{"title":"Copyright Industry Perspectives: The Pivotal Role of TPMs in the Evolution of the Video Game Industry","authors":"C. Troncoso","doi":"10.7916/D8125T2R","DOIUrl":null,"url":null,"abstract":"The story of the video game industry, like that of many other creative art forms, is in part a testament to the power of copyright law. Compared with many other industries that rely on copyright protection, however, the video game industry is relatively young. Although there is considerable debate about the industry’s precise birthdate, most point to the earlyto mid-1970s as the point at which video games entered into the mainstream consciousness. Coming of age around the same time that the 1976 Copyright Act was being debated and later implemented, an initial challenge for the industry was simply ensuring that authors of video games received the same scope of copyright protection as authors of more traditional forms of media. Given that the defining characteristic of video game software was its interactivity, with the audiovisual output controlled in part by user interaction, there was initially some uncertainty about the extent to which early video games could be protected by copyright. Indeed, the Register of Copyrights once famously declined to register a copyright claim in the audiovisual components of a video game in part because the content was not an original work of authorship due to its interactive nature.1 In denying the claim for copyright, the Register noted that the audiovisual components of the game could not be registered because “they are created randomly by the player and not by the author of the video game.”2 Of course, the Register was subsequently persuaded to register the work,3 and questions about the copyrightability of video games have faded. Unsurprisingly, however, other copyright challenges have emerged. Like most desirable digital content, video games are subject to extraordinarily high levels of online piracy and other forms of copyright infringement. Although the pernicious effects of piracy are well known, the steps the video game industry has taken to combat piracy—and defeat it in the marketplace—warrant closer","PeriodicalId":222420,"journal":{"name":"Columbia Journal of Law and the Arts","volume":"41 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2017-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Columbia Journal of Law and the Arts","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7916/D8125T2R","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The story of the video game industry, like that of many other creative art forms, is in part a testament to the power of copyright law. Compared with many other industries that rely on copyright protection, however, the video game industry is relatively young. Although there is considerable debate about the industry’s precise birthdate, most point to the earlyto mid-1970s as the point at which video games entered into the mainstream consciousness. Coming of age around the same time that the 1976 Copyright Act was being debated and later implemented, an initial challenge for the industry was simply ensuring that authors of video games received the same scope of copyright protection as authors of more traditional forms of media. Given that the defining characteristic of video game software was its interactivity, with the audiovisual output controlled in part by user interaction, there was initially some uncertainty about the extent to which early video games could be protected by copyright. Indeed, the Register of Copyrights once famously declined to register a copyright claim in the audiovisual components of a video game in part because the content was not an original work of authorship due to its interactive nature.1 In denying the claim for copyright, the Register noted that the audiovisual components of the game could not be registered because “they are created randomly by the player and not by the author of the video game.”2 Of course, the Register was subsequently persuaded to register the work,3 and questions about the copyrightability of video games have faded. Unsurprisingly, however, other copyright challenges have emerged. Like most desirable digital content, video games are subject to extraordinarily high levels of online piracy and other forms of copyright infringement. Although the pernicious effects of piracy are well known, the steps the video game industry has taken to combat piracy—and defeat it in the marketplace—warrant closer
与许多其他创造性艺术形式一样,电子游戏产业的故事在一定程度上证明了版权法的力量。然而,与许多依赖版权保护的其他行业相比,电子游戏行业相对年轻。尽管关于电子游戏产业的确切诞生时间存在着相当多的争论,但大多数人都认为电子游戏是在20世纪70年代早期到中期进入主流意识的。在1976年《版权法》被讨论并实施的同时,该行业面临的最初挑战是确保电子游戏作者获得与传统媒体作者相同的版权保护范围。考虑到电子游戏软件的定义特征是交互性,其视听输出部分由用户交互控制,早期电子游戏的版权保护程度最初存在一些不确定性。事实上,Register of copyright曾经拒绝为电子游戏的视听组件注册版权声明,部分原因是由于其互动性,这些内容并非原创作品在拒绝版权要求时,Register指出游戏的视听组件不能注册,因为“它们是由玩家随机创建的,而不是由视频游戏的作者创建的。当然,Register随后被说服注册了该作品,关于电子游戏可版权性的问题也逐渐消失。然而,意料之中的是,其他的版权挑战也出现了。与大多数令人向往的数字内容一样,电子游戏也受到网络盗版和其他形式的版权侵犯的严重影响。虽然盗版的危害是众所周知的,但电子游戏行业已经采取措施打击盗版,并在市场上击败盗版