游戏画面版权保护路径研究  

Research on the Copyright Protection Pathways for Game Graphics

作　　者：来小鹏[1] Lai Xiaopeng

机构地区：[1]中国政法大学民商经济法学院

出　　处：《中国版权》2024年第6期27-40,共14页China Copyright

摘　　要：在游戏画面的法律属性界定上,尽管其符合作品的构成要件,但关于其应归属于何种作品类型,理论与实务界长期存在争议。著作权法意义上的“摄制”应作广义解读,涵盖“拍摄”与“制作”两种形式。游戏画面作为动态视觉表达的载体,其在电子设备上的稳定呈现,遵循开发者预设的逻辑框架,表现出的预设性与预期性满足“固定性”要求。随着互动电影、互动视频等“交互式”视听作品的兴起,“交互性”已非游戏画面的独有特征,且玩家操作引发的权属问题可通过“演绎作品”制度有效解决。因此,游戏画面应纳入视听作品范畴予以保护。以“计算机软件”路径保护游戏画面,难以全面覆盖游戏画面的动态视觉表达;以“游戏作品”这一新作品类型作为保护路径具有合理性,但面临着保护范围界定的理论质疑,以及与视听作品范畴重叠的现实难题。因此,将游戏画面认定为视听作品赋予版权保护,依然是当前最为适宜的法律路径。In the definition of the legal attributes of game imagery,despite its conformity to the essential elements of a work,there has been a long-standing dispute in both theoretical and practical circles regarding its classification into a specific type of work.The concept of“production”under copyright law should be interpreted broadly to encompass both“shooting”and“creation”.As a medium for dynamic visual expression,the stable presentation of game imagery on electronic devices adheres to the logical framework predetermined by developers,with its presuppositions and anticipations meeting the requirement of being“fixed”.With the emergence of interactive audiovisual works such as interactive movies and videos,interactivity is no longer an exclusive feature of game imagery.However,ownership issues arising from player actions can effectively be resolved through deductive work rules.Therefore,game imagery could be included in the category of audiovisual works.Attempting to classify dynamic visual expressions solely as“computer software”would not adequately cover them.Considering“game works”as a new type of work seems reasonable;however,it raises theoretical questions about defining its scope alongside practical concerns regarding overlap with audiovisual works.Consequently,identifying game imagery as audiovisual works remains the most appropriate legal approach.

关 键 词：游戏画面 游戏作品 计算机软件 视听作品 

分 类 号：D92[政治法律—法学]