1, years in the past, with Koppa, under a different body. The Silent Age A point-and-clickpuzzle video game, where Joe, a janitor working for the fictional multi-million corporation known as Archon, have to save mankind from an imminent plague by using time travel. Singularity In the game, the main character (Captain Nathaniel Renko) acquires the TMD (Time Manipulation Device), created by Dr. Viktor Barisov. Using various time rifts around the island of Katorga, the player travels between and to save the timeline from the evils of Dr. Demichev. Sly Cooper: Thieves in Time Sly, Bentley and Murray have to travel in time in order to save Sly's ancestors from an unknown threat. Sonic Generations With some help, Eggman sends Sonic and his friends back in time. Several main characters meet up with their past selves to get through reimaginings of older games' stages, as well as to defeat Eggman and his past counterpart. The Time Eater brings them to their final destination as Sonic and his past self become Super Sonic to defeat it. Sonic the Hedgehog The main antagonist is Solaris, a sun god with absolute control of time. In addition, one of its split forms, Mephiles, is capable of time travelling and has the additional ability of creating time portals when used by two users simultaneously. Sonic the Hedgehog CD Sonic can travel to the past and future of each Zone in the game by running at top speed in tandem with energy of the time warp for a set amount of time. The goal in each stage is to destroy a machine that the antagonist, Robotnik "Eggman", has placed in the past in order to conquer the future. The future of each Zone will change from "bad" (default, ruined future) to "good" (lively and happy) if the machines are destroyed. Space Quest IV: Roger Wilco and the Time Rippers An unusual example, the titular protagonist is sent to past and future iterations of his own game series, including Space Quests I, III, X and XII. The game treats each time period as a separate location, and Roger is never in any danger of creating a paradox, though this changes in the next game, in which he has to ensure the safety of his future wife so that his yet-unborn son can travel back in time to save him at the start of Space Quest IV. Spider-Man: Edge of Time Set between and , Peter Parker and Miguel O'Hara, the Spider-Men of their respective eras, face a foe who has changed history to ensure his own rise to power, and find themselves working across time to undo the changes to history that will result in Peter Parker dying that night. During the game, the time portal created to change history results in actions in the past immediately affecting the future, such as Parker destroying the prototype of the robot guards currently attacking O'Hara in and thus erasing them from history. The final villain is revealed to be the corrupted version of Peter Parker in , attempting to rewrite history, but he is defeated when the two Spider-Men work together. Star Ocean Star Trek Online–Present Multiple uses of the slingshot method from the Video series. End game focuses on a Time War to keep the timeline intact. Steins;Gate The protagonist, Rintaro Okabe, and his group of friends accidentally create a microwave that can send text messages into the past. Once the messages are sent, Okabe travels between "world lines" and enters the Alpha Timeline where he meets a person using the name John Titor as an alias. Okabe learns that in the year , the world is a dystopia governed by SERN (fictional representation of the actual CERN) and Okabe has to redo the messages he sent to reach the Beta Timeline. As soon as he reverses the world and enters the Beta Timeline, he must travel into the Steins Gate world line in order to prevent World War III. Tales of Phantasia This game features time travel both to the past and the future, using ancient technology. Teenage Mutant Ninja Turtles: Turtles in Time The Turtles must battle their way through time before confronting Krang and Shredder. Thief: Deadly Shadows This game features time travel to the past in the mission "Shalebridge Cradle." Time Commando The game takes place in the near future. The military, with the help of a private corporation, has created a computer capable of simulating any form of combat from any point in history. However, a programmer from a rival corporation infects the system with a virus that creates a time-distortion vortex, which threatens to swallow the world if it is not destroyed. The player controls Stanley Opar, a S.A.V.E (Special Action for Virus Elimination) operative at the center who enters the vortex to try and stop the virus. In order to accomplish this, the player must combat various real-life enemies throughout different time periods. Time Gal Time-Gate The protagonist must travel back through the time-gates to the year before the Squarm invaded, then destroy them to retroactively prevent the invasion. Time Gate: Knight's chase The player time travels from present-day Paris to medieval France to save his girlfriend. Time Hollow Using his "Hollow Pen" the main character can draw holes in time to reach through to place or remove objects which affect past events, causing paradox. People who pass through these holes become displaced in time and suffer ill effects. Timeline Based on Michael Crichton's novel of the same name, the game focuses on the main character traveling back to 14th century France to find another researcher that used the same machine. Time Lord Time Machine A professor is lost in the depths of time as terrorists ransack his laboratory, blowing up his time machine. The professor must help out the fledgling mankind to evolve and grow civilized. Time Pilot The player assumes the role of a pilot of a futuristic fighter jet, trying to rescue fellow pilots trapped in different time eras. Timequest The player must travel to various times and places to fix ten key historical events that have been altered by a rogue agent of the Temporal Corps, a branch of the military c. AD that is dedicated to preventing misuse of time travel technology. Events span from Babylon c. BC to World War II-era Rome, with several quests involving multiple trips to several different eras (e.g. using fireworks from 9th-century China, lit with a lighter from , to convince Attila the Hun not to attack Rome in AD). Time Slip A scientist has to go back in time to stop an alien invasion. Time Soldiers Two soldiers must travel through various time periods to rescue their comrades. TimeSplitters series - The player must travel to the past and the future to destroy an evil race of beings called TimeSplitters. The most notable game in the series is TimeSplitters: Future Perfect, in which the player must help both their past and future selves solve puzzles and defeat enemies. Time Traveler In this text adventure, the player has to travel back in time to different eras and places in order to obtain 14 rings. Time Traveler Time Twist: Rekishi no Katasumi de Time Zone Titanfall 2 Titanic: Adventure Out of Time A former British secret agent is sent back in time to the RMS Titanic and must complete a previously failed mission to prevent World War I, the Russian Revolution, and World War II. Where in Time Is Carmen Sandiego? The game and its two derivative television series (Where in Time Is Carmen Sandiego? and Where on Earth Is Carmen Sandiego?) extensively feature time travel. World War Alpha A follow-up to Sure Shot 3D and Wrecked (developer Mat Dickie's prior games), the story centers on a modern army lead by General Paramount sent years into the past on a mission to conquer the world, players can play as the ancient coalition (made up of medieval Knights, Roman Centurians, Ancient Egyptians, Arab Soldiers, Samurai, Native Americans and Tribal Africans) or the modern army, the 2D remake "Back Wars" follows the same premise. World of Warcraft and its subsequent expansion sets –present In this MMORPG, players can visit the Caverns of Time, where they can travel in time to key historical periods of the world of Azeroth. During the Warlords of Draenor expansion, players ventured to an alternate-universe Draenor set 35 years into the past in order to stop the invasion of the Iron Horde into the present day, main-universe Azeroth. Worms 4: Mayhem At the start of the second chapter, Professor Worminkle and his classmates; which are the player's worm team, board his time machine to escape the government agents, which they travel to the Medieval times, the Wild West, the Arabian Nights, and the Prehistoric period. XZR XZR II Zero Escape: Virtue's Last Reward The protagonist Sigma's consciousness is transported 45 years into the future, where a viral pandemic has killed most of the Earth's population. The antagonist Zero III places him in a death game to train him so that he can go back in time and prevent the catastrophe. Zero Time Dilemma Two characters are time travelers who have sent their consciousnesses back 45 years to prevent a viral pandemic from destroying human civilization. Most of the game's characters are powerful psychics capable of jumping between alternate timelines at will, and use this ability to survive a death game. Zoda's Revenge: StarTropics II
Источник: [cromwellpsi.com]
, 5 Realms of Cards N/A serial key or number

List of Bionicle media

The cover of Bionicle Super Chapter Book #1: Raid on Vulcanus.

