My eight-year-old son and I are completely obsessed with Spelunky, the brilliant 2D platformer-meets-Roguelike game that launched last week on XBLA.

How obsessed? Yesterday, at brunch at Slappy Cakes, he asked me to make this:

Tasty!

The new Spelunky is a reboot of the brilliant 8-bit freeware game that Derek Yu released in 2009, still available for Windows, with an unofficial Mac port.

Spelunky borrows two elements I hated back in the 8-bit era — randomized levels and no way to save progress — and makes them eminently enjoyable. Like NetHack meets La-Mulana, Spelunky is brutally hard. Like other Roguelikes, when you die in Spelunky, you’re dead. There’s no way to continue.

In an interview with Anthony Carboni, Derek Yu said, “When you die and have to start from the beginning, it makes death meaningful, just like in real life.” I’d recommend watching the interview, and Derek trying to play his own game, on New Challenger.

Unlike other hard games, Spelunky feels fair to me. Every time I die, I know that it was my fault. I never felt cheated because of awkward controls or unpredictable behavior, because the processes running the environment are so consistent and learnable. You can palpably feel yourself mastering the game, learning the mechanics and traps and creature movement and every other detail, until the next time you stupidly fumble.

To feel what it’s like to play Spelunky, and how deep it goes, I’d recommend reading Tom Francis’ quest to find the lost city of gold.

P.S. Eliot just came downstairs to tell me he finished the Worm level, grabbed the Crysknife, and unlocked the Super Meat Boy character. If you’ve played the game, you know how hard that is. My boy!

Every year, Apple’s keynotes hype the latest and greatest iOS software, receive unprecedented media coverage, and tout hundreds of new features on the Apple homepage. But then, like an evil Santa Claus, Apple asks their most passionate fans to wait months to play with the new toys. This year, like the year before, they didn’t announce a release date, promising only sometime “this fall.”

If you’re a diehard Apple fan that desperately wants to run a buggy beta version of iOS 6 right now, your only legal option is to shell out the $99 to join the iOS Developer Program. Affordable for a developer, the barrier to entry is high enough to keep out casual fans from accidentally bricking their phones and cluttering up the Genius Bar.

But over the last couple years, a cottage industry’s popped up around illicit UDID activations — startups exploiting Apple’s Developer Program to sell access to prerelease iOS software, usually for less than $10 per device. The craziest thing? Apple doesn’t seem to care.

Do a search for “UDID Activation” and you’ll find a dozen web sites, including some advertising on Google, with SEO-friendly names like ActivateMyiOS, Activate My UDID, UDID Registration, and Instant UDID Activation. Unlike casual registration trading of the past, these new startups offer secure payment options, solid customer support, Twitter and live chat, and quick turnarounds. One service even offers an AppleCare-like guarantee called “SafetyNet” that protects you if you lose your device or buy a new one.

Behind the scenes, each service uses the same simple backdoor: Registered iOS developers can activate up to 100 unique device IDs (or UDIDs) for their account, an essential tool for testing apps on multiple devices. Once registered with Apple, the activated device is also able to run prerelease versions of iOS, though developers are forbidden from sharing prerelease software outside their own team.

Ignoring these warnings, activation services charge a small fee to add a customer’s device to their developer accounts. When they hit the 100-device limit, they just register a new account with Apple.

I spoke to the founder of UDID Activation, an activation service based in Galesburg, Illinois, who asked not to be named. “I set up a new Apple developer account every time I need another list,” he said. “I have 30 developer accounts, all with the same name and address, and Apple’s never said anything.”

There have been isolated reports of Apple disabling developer accounts, but some of these services have been running uninterrupted for years without any apparent consequences.

“It’s obvious it’s there, and there are tons of people doing it,” said UDID Activation’s founder. “If they wanted to look into it, it wouldn’t be very hard for them to find out what was going on. I’ve been doing this for about three years and I’ve never been contacted by Apple, and they’ve never shut down my accounts or anything. It really does seem like they don’t care that much.”

I chatted over instant message with a support representative from a competing service that claimed to have ten iOS developer accounts and a bot to reactivate expired UDIDs. I asked how often Apple kills their accounts. “Never in five years,” he said.

