【作者】 李鑫；

【导师】 陈家宏；

【作者基本信息】 西南交通大学 ， 法律（非法学）， 2022， 硕士

【摘要】 娱乐是人们生活中重要的组成部分,电子游戏又慢慢地成为了娱乐生活中最重要的方式。这些年来电子游戏产业在我国发展迅猛,作为游戏产业发展的后进国家,这也充分彰显了我国游戏产业的创新实力。尤其是在网络直播和电子竞技赛事的兴起和推动下,游戏的受众也越来越广泛,普及程度越来越高。作为游戏产品核心卖点的游戏画面,是消费者入手某款游戏产品重要考量因素。在这其中就涉及到了对于游戏画面的传播和利用,游戏公司会提前展示自家的游戏画面,而在与游戏有关的网络直播中,自然少不了对游戏画面的使用。游戏画面展示出了一种极其容易获得的特点,然而如今的游戏画面制作精美,这样的广泛传播势必会对游戏市场造成不利影响。因此,由于游戏本身由不同元素组成,电子游戏画面有必要独立于计算机软件进行著作权法的保护。游戏画面相比支撑游戏运行的计算机程序来说,抄袭和侵权极为容易,况且对编程代码的抄袭成本投入过大。电子游戏画面又有别于传统作品,具有一定的特殊性,所以其获得著作权法保护的基础就是对游戏画面进行作品的认定。在2020年修订的《著作权法》生效之后,与作品有关的条款做出了不小的改动,有必要对游戏画面的著作权问题进行研究。研究聚焦了有关电子游戏画面著作权的三个核心问题,即游戏画面是否构成作品,构成作品之后可以归类为哪一作品类型,以及由于其自身的特殊性所引发的著作权归属的问题。正文分五个部分,主要观点如下:首先为绪论,这一部分对游戏产业的相关报告和有关游戏画面著作权的案例进行梳理,最重要的是对国外和国内关于电子游戏画面的研究进行了归纳和评述,得出文章主体要研究的内容,并指出文章中的主要创新;其次,在文章的第二部分显示对电子游戏及其游戏画面的概念进行梳理,提出现阶段电子游戏画面作品属性及著作权归属认定存在的问题。由于著作权法的修改,理论界和实务界对电子游戏画面的作品类型定位需要修正,不同的作品类型对应不同的著作权归属规则,作品类型会对著作权的归属产生影响,还有游戏自身互动性的特点,会尤其特殊的著作权归属的争议;第三部分对电子游戏画面作品的构成、作品类型进行分析,分析评述国内外关于作品认定的相关理论,认为在我国著作权法语境下电子游戏画面应当构成作品加以保护;也是在考察了游戏产业发达的其他国家有关游戏画面的实践之后,在现行著作权法的框架下,提出应将电子游戏画面作为视听作品加以保护;电子游戏画面作品与传统作品极为不同,因其自身的互动性,出现了游戏开发商和游戏玩家两大主体,都对游戏画面的产生具备一定的作用。导致电子游戏画面的在著作权归属这一问题上,产生争议,第四部分有利于产业发展的角度分析,电子游戏画面著作权归属开发商更为合理。最后一个部分提出与游戏画面著作权保护的相关规则进行完善,希冀于《著作权法实施条例》的修改中中对视听作品的外延列举中增加电子游戏画面,采用内涵加例示性外延列举的模式规定。并且对于视听作品制作者的范围也进行例示,对于著作权归属的指引能有一个清晰的辨别。更多还原

【Abstract】 Entertainment is an important part of people’s lives,and video games are slowly becoming the most important form of entertainment.The video game industry has developed rapidly in China over the years,and as a latecomer to the game industry,this has fully demonstrated the innovative strength of our game industry.Especially with the rise and promotion of webcasting and e-sports events,the games are also becoming more and more widely available and popular.As the core selling point of game products,game graphics are an important consideration for consumers to get a certain game product.This involves the dissemination and use of game graphics,with game companies showing their own game graphics in advance,and the use of game graphics in game-related webcasts.Game graphics demonstrate an extremely accessible character,yet today’s games are so beautifully produced that such widespread distribution is bound to have a detrimental effect on the games market.Therefore,as the games themselves consist of different elements,it is necessary that the video game graphics are protected by copyright law independently of the games themselves.Game graphics are extremely easy to copy and infringe compared to the computer programs that support the operation of the game,and the cost of copying the programming code is too great.The graphics of video games are different from traditional works and have certain special characteristics,so the basis for their protection under copyright law is the identification of the game graphics as a work.After the amendments to the Copyright Act came into effect,the provisions relating to works made considerable changes that required a study of the copyright of game graphics.The study focuses on three issues that are central to the copyright of video game graphics,namely whether they constitute a work,the type of work to which they can be classified once they constitute a work,and the question of copyright ownership arising from their specificity.The main text is divided into five parts,with the following main ideas: firstly,the introduction,which compares the relevant reports on the game industry and the cases concerning the copyright of game screens,and most importantly,summarises and reviews the foreign and domestic studies on video game screens,draws out the content to be studied in the main body of the article,and points out the main innovations in the article;secondly,the second part of the article shows a review of video games and their In the second part of the article,the concept of video games and their game screens is sorted out,and the problems of the attributes of video game screen works and the determination of copyright ownership at the present stage are put forward.Due to the revision of the Copyright Law,the theoretical and practical circles need to amend the positioning of the work type of video game screen,different work types correspond to different rules of copyright attribution,and the work type will have an impact on the attribution of copyright,as well as the interactive characteristics of the game itself,which will be especially special for the controversy of copyright attribution;the third part analyzes the composition of video game screen works and work types,and analyzes reviews the relevant theories on the identification of works at home and abroad,and considers that video game graphics should constitute works to be protected in the context of China’s copyright law;also after examining the practice of other countries with developed game industries regarding game graphics,it is proposed that video game graphics should be protected as audiovisual works under the framework of the existing copyright law;video game graphics works are extremely different from traditional works because of their own Because of its interactive nature,there are two main subjects,game developers and game players,both of whom have a certain role in the production of game graphics.The fourth part of the analysis is conducive to the development of the industry,and it is more reasonable for the copyright of video game graphics to belong to developers.The last part proposes to improve the rules related to the copyright protection of game graphics,and hopes to add video game graphics to the list of extensions of audiovisual works in the amendment of the Implementing Regulations of the Copyright Law,and adopt the connotation It is hoped that the amendment to the Implementing Regulations of the Copyright Law will add video game images to the list of audiovisual works and adopt the model of connotation plus exemplary enumeration.It is also hoped that the scope of producers of audiovisual works will be illustrated,so that the guidelines for copyright ownership can be clearly identified.更多还原