Aside from the toys in the LegoBionicle franchise, Lego has also marketed an ongoing book series, several video games (mostly for the Game Boy Advance), and four computer-animated movies which feature important plot points. A Bioniclecomic book was also published by DC Comics and made available free to members of the Lego Club with some issues of the Lego Magazines. Some comic issues were also posted on the official Bionicle website, cromwellpsi.com There are also various other ancillary products available, such as watches, toothbrushes, and backpacks, as well as online adventure games. Much of the additional content for Generation 1 that was originally available on the now inactive official websites cromwellpsi.com and cromwellpsi.com is now available on an unofficial website called BioMedia Project.

Books[edit]

Novels[edit]

Bionicle Chronicles[edit]

Bionicle Adventures[edit]

Bionicle Legends[edit]

Bionicle Super Chapter books[edit]

Lego Bionicle chapter books[edit]

Collected[edit]

TitleAuthorPublication dateISBN
Chronicles CollectionCathy Hapka, Greg FarshteyMarch 13, ISBN&#;
Adventures: Volume 1Greg FarshteyJanuary 1, ISBN&#;

Young Readers series[edit]

Guidebooks[edit]

Activity books[edit]

Comics[edit]

Bionicle[edit]

No. Title Sub-series Publication date Writer Artist
1 The Coming of the ToaN/A June Greg FarshteyCarlos D'Anda
2 Deep into DarknessJuly
3 Triumph of the ToaOctober
4 The Bohrok AwakeThe Bohrok SagaJanuary
5 To Trap a TahnokApril
6 Into the NextMay
7 What Lurks BelowJuly
8 The End of the Toa?September
9 Divided We FallNovember
10 Powerless!N/A January Randy Elliott
11 A Matter of TimeMarch
12 Absolute PowerMay
13 Rise of the Rahkshi!July
14 At Last – Takanuva!September
15 Secrets and ShadowsNovember
16 Toa Metru!Metru Nui[c]January
17 Disks of DangerMarch
18 Seeds of DoomMay
19 Enemies of Metru NuiJuly
20 Struggle in the SkySeptember
21 Dreams of DarknessNovember
22 Monsters in the DarkJanuary
23 Vengeance of the VisorakMarch
24 Shadow PlayMay
25 Birth of the RahagaJuly
26 Hanging by a ThreadSeptember
27 FracturesNovember

Ignition[edit]

No. Title Sub-series Publication date Writer Artist
0 [d]IgnitionN/A January N/A Stuart Sayger
1 If a Universe EndsMarch Greg Farshtey
2 Vengeance of AxonnMay
3 ShowdownJuly
4 A Cold Light DawnsSeptember
5 In Final BattleNovember
6 Ignition 6[e]Sea of DarknessJanuary
7 Mask of Life, Mask of DoomMarch
8 Sea of DarknessMay
9 Battle in the Deep!July
10 The Death of Mata NuiSeptember
11 Death of a HeroNovember
12 Realm of FearBattle for Power[f]March Leigh Gallagher
13 Swamp of SecretsJuly
14 EndgameSeptember
15 Mata Nui RisingNovember

Glatorian[edit]

No. Title Sub-series Publication date Writer Artist
1 Sands of Bara MagnaN/A January Greg Farshtey Pop Mhan
2 The Fall of AteroMarch
3 A Hero RebornJuly
4 Before the StormSeptember
5 Valley of FearNovember
6 All That GlittersJourney's EndJanuary
7 RebirthMarch

Films[edit]

Title U.S. release date Director(s) Screenwriter(s) Production studio
Bionicle: Mask of LightSeptember 16, Terry Shakespeare, David Molina Alastair Swinnerton, Henry Gilroy, Greg WeismanCreative Capers Entertainment
Bionicle 2: Legends of Metru NuiOctober 19, Henry Gilroy, Greg Klein, Tom Pugsley
Bionicle 3: Web of ShadowsOctober 11, Brett Matthews
Bionicle: The Legend RebornSeptember 16, Mark Baldo Greg FarshteyThreshold Animation Studios

Notes

  • The Legend Reborn was originally planned as the first film in a new trilogy, but its sequels were scrapped following Lego's decision to discontinue the Bionicle toy line.
  • A film based on Bionicle's storyline was planned prior to the franchise's launch, but never reached production.
  • The soundtracks for the first three films, composed by Nathan Furst, were each digitally released in

TV series[edit]

SeriesSeasonEpisodesOriginally airedShowrunner(s)
First airedLast airedNetwork
Lego Bionicle: The Journey to One14 (+ 1 prologue)March&#;4,&#;&#;()July&#;29,&#;&#;()NetflixMathieu Boucher, Jean-Fraçois Tremblay

Graphic novels[edit]

Generation 1[edit]

  1. Rise of the Toa Nuva – The Toa Mata arrive on Mata Nui—but is it already too late?
  2. Challenge of the Rahkshi – The Toa Nuva have to fight Rahkshi and Bohrok-Kal to prepare for the coming of the seventh Toa.
  3. City of Legends – The Toa Metru fight to save their city from a terrible evil.
  4. Trial by Fire – The Toa Metru, mutated into Toa Hordika, must save the Matoran, defeat the Visorak, and find the legendary Keetongu before they become beasts.
  5. The Battle of Voya Nui – The Toa Inika must fight the evil Piraka to save the Great Spirit's life.
  6. The Underwater City – The Toa Inika have to retrieve the Mask of Life from The Pit before it is too late.
  7. Realm of Fear – The Toa Nuva have to fight the Brotherhood of Makuta to save a lost Matoran tribe and awaken Mata Nui.
  8. Legends of Bara Magna – Old stories of Bara Magna will be revealed.
  9. The Fall of Atero – The Bara Magna residents fight for their freedom against the Skrall.