Apple clearly states in its Developer Program License Agreement, and on its Developer Portal, that membership can be terminated if a developer provides pre-release Apple Software to anyone other than registered employees, contractors, or others with a demonstrable need to know or use the software to build and test applications. Apple adds that unauthorized distribution is prohibited, and may be subject to both civil and criminal liability.

Despite Apple’s threat of “civil and criminal liability,” the service operators I spoke to didn’t seem concerned. “In the developer section, there’s a notification that says selling spots to your developer account can get it shut down,” said UDID Activation’s founder. “But I’ve never heard of anyone getting their account shut down for selling spots.”

It might not be that simple. Detecting fraudulent activity isn’t as straightforward as it seems, unless Apple actually purchased activations from each service to identity the account holder. Purchased accounts don’t look any different than normal beta testers, though the rate of registrations could be an indication of service violations.

For a small developer, unauthorized activations are a lucrative business that’s likely worth the risks. UDID Activation publishes their order queue on their official site, which shows over 2,300 devices activated in the last week alone. At $8.99 for each activation, that’s over $20,600 in revenue, with $2,277 paid to Apple for the 23 developer accounts. Their homepage claims that over 19,000 devices were activated so far, and that’s only one of several services.

Outside of commercial services, some fans are forgoing commercial services and self-organizing, using discussion forums to crowdfund shared developer accounts, as these Reddit members did last year. On Twitter, authorized developers trade UDID activations for followers and retweets, or just offer them for fun.

Apple may not like it, but all of these back-alley transactions are clearly meeting a market demand. The software may be buggy, incomplete, and not ready for mainstream consumption, but a sizable class of power users doesn’t care and is willing to pay to use it.

For these cheap and impatient users, activation services offer an easy, affordable, and low-risk way to experiment with the cutting edge before the rest of the world. And until Apple starts cracking down, there’s little reason not to use them.

There’s a ridiculous amount of misinformation spreading online about the new maps in iOS 6, compounded by incorrect press reports, vague statements by Apple, and the developer NDAs. I’m even guilty of spreading it myself, based on reports I’d seen on the blogs.

Using information provided to me by an anonymous Apple developer, I’ve pieced together the facts. Keep in mind that iOS 6 is still prerelease beta, and Apple may change anything at any point. Everything below is based entirely on the existing beta software and documentation that Apple’s provided to developers.

Were walking directions removed in iOS 6? Some press reports have stated that walking directions are removed from iOS 6. This is completely false, and walking directions are still in iOS 6. Here’s a screenshot of walking directions in iOS 6, courtesy of Philip Bump.

Were biking directions removed? Bike directions have never been available on the iPhone, and still won’t be in iOS 6.

Were public transit directions removed? As of this beta, inline public transit directions are gone from the Maps application in iOS 6. Clicking the public transit button will display a list of third-party apps that support routing in the defined map area, and will launch the app when clicked. Here’s the current screen in the beta, with no apps registered.

By release, this blank screen will be populated with a default list of appropriate apps from the App Store. The documentation states, “If the user’s device does not currently contain any routing apps, Maps refers the user to apps on the App Store that do.”

What about the new Transit APIs? The new Transit APIs, referred to by Scott Forstall at 108:58 in Monday’s keynote, allow developers to register their app as a directions provider for routing directions for a particular set of coordinates. It will then be displayed in the list of available third-party apps for transit. Clicking a transit app launches that app, passing the start and end values to the app. Contrary to other analysis, transit routes can’t be displayed inline from the Maps app.

How do the Transit APIs work? Apps can enable directions support by setting the type of directions they support, a geoJSON file specifying the map regions they support, and uploading it to iTunes Connect. Developers can specify a category (Car, Bus, Train, Subway, Streetcar, Plane, Bike, Ferry, Taxi, Pedestrian, Other).

Directions requests from Maps are handled by a special URL. From the documentation: “When the user asks the Maps app for directions and chooses your app, Maps creates a URL with the start and end points and asks your app to open it.” From there, the app can “compute and display the route using your custom routing technology.”

Of course, any of this may change before release. But, for the moment, the APIs simply don’t support inline transit routes from within the Maps app.

Are Street View photos removed? Yes, these were also provided by Google.

