电子游戏直播画面的可版权性与权属

Copyrightability and Ownership of Live Video Game Footage

摘要: 电子游戏直播产业的飞速发展带来利益相关主体之间的争端日趋激烈。游戏运行画面是游戏直播画面构成的基础，但在其作品构成上并不占据决定性的地位。游戏类型化的作品判定路径有着天然的局限性，认定游戏运行画面是否是作品应回归著作权法的基本判断方法。玩家通常只是作为参与者，但如果创作出区别于原有游戏画面并符合独创性标准的新作品可以作为演绎作者。从游戏直播画面独创性天然不足与合理使用应用障碍来看，将其作为录像制品保护是最为合理的选择。传统的权属模式下，利益相关主体需要通过个案约定确定权利共享，游戏直播作为被容忍的侵权行为所给予的保护是模糊且不可预测的。考虑立法成本与经济效益，建立一个公开透明的版权交易市场和统一管理的电子游戏著作权集体管理组织是一个可替代性的解决方案。

Abstract: The rapid development of the live video game industry brings increasingly intense disputes between the interested subjects. The game running screen is the basis of the composition of the live game screen, but it does not occupy a decisive position in the composition of its works. The path of determining the works of game genre has natural limitations, and the determination of whether the game running screen is a work should return to the basic judgment method of copyright law. Players usually only act as participants, but if they create new works that are different from the original game screen and meet the criteria of originality, they can act as interpretative authors. From the viewpoint of the natural lack of originality of live game screen and the obstacles of fair use application, it is the most reasonable choice to protect it as a video product. Under the traditional ownership model, the interested parties need to determine the sharing of rights through case-by-case agreement, and the protection given to live game as tolerated infringement is vague and unpredictable. Considering the legislative cost and economic benefits, establishing an open and transparent copyright trading market and a unified management video game copyright collective management organization is an alternative solution.