Generation 2[edit]

  1. "Gathering of the Toa" – The Toa arrive on the Island of Okoto and battle the evil Skull Spiders.
  2. "Battle of the Mask Makers" – The story of events leading up to Ekimu and Makuta's confrontation centuries before the Toa arrived.
  3. A third graphic novel was planned, but was ultimately never released.

Cancelled graphic novels[edit]

  1. Power of the Great Beings (Issue #10) – Mata Nui must find out the dark secrets of his creators, the Great Beings, and save Bara Magna from a force so evil, it could destroy the entire planet. The project was cancelled while it was a third of the way through.
  2. Journey's End (Issue #11) – An eleventh graphic novel by the name of Journey's End was planned in advance of the release of the tenth graphic novel. Upon the cancellation of Power of the Great Beings, plans for Journey's End between Papercutz and the Lego Company were abandoned. It would have included the last 2 Bionicle comics and a few Post-Journey's End stories.

Games[edit]

There are also several video games based on Bionicle.

Generation 1[edit]

  1. Lego Bionicle: Quest for the Toa &#; released for Game Boy Advance in ; is also known as "Tales of the Tohunga" ("Tohunga" being an early word for "Matoran"). It acts as a prelude to the Bionicle saga, telling how Takua gathered the Toa stones and summoned the Toa Mata to Mata Nui. Unlike most games, it is considered canon.
  2. Mata Nui Online Game &#; Considered to be one of the best Bionicle stories in the whole franchise, MNOG was episodically released onto cromwellpsi.com from January to December of It continues the story of Tales of the Tohunga and follows Takua (known in-game as "The Chronicler") as they journey around Mata Nui. The game was removed from cromwellpsi.com in , but returned as a download in due to high demand from fans.
  3. Mata Nui Online Game II &#; released on the LEGO Bionicle website, it is the sequel to the Mata Nui Online Game and takes place before and during the events of Bionicle: Mask of Light, in which you play as Hahli of Ga-Koro.
  4. Bionicle: Matoran Adventures &#; released for Game Boy Advance in , you play as Matoran fighting against the Bohrok swarms.
  5. Bionicle: The Game &#; released for PC, PlayStation 2, Xbox, GameCube, and Game Boy Advance in ; this is a video game adaptation of the first movie, Mask of Light.
  6. Bionicle: Maze of Shadows &#; released for Game Boy Advance in , this game expands on the story of Bionicle Adventures #6: Maze of Shadows.
  7. Bionicle Heroes &#; was released for PC, PlayStation 2, Xbox , Gamecube, Game Boy Advance, and Nintendo DS in November , with a Wii version released later in In the game you play as both the Toa Inika and the Piraka. It was produced by TT Games, the team behind the Lego Star Wars games.

Generation 2[edit]

  1. Bionicle: Mask of Creation &#; released for iOS devices in
  2. Bionicle: Mask of Control &#; released for iOS devices in

Canceled Bionicle games[edit]

  1. Lego Bionicle: The Legend of Mata Nui was planned to be released for PC and would have covered the events of the storyline. The player would have been able to play as each of the six Toa Mata, exploring the island and battling Rahi. Though widely marketed and advertised in the months leading up to its original September release date, the game was suddenly and unceremoniously cancelled by LEGO. Varying reasons for this cancellation were circulated, not least of which revolved around the recent September 11th terror attacks, and subsequently that LEGO thought Legend of Mata Nui was too violent a game to be released to a North American audience so soon after the attack on the World Trade Center. However, according to interviews with former Saffire, Inc. developers, many former members of Legend's development team do not believe this to be the case. In the late 90s and early s, LEGO's various media departments were used to regular mass employee turnover, often to the frustration of LEGO's contracted development studios. Former Saffire, Inc. developers say this was a key reason Legend of Mata Nui was canned. In a shift in LEGO's management allowed for a pitch from eventual Bionicle: The Game developer Argonaut Games to catch LEGO's eye, and combined with Saffire's well-known financial woes led LEGO to pull the plug on Legend's development.[1] In communication with Bionicle fan forum cromwellpsi.com, a LEGO employee only specified as "Michael" cited Legend's chip compatibility and the timing of the release as reasons for the cancellation.[2] In February , a functioning alpha build of the game was recovered[3] and through the diligent work of fan developers a beta version of the game was released to the public on May 12, [4]
  2. Bionicle: City of Legends was a planned sequel to Bionicle: The Game set for release in Intended to tie in to the "Metro Nui" storyline, it is presumed that players would control the Toa Metru. Argonaut Games liquidation prevented City of Legends from being completed, but a small playable tech demo exists.

Trading card game[edit]

During the first year of the BIONICLE toyline, in , McDonald's distributed packets of cards with their 'kids' meals. There were five cards in each one: four regular, and one holographic or "special" card. The packet came with a mini comic that had an instruction booklet telling the person how to play the game. There was another card game that was sold (instead of collected, like the above) which included a board along with other accessories to play the game.

In LEGO also distributed the "Phantoka Trading Card Game", which were given away for free in little packages which included about six trading cards with a picture and information of one of the Toa Nuva, Makuta, Av-Matoran or Shadow Matoran. The package also included one holographic card, which featured the combination of a Phantoka and a Matoran. The packages were given away for free in many toy stores in Europe if you bought a Phantoka set.

More media[edit]

Besides the movies, books, comics, et cetera, there are other ways parts of the Generation 1 story have been told. Much of this content is now available on the unofficial BioMedia Project website.

Reading materials[edit]

cromwellpsi.com had some information about parts of the Generation 1 story, including some character biographies.

cromwellpsi.com had several sections containing information about the Generation 1 characters, locations, and more. Among the offerings were also story serials and "blog" chapters, the latter being each one or two pages of story text styled as a journal entry from one of the fictional Bionicle characters.

Audio[edit]

cromwellpsi.com had two downloadable MP3s (as well as two PDF files with the "lyrics" to the MP3s) that describe the rise the giant robotic body of Mata Nui out of its slumber and his exile from said body when Makuta Teridax took it over in the Generation 1 plotline.[5]

cromwellpsi.com also had many podcasts recorded by Bionicle writer Greg Farshtey available for download in the "Latest Story" area of the site that tell much of the Generation 1 story.[6]

On the homepage for cromwellpsi.com, there was a collection of audio recordings, called the Mata Nui Saga, that told some of Mata Nui's story. Each one had a picture, text, and music with it. They were split into thirty-four "chapters."

There were also downloadable songs and other things on the website that were inspired by different sections of the Generation 1 storyline.