Why is Apple doing this? Do they hate public transit?! Of course not. Transit directions aren’t in iOS 6 because Apple replaced Google’s maps with their own solution, which didn’t include access to transit data. Maintaining transit feeds and keeping it up-to-date for hundreds of cities was presumably too difficult to attempt for this first release, so they decided to outsource it to third-party apps.

Is Google going to release a Maps app for iOS? We don’t know. Google hasn’t announced any plans for a native Google Maps for iPhone. And there’s a big unknown: if they developed it, would Apple approve it?

Hope that helps. Hit me up with any more questions, or if you have internal information, I’ll happily honor your anonymity.

Wired posted my new column yesterday, an attempt to coalesce some thoughts around a trend in fan funding that isn’t really happening yet, but really should be — fans hiring artists directly to make the art they want to experience and own. I’ve been thinking about this since 2008, and surprised it hasn’t emerged yet in a big way. I’m really just hoping that someone sees this and gives it a try.

Amanda Palmer blows up the music business.

Two weeks after Kickstarter launched in April 2009, I was fishing around for an idea to test the platform and launched a project for Kind of Bloop, an 8-bit tribute to Miles Davis’ Kind of Blue.

Like many to follow, my Kickstarter project hit the initial goal in the first few hours and eventually quadrupled it, with $8,600 raised from over 400 backers. Modest by today’s multimillion dollar blockbusters, it’s still considered one of the site’s early successes. The album was released shortly after, adored by the only 400 people in the world who find the idea of “chiptune jazz” thrilling.

But unlike nearly every other album project on Kickstarter, I’m not a musician. I’ve never written a song, with or without vintage videogame consoles, and wouldn’t know where to start.

Instead, I hired musicians I love to make the music. My job was organizing the project — giving the musicians feedback, setting the budget and timeline, and handling all the mundane chores of licensing, production, promotion and fulfillment.

Without intending to, I’d added a new title to my résumé: I was a record producer!

As Kickstarter’s exploded in popularity, I’ve started to see signs that there are others like me — a movement of fans as producers, commissioning work from their favorite artists instead of waiting for the artists to come to them.

To me, it feels like the next logical step in the evolution of fan funding. Already, fans are expecting to witness the creative process with behind-the-scenes progress updates and feedback forums. Now, they may actually help decide what gets made. If I’m right, the implications for working artists is potentially huge, providing an unexpected source of revenue, as well as potential creative headaches.

Here are some potential applications, and some who are leading the way.

The New Event Organizers

The idea for Kickstarter began seven years before its launch with a concert in New Orleans that never happened. Perry Chen, founder and CEO, wanted to organize a late night event during the 2002 New Orleans Jazz and Heritage Festival that would cost $20,000, but didn’t want to deal with the upfront risk. His thought: pre-sell the tickets to the nonexistent event on a conditional basis. If there wasn’t enough interest, he wouldn’t lose his shirt.

He gave up the project, but not the underlying idea. Ever since it launched, I’ve thought events were the most underrated use for the platform. The very first project to crash the Kickstarter servers, in fact, was the flood of people trying to buy a ticket to see Neutral Milk Hotel’s Jeff Mangum at a benefit concert in NYC.

Last week, I launched a Kickstarter project to fund XOXO, a new conference and festival in Portland, Oregon. I worked with Andy McMillan, the creator of The Manual and Build, to budget the costs, invite speakers, book venues, and effectively design an event without spending a dime. Within 50 hours, the event was completely sold out with over $160,000 raised, making it the largest event ever funded on Kickstarter.

We’d designed an event we would want to attend, and tested the waters to see if anyone else agreed. If they hadn’t, the only loss would have been our time.

Again, like Kind of Bloop, I found myself in the position of a producer; this time for a festival organizer instead of an album. I’m getting more and more comfortable in these shifting roles.

From the beginning, musicians have experimented with Kickstarter for funding their tours, from Amanda Palmer and Neil Gaiman’s five-city tour to Kim Boekbinder’s Impossible Tour, a set of ten separate projects testing local audiences.

As far as I can tell, nobody’s flipped it around and tried to commission a musician to play for fans. Most bands already play corporate events and private parties. If fans collectively raise the same amount of money, why not play a house show for them instead? For fans, it’d be a once-in-a-lifetime experience to see an artist they love in an intimate setting. For musicians, it’d pay well without the malaise that comes from playing the Intel holiday party.

Though there’s no reason commissioned works need to be limited to music.