Notes[edit]

  1. ^The seventh edition was originally set to be a novel titled Invasion; it was scrapped due to low book sales.
  2. ^Only physically available in Polish. The English version was published chapter-by-chapter onto the official Bionicle website in
  3. ^Issues 16—21 are sub-titled City of Legends.
  4. ^Issue 0 is an exclusive comic featuring an interview with artist Stuart Sayger.
  5. ^Also known as Web Comic due to initially being released online.
  6. ^The script for a scrapped comic that was due to be released between Issues 12—13 was published on the official Bionicle website as Comic .

References[edit]

Источник: [cromwellpsi.com]
5 Realms of Cards N/A serial key or number

The Digital Dilemma: Intellectual Property in the Information Age ()

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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5 &#;
Protecting Digital Intellectual Property:
Means and Measurements

Recent years have seen the exploration of many technical mechanisms intended to protect intellectual property (IP) in digital form, along with attempts to develop commercial products and services based on those mechanisms. This chapter begins with a review of IP protection technology, explaining the technology's capabilities and limitations and exploring the consequences these capabilities may have for the distribution of and access to IP. Appendix E presents additional technical detail, attempting to demystify the technology and providing an introduction to the large body of written material on this subject.

This chapter also addresses the role of business models in protecting IP. Protection is typically conceived of in legal and technical terms, determined by what the law permits and what technology can enforce. Business models add a third, powerful element to the mix, one that can serve as an effective means of making more digital content available in new ways and that can be an effective deterrent to illegitimate uses of IP.

The chapter also considers the question of large-scale commercial infringement, often referred to as piracy. It discusses the nature of the data concerning the rates of commercial infringement and offers suggestions for improving the reported information.

The chapter concludes with a discussion of the increasing use of patents to protect information innovations such as software and Internet business models, and explores the question of whether the patent system is an appropriate mechanism to protect these innovations.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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Technical Protection

The evolution of technology is challenging the status quo of IP management in many ways. This section and Appendix E focus on technical protection services (TPSs) that may be able to assist in controlling the distribution of digital intellectual property on the Internet.1 The focus here is on how technical tools can assist in meeting the objectives stated throughout the report, as well as what they cannot do and what must therefore be sought elsewhere. Appendix Explores how the tools work, details what each kind of tool brings to bear on the challenges described throughout the report, and projects the expected development and deployment for each tool. For ease of exposition,m the presentation in this chapter is framed in terms of protecting individual objects (texts, music albums, movies, and so on); however,many of the issues raised are applicable to collections ( e.g., libraries and databases),2 and many of the techniques discussed are relevant to them as well.

A number of general points are important to keep in mind about TPSs:

• Technology provides means, not ends; it can assist in enforcing IP policy, but it cannot provide answers to social, legal, and economic questions about the ownership of and rights over works, nor can it make up for incompletely or badly answered questions.

• No TPS can protect perfectly. Technology changes rapidly, making previously secure systems progressively less secure. Social environments also change, with the defeat of security systems attracting more (or less) interest in the population. Just as in physical security systems, there are inherent trade-offs between the engineering design and implementation quality of a system on the one hand and the cost of building and deploying it on the other. The best that can be hoped for is steady improvement in TPS quality and affordability and keeping a step ahead of these bent on defeating the systems.

1Note that the phrase "technical protection services" is used deliberately. Although it is tempting to talk about technical protection systems&#;packages of tools integrated into digital environments and integrated with each other&#;the committee believes that such systems are difficult to implement reasonably in the information infrastructure, an open network of interacting components, lacking boundaries that usefully separate inside and outside. In this environment it is better to talk about technical protection services; services; each service will be drawn on by information infrastructure components and will generally interact with other services.

2For example, as reported by a committee member, in February the special assistant to the director of Chemical Abstracts Service (CAS) indicated that there were one to three "hacking" attempts per day to get into the CAS database.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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• While technical protection for intellectual property is often construed as protecting the rights of rights holders to collect revenue, this viewpoint is too narrow. Technical protection offers additional important services, including verifying the authenticity of information (i.e., indicating whether it comes from the source claimed and whether it has been altered&#;either inadvertently or fraudulently). Information consumers will find this capability useful for obvious reasons; publishers as well need authenticity controls to protect their brand quality.

• As with any security system, the quality and cost of a TPS should be tailored to the values of and risks to the resources it helps protect: The newest movie release requires different protection than a professor's class notes.

• Again, as with any security system, there are different degrees of protection. Some TPSs are designed to keep honest people honest and provide only a modest level of enforcement; more ambitious uses seek to provide robust security against professional pirates.

• As with any software, TPSs are subject to design and implementation errors that need to be uncovered by careful research and investigation. Professional cryptologists and digital security experts look for flaws in existing services in order to define better products.

• TPSs almost invariably cause some inconvenience to their users. Part of the ongoing design effort is to eliminate such inconvenience or at least to reduce it to tolerable levels.

• The amount of inconvenience caused by a TPS has been correlated historically with its degree of protection. As a result, in the commercial context, overly stringent protection is as bad as inadequate protection: In either extreme&#;no protection or complete protection (i.e., making content inaccessible)&#;revenues are zero. Revenues climb with movement away from the extremes; the difficult empirical task is finding the right balance.

• Protective technologies that are useful within special-purpose devices (e.g., cable-television set-top boxes or portable digital music players) are quite different from those intended for use in general-purpose computers. For network-attached general-purpose computers, software alone cannot achieve the level of technical protection attainable with special-purpose hardware. However, software-only measures will doubtless be in wide use soon.

Here (and in more detail in Appendix E) the committee provides a layman's description of the most important technical protection mechanisms, suggesting how each can be fit into an overall protection scheme, describing the limitations of each, and sketching current research directions. There are several classes of mechanisms:

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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Security and integrity features of computer operating systems include, for example, the traditional file access privileges enforced by the system.

Rights management languages express in machine-readable form the rights and responsibilities of owners, distributors, and users, enabling the computer to determine whether requested actions fall within a permitted range. These languages can be viewed as an elaboration of the languages used to express file access privileges in operating systems.

Encryption allows digital works to be scrambled so that they can be unscrambled only by legitimate users.

Persistent encryption allows the consumer to use information while the system maintains it in an encrypted form.

Watermarking embeds information (e.g., about ownership) into a digital work in much the same way that paper can carry a watermark. A digital watermark can help owners track copying and distribution of digital works.

For effective protection, the developer of an IP-delivery service must choose the right ingredients and attempt to weave them together into an end-to-end technical protection system. The term ''end-to-end" emphasizes the maintenance of control over the content at all times; the term "protection system" emphasizes the need to combine various services so that they work together as seamlessly as possible.

Protecting intellectual property is a variant of computing and communications security, an area of study that has long been pursued both in research laboratories and for real-world application. Security is currently enjoying renewed emphasis because of its relevance to conducting business online.3 While security technology encompasses a very large area, this discussion is limited to describing generally applicable principles and those technical topics relevant to the management of intellectual property.4

As cryptography is an underpinning for many of the other tools discussed, the following section begins with a brief explanation of this technology.5 Next, the techniques that help manage IP within general-

3As the technology needed for IP may not be affordable for IP alone, there is the possibility of a useful coincidence: The technology needed for IP may be largely a subset of what will be needed for electronic commerce. One concrete example is the Trusted Computing Platform Alliance discussed below.

4For example, the committee passed silently over a concern closely related to IP&#;the effect of the digital world on personal privacy&#;because, although there is some intersection of the two sets of issues, they are sufficiently separable and sizable that each is best addressed in its own report.

5A closely related topic, the Public Key Infrastructure&#;a set of emerging standards for distributing, interpreting, and protecting cryptographic keys&#;is primarily of technical interest and is discussed in Appendix E.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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purpose computers are described. Finally the discussion turns to technology that can help in consumer electronics and other special-purpose devices.6

Encryption: An Underpinning Technology for Technical Protection Service Components

Cryptography is a crucial enabling technology for IP management. The goal of encryption is to scramble objects so that they are not understandable or usable until they are unscrambled. The technical terms for scrambling and unscrambling are "encrypting" and "decrypting." Encryption facilitates IP management by protecting content against disclosure or modification both during transmission and while it is stored. If content is encrypted effectively, copying the files is nearly useless because there is no access to the content without the decryption key. Software available off the shelf provides encryption that is for all practical purposes unbreakable, although much of the encrypting software in use today is somewhat less robust.

Many commercial IP management strategies plan a central role for what is called "symmetric-key" encryption, so called because the same key is used both to encrypt and decrypt the content. Each object (e.g., movie, song, text, graphic, software application) is encrypted by the distributor with a key unique to that object; the encrypted object can then be distributed, perhaps widely (e.g., placed on a Web site). The object's key is given only to appropriate recipients (e.g., paying customers), typically via a different, more secure route, perhaps one that relies on special hardware.

One example of an existing service using encryption in this way is pay-per-view television. A program can be encrypted with a key and the key distributed to paying customers only. (The special hardware for key distribution is in the set-top box.) The encrypted program can then safely be broadcast over public airwaves. Someone who has not paid and does not have the key may intercept the broadcast but will not be able to view it.

There is, of course, an interesting circularity in symmetric-key encryption. The way to keep a message secret is to encrypt it, but then you also have to send the decryption key so the message recipient can decrypt the message. You have to keep the key from being intercepted while it is

6Where the text that follows identifies specific commercial products and services, it is solely for the purpose of helping to explain the current state of the art. The committee does not endorse or recommend any specific product or service.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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being transmitted, but if you have a way to do that, why not use that method to send the original message?

One answer is hinted at above: speed. The key (a short collection of digits) is far smaller than the thing being encrypted (e.g., the television program), so the key distribution mechanism can use a more elaborate, more secure, and probably slower transmission route, one that would not be practical for encrypting the entire program.7

Another answer has arisen in the past 20 years that gets around the conundrum&#;a technique called public-key cryptography.8 This technique uses two different keys&#;a public key and a private key&#;chosen so that they have a remarkable property: Any message encrypted with the public key can be decrypted only by using the corresponding private key; once the text is encrypted, even the public key used to encrypt it cannot be used to decrypt it.

The idea is to keep one of these keys private and publish the other one; private keys are kept private by individuals, while public keys are published, perhaps in an online directory, so that anyone can find them. If you want to send a secret message, you encrypt the message with the recipient's public key. Once that is done, only the recipient, who knows the corresponding private key, can decrypt the message. Software is widely available to generate key pairs that have this property, so individuals can generate key pairs, publish their public keys, and keep their private keys private.

As public-key encryption is typically considerably slower (in terms of computer processing) than symmetric-key encryption, a common technique for security uses them both: Symmetric-key encryption is used to encrypt the message, then public-key encryption is used to transmit the decryption key to the recipient.

A wide variety of other interesting capabilities is made possible by public-key systems, including ways to "sign" a digital file, in effect providing a digital signature. As long as the signing key has remained private, that signature could only have come from the key's owner. These additional capabilities are described in Appendix E.

Any encryption system must be designed and built very carefully, as there are numerous and sometimes very subtle ways in which information can be captured. Among the more obvious is breaking the code: If

7The most basic form of "separate mechanism" to send the key is having a codebook of keys hand-carried to the recipient, as has been done for years in the intelligence business. This is not feasible where widescale distribution is concerned.

8The technique was first brought to practical development by R.L. Rivest, A. Shamir, and L.M. Adelman in Rivest et al. (). RSA Security (see <cromwellpsi.com> produces software products based on this development.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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the encryption is not powerful enough, mathematical techniques can be used to decrypt the message even without the key. If the key-distribution protocol is flawed, an unauthorized person may be able to obtain the key via either high technology (e.g., wiretapping) or "social engineering" (e.g., convincing someone with access to the key to supply it, a widely used approach). If the system used to read the decrypted information is not designed carefully, the decrypted information may be left accessible (e.g., in a temporary file) after it has been displayed to the user. The point to keep in mind is that cryptography is no magic bullet; using it effectively requires both considerable engineering expertise and attention to social and cultural factors (e.g., providing incentives for people to keep messages secret).9

Access Control in Bounded Communities

Perhaps the most fundamental form of technology for the protection of intellectual property is controlling access to information (i.e., determining whether the requester is permitted to access the information). A basic form of such control has been a part of the world of operating systems software almost from the time operating systems were first implemented, offering limited but useful security. In its simplest form, an access control system keeps track of the identity of each member of the user community, the identities of the data objects, and the privileges (reading, altering, executing, and so on) that each user has for each object. The system consults this information whenever it receives a service request and either grants or denies the request depending on what the privilege indicates.

Existing access control, however, offers only a part of what is needed for dealing with collections of intellectual property. Such systems have typically been used to control access to information for only relatively short periods such as a few years, using only a few simple access criteria (e.g., read, alter, execute), and for objects whose owners are themselves users and who are often close at hand whenever a problem or question arises.

In contrast, access control systems for intellectual property must deal with time periods as long as a century or more and must handle the sometimes complex conditions of access and use. A sizable collection&#;as indeed a digital library will be&#;also needs capabilities for dealing with hundreds or thousands of documents and large communities of users (e.g., a college campus or the users of a large urban library).

Such systems will thus need to record the terms and conditions of access to materials for decades or longer and make this information acces-

9See, for example, CSTB ().