Commissioned works are perfect for collaborations. Why not team up your favorite indie comic book artist with your favorite videogame creator, like Pixeljam and James Kochalka? Or musicians with authors, like Ben Folds’ collaboration with Nick Hornby? Or hire an illustrator you love to make art based on that cult indie film you and your friends keep watching? Sure, go ask Olly Moss to make prints based on Ghosts With Shit Jobs.

Projects like these have three big requirements.

1. Strong, achievable concept. Commissioned works should be scoped down to something realistic, because you’re paying for their time, but high-concept enough to capture the excitement of other fans.
2. Organizer. The funding may come from the crowd, but there needs to be a single person managing the project and handling all the logistics and small details.
3. Due diligence. The organizer will need a firm agreement from the artist, committing to a timeline, payment, and any other demands. Also, if the project results in a tangible work, determine who owns the rights to it before you start raising money.

Fans Liberating Art

The rights issue is an interesting one. With Kind of Bloop, it was effectively work-for-hire. I paid the artists the complete proceeds of the Kickstarter fundraiser and I owned the finished album, with the ability to sell it in the future without hassle.

But a new class of commissioned projects are taking the rights issue a step further, liberating works into the public domain. This week, two classical music projects that funded on Kickstarter released their work into the world, free of all copyright limitations.

Of course, symphonies from the Baroque period are already in the public domain, but the modern recordings of those compositions are almost all copyrighted.

The Musopen project, funded in September 2010, raised over $68,000 to hire the Czech Filmharmonic to perform original recordings of classical symphonies from Mozart, Beethoven, Brahms, and others. The result was announced last week: 27 symphonies, uploaded to Archive.org in raw ProTools format with individual recordings for each instrument.

A second German project, funded in June 2011, sought to create a new score and recording of Bach’s Goldberg Variations. The Open Goldberg Variations completed recording in January and released the new score and recording into the public domain last week. A free iPad app followed, released only yesterday.

Both projects were organized and funded by fans of classical music. Fans did the research, raised the money, and paid musicians to do what they do best. Together, everyone worked together to enrich our shared culture, to the chagrin of classical record labels.

Every day, it seems like Kickstarter is evolving into a kind of dream factory — manifesting the dreams and wishes of an individual that shares a vision with their community.

If this is the future of fan funding, I’m in.

I’ve written a couple times about YouTube’s Content ID in the past, the powerful and oft-abused technology used to automatically detect potential copyright infringement and allow the purported copyright holders to block or monetize videos.

You probably saw Isaac’s adorable lip-dub proposal, choregraphed by a bunch of drama geeks in Portland.

In the Vimeo description, they also posted the video to YouTube, which is now “blocked on copyright grounds.” There’s only one possible infringement claim, and that’s the soundtrack, which used Bruno Mars’ “Marry You.”

Despite the fact that Bruno Mars himself loved the song:

Congrats to Isaac Lamb and the future Mrs..I don’t think I could’ve made a better music video for this song. Thank you vimeo.com/42828824

— Bruno Mars (@BrunoMars) May 26, 2012

Before blocking copies of the YouTube video, Warner Music Group filed a DMCA notice with Google to remove 27 links to the song from their search results.

There’s a strong argument that their non-commercial use of the song should be fair use, and that hyperlinks from Google should never be censored, but let’s just grant WMG the benefit of the doubt. It’s their song, and they’re clearly the copyright holder.

Instead, I want to draw attention to the other claimants for the YouTube copyright takedown — Keshet, La Red, and Scripps Local News.

I wasn’t able to find any information about Keshet and La Red, but why would Scripps be listed in the copyright claim?

A number of Scripps-owned local ABC TV affiliates aired the story, like this report from ABC 2 Baltimore. Content ID is smart enough to detect partial use of a video, and now even detects the melodies in cover songs. But it’s not smart enough to figure out that the original video predated the newer upload, as in this recent example with a comedian’s video broadcast on The Tonight Show with Jay Leno.

So the Scripps TV broadcasts are indexed by YouTube, and the Content ID robots do the rest. And because Content ID disputes are judged by the copyright holder, complaints are routinely ignored or denied.

As a final stupid footnote, there are still multiple copies of Isaac’s proposal on YouTube. The most popular? This one — uploaded by a TV news network.