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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sible to administrators and to end users in ways that allow access to be negotiated. This raises interesting questions of user authentication: For example, is the requester who he says he is? Does he have a valid library card? It also raises issues of database maintenance: For example, collections change, rights holders change, and the user community changes as library cards expire. Many other questions must be addressed as well so that systems work at the scale of operation anticipated. Some work along these lines has been done (e.g., Alrashid et al., ), but a considerable amount of development work is still needed.

Some attempts have also been made to represent in machine-readable form the complex conditions that can be attached to intellectual property. This is the focus of what have been called rights management languages, which attempt to provide flexible and powerful languages in which to specify those conditions DPRL (Ramanujapuram, ), for example, attempts to offer a vocabulary in which a wide variety of rights management terms and conditions can be specified.

An important characteristic of these languages is that they are machine-readable (i.e., the conditions can be interpreted by a program that can then grant or deny the desired use). This is superficially the same as a traditional operating system, but the conditions of access and use may be far more complex than the traditional notions used in operating systems. In addition, as will be shown below, these languages are quite useful outside the context of bounded communities. Finally, although large-scale systems have yet to be deployed, rights management language design is not perceived as a roadblock to more robust TPSs.

Enforcement of Access and Use Control in Open Communities

Access control systems of the sort outlined above can be effective where the central issue is specifying and enforcing access to information,

10MPEG-4 offers a general framework of support for rights management, providing primarily a structure within which a rights management language might be used, rather than a language itself. It is nonetheless interesting, partly because it represents the growing recognition that rights management information can be an integral part of the package in which content is delivered. The standard specifies a set of IP management and protection descriptors for describing the kind of protection desired, as well as an IP identification data set for identifying objects via established numbering systems (e.g., the ISBN used for books). Using these mechanisms, the content providers can specify whatever protection strategy their business models call for, from no protection at all to requiring that the receiving system be authorized via a certified cryptographic key, be prepared to communicate in an encrypted form, and be prepared to use a rights management system when displaying information to the end user. For additional information on MPEG-4, see Konen () and Lacy et al. ().

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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as is typically true in bounded communities represented by, for example, a single corporation or a college campus. In such communities much greater emphasis is placed on questions of original access to information than on questions of what is done with the information once it is in the hands of the user. The user is presumed to be motivated (e.g., by social pressure or community sanctions) to obey the rules of use specified by the rights management information.

A larger problem arises when information is made accessible to an unbounded community, as it is routinely on the Web. The user cannot in general be presumed to obey rules of use (e.g., copyright restrictions on reproduction); therefore, technical mechanisms capable of enforcing such rules are likely to be needed.

A variety of approaches has been explored. The simpler measures include techniques for posting documents that are easily viewed but not easily captured when using existing browsers. One way to do this uses Java routines to display content rather than the standard HTML display. This gives a degree of control over content use because the display can be done without making available the standard operating system copy-and-paste or printing options. A slightly more sophisticated technique is to use a special format for the information and distribute a browser plug-in that can view the information but isn't capable of writing it to the disk, printing, and so on. Knowledgeable users can often find ways around these techniques, but ordinary users may well be deterred from using the content in ways the rights holder wishes to discourage.

There are also a number of increasingly complex techniques for controlling content use that are motivated by the observation made earlier, that digital IP liberates content from medium&#;the information is no longer attached to anything physical. When it is attached to something physical, as in, say, books or paintings, the effort and expense of reproducing the physical object offers a barrier to reproduction. Much of our history of and comfort with intellectual property restrictions is based on the familiar properties of information bound to physical substrates. Not surprisingly, then, some technical protection mechanisms seek to restore these properties by somehow "reattaching" the bits to something physical, something not easily reproduced. The description that follows draws on features of several such mechanisms as a way of characterizing this overall approach.

Encryption is a fundamental tool in this task. At a minimum, encryption requires that the consumer get a decryption key, without which a copy of the encrypted content is useless. Buy a digital song, for example, and you get both an encrypted file and a password for decrypting and playing the song.

But this approach secures only the original access to the content and

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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its transit to the consumer. Two additional problems immediately become apparent. First, the content is still not "attached" to anything physical, so the consumer who wished to do so could pass along (or sell) to others both the encrypted content and the decryption key. Second, the consumer could use the key to decrypt the content, save the decrypted version in a file, and pass that file along to others.

There are several ways to deal with the first problem that involve "anchoring" the content to a single machine or single user. One technique is to encode the identity of the purchaser in the decryption key, making it possible to trace shared keys back to their source. This provides a social disincentive to redistribution A second technique is for the key to encode some things about the identity of one particular computer, such as the serial number of the primary hard drive, or other things that are unlikely to change The decryption software then checks for these attributes before it will decrypt the content. A third technique calls for special hardware in the computer to hold a unique identifier that can be used as part of the decryption key. Some approaches call for this hardware to be encased in tamper-resistant cases, to discourage tampering even by those with the skill to modify hardware. One form of tamper resistance involves erasing the key if any attempt is made to open or manipulate the chip containing it.

Whatever the approach, the intended result is the same&#;the content can be decrypted only on the machine for which the decryption has been authorized.

But even this protection alone is not sufficient, because it is not persistent. The consumer may legally purchase content and legally decrypt it on her machine, then (perhaps illegally) pass that on to others who may be able to use the information on their machines. The final technological step is to reduce the opportunities for this to happen. Two basic elements are required: (1) just-in-time and on-site encrypting and (2) close control of the input/output properties of the machine that will display the content. Decrypting just in time and on site means that the content is not decrypted until just before it is used, no temporary copies are ever stored, and the information is decrypted as physically close to the usage site as possible. An encrypted file containing a music album, for instance, would not be entirely decrypted and then played, because a sophisticated pro-

11This also has privacy implications that consumers may find undesirable.

12Hard drives typically have serial numbers built into their hardware that can be read using appropriate software but cannot be changed. However, because even hard disks are replaced from time to time, this and all other such attempts to key to the specific hardware will fail in some situations. The idea of course is to select attributes stable enough that this failure rarely occurs.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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grammer might find a way to capture the temporary decrypted file. Instead, the file is decrypted "on the fly" (i.e., as each digital sample is decrypted, it is sent to the sound-generation hardware), reducing the ease with which the decrypted sample can be captured. On-site decryption involves placing the decryption hardware and the sound-generation hardware as physically close as possible, minimizing the opportunity to capture the decrypted content as it passes from one place to another inside (or outside) the computer

Some playback devices are difficult to place physically near the computer's decryption hardware. For example, digital camcorders, digital VCRs, digital video disk (DVD) movie players, and so on all require cables to connect them to the computer, which means wires for interconnection, and wires offer the possibility for wiretapping the signal.

One approach to maintaining on-site decryption for peripheral devices is illustrated by the Digital Transmission Content Protection (DTCP) standard, an evolving standard developed through a collaboration of Hitachi, Intel, Matsushita, Sony, and Toshiba (see Box ). The computer and the peripheral need to communicate to establish that each is a device authorized to receive a decryption key. The key is then exchanged in a form that makes it difficult to intercept, and the content is transmitted over the wire in encrypted form. The peripheral device then does its own on-site decryption. This allows the computer and peripheral to share content yet provides a strong degree of protection while the information is in transit to the decryption site.

But even given just-in-time and on-site decryption, a sophisticated programmer might be able to insert instructions that wrote each decrypted unit of content (e.g., a music sample) to a file just before it was used (in this case sent to the sound-generation hardware). Hence, the second basic element in providing persistent encryption is to take control of some of the routine input and output (I/O) capabilities of the computer. There are a number of different ways to attempt this, depending partially on the degree to which the content delivery system is intended to work on existing hardware and software.

The largest (current) market is of course for PCs running off-the-shelf operating systems (such as Windows, Mac, and Linux). In that case the content delivery system must use the I/O routines of the existing operating system. The difficulty here is that these routines were not designed to hide the information they are processing. As a result, using an existing operating system opens another door to capturing the decrypted content.

13Information may be captured by physically wiretapping the cables that route signals inside and outside the computer.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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BOX
Characteristics of the DTCP Copy Protection Standard

Copy control information (CCI). Rights holders need a way to specify how their content can be used. The system offers three distinct copy control states included in the data signature&#;no copies permitted, one copy permitted and data not protected. Compliant copy control devices must be able to extract from the copyrighted material and act in accordance with the contained instruction. Note that view of time-shifted content using a digital recorder is not possible material marked as "no copies permitted," The one-copy state has been specifically created to allow digital recorder time shifting.

Device authentication and key exchange. Before sharing valuable information, a connected device must first verify that another connected device is authentic. This layer defines the set of protocols used to ensure the identity, authenticity and compliance of affected devices prior to the transfer of any protected material

Content encryption Protected data is encrypted for transmission to reduce the opportunity for unauthorized access to the material. Encryption is necessary because data placed on the wire is (often) simultaneously to all connected devices, not just the one device for which it is intended. Encrypting the data with keys known only to the sending and receiving devices protects the data while it is in transit.

System renewability. System renewability ensures long-term integrity of the system through the revocation of compromised devices.

NOTE: See <cromwellpsi.com> for additional information.

Content delivery systems that wish to work in the environment of such operating systems attempt, through clever programming, to reduce the opportunities to capture the decrypted information while the operating system is performing output. But given existing operating systems, abundant opportunities still exist for a sophisticated programmer.

More complex proposals call for replacing parts of, or even the entire, operating system, possibly right down to the BIOS, the basic input/output routines embedded in read-only memory in the computer hardware. Such computers would instead use specially written routines that will not read or write without checking with the decryption hardware on the computer to ensure that the operation is permitted under the conditions of use of the content. This more ambitious approach faces the substantial problem of requiring not only the development of a new and complex operating system but the widespread replacement of the existing installed base as well. This clearly raises the real possibility of rejection by consumers.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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The final problem is the ultimate delivery of the information: Music must be played, text and images displayed, and so on. This presents one final, unavoidable opportunity for the user to capture the information. The sophisticated owner of a general-purpose computer can find ways to copy what appears on the screen (e.g., screen capture utilities) or what goes into the speakers (connect an analog-to-digital converter to the speaker wires). As is usual in such matters, the expectation is that this will be tedious enough (capturing a long document screenful by screenful), complex enough (hooking up the converter), or of sufficiently low quality (the captured speaker signal is not identical to the digital original) that all but the most dedicated of thieves will see it as not worth the effort. Nevertheless, those who place substantial faith in elaborate TPSs should keep in mind the necessity of presenting information to the user and the opportunity this provides for capture.

More generally, because all protection mechanisms can eventually be defeated at the source (e.g., as it was with a2b encoding and Windows Media; see Chapter 2), the key questions concern trade-offs of cost and effectiveness. A good mechanism is one that provides the degree of disincentive desired to discourage theft but remains inexpensive enough so that it doesn't greatly reduce consumer demand for the product. A good deal more real-world experience is needed before both vendors and consumers can identify the appropriate trade-offs.

Currently, any system aiming to provide substantial technical protection will rely on encryption, anchoring the bits to a specific machine, and making encryption persistent through just-in-time decryption and low-level control of I/O. Systems using one or more of these ideas are commercially available, and others are under active development. Music delivery systems such as AT&T's a2b and Liquid Audio's Liquid Player, for example, are commercially available. InterTrust, IBM, and Xerox are marketing wide-ranging sets of software products aimed at providing persistent protection for many kinds of content Similar efforts currently under development include the Secure Digital Music Initiative (discussed in Chapter 2) aimed at providing a standard for protecting music.

Copy Detection in Open Communities: Marking and Monitoring

When a valuable digital object is not encrypted and is outside the sphere of control of its rights holder, the only technical means of hinder-

14See <cromwellpsi.com> for information about a2b, <cromwellpsi.com> for information about Liquid Audio, <cromwellpsi.com> for information on the IBM products, <cromwellpsi.com> for information on InterTrust offerings, and <cromwellpsi.com> for information on Xerox's offerings.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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ing misuse is to change it in ways that discourage wrongdoing or facilitate detection. A variety of approaches have been used to accomplish these goals. One technique calls for releasing only versions of insufficient quality for the suspected misuses. Images, for example, can be posted on the Web with sufficient detail to determine whether they would be useful, for example, in an advertising layout, but with insufficient detail for reproduction in a magazine.

Another technique embeds in the digital document information about ownership, allowed uses, and so on. One of the simplest and most straightforward ways to do this is by labeling the document in a standard way (so the label can be found) and in a standard vocabulary (so the terms of use may be widely understood). In its simplest format, a digital label could take the form of a logo, trademark, or warning label (e.g., ''May be reproduced for noncommercial purposes only"). Labels are intended to be immediately visible and are a low-tech solution in that they are generally easily removed or changed, offering no enforcement of usage terms.

Labels could, nevertheless, ease the problem of IP management, at least among the (fairly large) audience of cooperative users. Consider the utility of having every Web page carry a notice in the bottom right corner that spelled out the author's position on use of the page. Viewers would at least know what they could do with the page, without having to guess or track down the author, allowing cooperative users to behave appropriately. Getting this to work would require spreading the practice of adding such information, so that authors did it routinely, and some modest effort to develop standards addressing the kinds of things that would be useful to say in the label. There is an existing range of standard legal phrases.

A second category of label attached to some digital documents is a time stamp, used to establish that a work had certain properties (e.g., its content or the identity of the copyright holder) at a particular point in time. The need for this arises from the malleability of digital information. It is simple to modify both the body of a document and the dates associated with it that are maintained by the operating system (e.g., the creation date and modification date).

Digital time stamping is a technique that affixes an authoritative, cryptographically strong time stamp to digital content; the label can be used to demonstrate what the state of the content was at a given time. A third-party time-stamping service may be involved to provide a trusted source for the time used in the time stamp. Time-stamping technology is not currently widely deployed

15Some products do exist, including WebArmor (see <cromwellpsi.com> and Surety's Digital Notary Service (see <cromwellpsi.com>.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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Where the labels noted above are separate from the digital content, another form of marking embeds the information into the content itself. Such digital alterations are called watermarks and are analogous to watermarks manufactured into paper. An example cited earlier described how a music file might be watermarked by using a few bits of some music samples to encode ownership information and enforce usage restrictions. The digital watermark may be there in a form readily apparent, much like a copyright notice on the margin of a photograph; it may be embedded throughout the document, in the manner of documents printed on watermarked paper, or it may be embedded so that it is normally undetected and can be extracted only if you know how and where to look, as in the music example Visible watermarks are useful for deterrence, invisible watermarks can aid in proving theft, and a watermark distributed through a document can by design be difficult to remove, so that it remains detectable even if only part of the document is copied.

The objectives, means, and effectiveness of marking technologies depend on a number of factors. Designing an appropriate watermark means, for instance, asking what mix is desired of visibility (Should the mark be routinely visible?), security (How easy is it to modify the mark?), and robustness (What kinds of modifications, such as printing a picture and rescanning it, can the mark survive?). The nature and value of the information clearly matters. A recent hit song needs different treatment than a Mozart aria. Modality also matters. Sheet music is watermarked differently than an audio recording of a performance. Some things are difficult to watermark. Machine code for software cannot be watermarked in the same way as music, because every bit in the program matters; change one and the program may crash. Identifying information must instead be built into the source code, embedded in a way that the information gets carried into the machine code but does not adversely affect the behavior of the program Watermarking digital text also presents challenges: How can, say, an online version of The Grapes of Wrath be marked to include a digital watermark, without changing the text? One trick is to change the appearance of the text. The watermark can be encoded by varying the interline and intercharacter spacing slightly from what would be expected; the variation encodes the information.

Marking a document is of course only half the battle; monitoring is

16Embedding IP ownership information in documents in subtle ways has a long history and had been used much before the arrival of digital information. One of the oldest and simplest techniques is the mapmaker's trick of inserting nonexistent streets or roads. Similarly, text has been "marked" by distributing versions with small changes in wording.

17This is not difficult technologically, but it adds another step to the marking process and can present significant additional overhead.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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needed in order to detect the presence of unauthorized copies. A number of efforts have been made in this direction, many of which rely on "Web crawlers," programs that methodically search the Web looking for documents bearing a relevant watermark. An IP management system that watermarked images, for example, would also have a Web searching routine that examined publicly available image files for that system's watermarks. This is an active area of work; systems have been developed in both the commercial and academic world

Marking and monitoring technologies do not attempt to control users' behavior directly. In particular, they do not attempt to prevent unauthorized copy and modifications. Rather, they attempt to make these actions detectable so that rights holders can seek legal redress when infringements have been detected. Frequently their intent is simply to indicate that copying is prohibited; the utility of these technologies relies on the fact that many people are honest most of the time.

Trusted Systems

The preceding discussion of technical protection mechanisms points out that the strongest intellectual property protection requires embedding protection mechanisms throughout the computer hardware and software at all levels, right down to the BIOS. In one vision of the future, security will become a major influence on the design of computing and communications infrastructure, leading to the development and widespread adoption of hardware-based, technologically comprehensive, end-to-end systems that offer information security, and hence facilitate creation and control of digital IP. There has been some research (and a great deal of speculation and controversy) about these so-called "trusted systems," but none is in widespread use as of

One example of this vision (Stefik, b) seeks to enable the world of digital objects to have some of the same properties as physical objects. In these systems, when a merchant sells a digital object, the bits encoding that object would be deposited on the buyer's computer and erased from the merchant's computer. If the purchaser subsequently "loaned" this digital object, the access control and rights management systems on the lender's computer would temporarily disable the object's use on that computer while enabling use on the borrower's computer. These changes

18Digimarc at <cromwellpsi.com> is one example of a commercial watermarking and tracking system; Stanford's Digital Library project at <cromwellpsi.com> has produced systems for detecting copying of text and audio files, using feature extraction techniques to enable fast searching and detection of partial copies.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /

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would be reversed when the object is returned by the borrower to the lender.

The published literature (see, e.g., Stefik, a,b) is fairly clear on what trusted systems are supposed to accomplish, but it does not spell out in technical detail how they are supposed to accomplish it. Stefik, for example, is clear on the need for some sort of hardware component (Stefik, b) to supplement the Internet and PC world of today,19 but he says little about how that component would work or how it would be added to today's infrastructure. Here, we explore two general ways in which trusted systems might be implemented, then consider the barriers they face.

One way to increase control over content is to deliver it into special-purpose devices designed for purchase and consumption of digital content, but not programmable in the manner of general-purpose PCs. For example, game-playing machines, digital music players, electronic books, and many other types of devices could be (and some are) built so that each one, when purchased, contains a unique identifier and appropriate decoding software. The devices could then be connected to the Web in much the same way as general-purpose computers and download content encrypted by distributors. Legitimate devices would be able to (1) verify that the content came from an authorized distributor, (2) decrypt and display the content (the meaning of "display" depending on whether the content is text, video, audio, and so on), and (3) force the device owner to pay for the content (perhaps by checking before decrypting that the subscription fee payment is up-to-date).

It is expensive to design, manufacture, and mass market such a special-purpose device, and an entire content-distribution business based on such a device would necessitate cooperation of at least the consumer-electronics and content-distribution industries, and possibly the banking and Internet-service industries as well. A particular business plan could thus be infeasible because it failed to motivate all of the necessary parties to cooperate or because consumers failed to buy the special-purpose devices in sufficient numbers. The failure of the Divx player for distribution of movies is perhaps an instructive example in this regard

Hardware-based support for IP management in trusted systems could also be done using PCs containing special-purpose hardware. Because such machines would have the full functionality of PCs, users could con-

19For example, a tamperproof clock to ensure that rights are not exercised after they expire or to secure memories to record billing information (Stefik, b).

20Production of Digital Video Express LP, or Divx, was terminated by Circuit City in June (Ramstad, ). Although it was not designed to download content from the Web, it was in many other respects the sort of device suggested above.

Suggested Citation:"5 Protecting Digital Intellectual Property: Means and Measurements." National Research Council. The Digital Dilemma: Intellectual Property in the Information Age. Washington, DC: The National Academies Press. doi: /
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