帳號:guest(18.116.40.28)          離開系統
字體大小: 字級放大   字級縮小   預設字形  

詳目顯示

以作者查詢圖書館館藏以作者查詢臺灣博碩士論文系統以作者查詢全國書目
作者(中文):吳汿倢
作者(外文):Wu, Hsu-Chieh
論文名稱(中文):失衡的電玩遊戲產業——論電玩遊戲著作財產權之行使及利用
論文名稱(外文):Balancing Exclusive Rights of Copyright: A Study on Video Game Industry
指導教授(中文):李紀寬
指導教授(外文):Li, Gi-Kuen
口試委員(中文):范建得
章忠信
口試委員(外文):Fan, Chien-Te
Chang, Chung-Hsin
學位類別:碩士
校院名稱:國立清華大學
系所名稱:科技法律研究所
學號:107074502
出版年(民國):112
畢業學年度:112
語文別:中文
論文頁數:115
中文關鍵詞:電玩遊戲遊戲發行商玩家賽事舉辦者直播串流遊戲實況電競比賽著作財產權授權契約定型化契約利用人權益
外文關鍵詞:video gamevideo game publisherplayervideo game tournament organizerlive streamingesportscopyrightadhesion contractcopyright licenseusers’ interests
相關次數:
  • 推薦推薦:0
  • 點閱點閱:0
  • 評分評分:*****
  • 下載下載:26
  • 收藏收藏:0
電玩遊戲產業之發展非單一遊戲發行商貢獻的結果,而是來自一系列利害關係人的互動得以實踐。隨科技進步,遊戲利用人透過將遊戲過程以直播串流的方式轉播給大眾觀看,發展出遊戲實況和如同運動賽事一般的電競比賽之轉播遊戲內容的市場,已成為電玩遊戲產業不可忽視之部分。涉及其中之遊戲利用人諸如遊戲玩家、電競賽事舉辦者等重要性不言而喻。
遊戲發行商作為電玩遊戲的著作權人面向眾多的遊戲利用人,以由其單方擬定之遊戲利用授權定型化契約就遊戲實況與電競比賽等直播串流利用遊戲行為,設定利用遊戲的範圍與規則,有意控制遊戲內容作為觀看使用的輸出範圍、以及遊戲利用人(遊戲玩家、電競賽事舉辦者)在利用遊戲過程中產生與電玩遊戲相關的創作性利用成果(遊戲實況、電競比賽轉播影音等)。經遊戲利用授權契約塑造之權利義務關係,可能會有不利於遊戲利用人的權益的約定、締約雙方利益不平衡的情況。
本文正視遊戲利用人於電玩遊戲產業的貢獻,以實際之遊戲利用授權契約與著作權法的視角切入分析電玩遊戲產業之遊戲著作財產權的行使與利用關係。參照我國與美國司法實務與學者見解,先後定性電玩遊戲、玩家參與遊戲之玩遊戲行為、直播串流利用行為於著作權法上的關係。站在遊戲利用人之利用成果具有創作性可能的立場,從支持遊戲利用人權益的角度出發,討論遊戲利用授權契約之締約雙方利益衡平與遊戲利用人權益保護問題。
本文以遊戲著作權人與遊戲利用人間著作權法上、契約關係之釐清為主軸提出之觀察,強調遊戲利用人之重要性,建議未來遊戲發行商在擬定遊戲利用授權契約時,應適時考量遊戲利用人權益,建立友善創意之環境。
The video game industry thrives when a series of stakeholders in the industry interact with each other constantly. With media technology development, video game live streaming gradually becomes an important market for both video game publishers and users — such as video game players and video game tournament organizers who live stream video game in their activities. The success of video game live streaming market does not come from a single video game publisher’s effort, users also play an important part of it.
As the copyright owner of video games, publishers have exclusive rights of copyright of video games. They often use adhesion contracts to impose restrictions on users over when and how a game can be played and be streamed to the public. Furthermore, this kind of video game copyright licenses show that no matter how much efforts users put in while streaming video games, publishers always ask users to grant them a broad, transferable, sublicensable and royalty-free license to have the rights to use game-related content such as broadcast streams that generated by users during the approved streaming activities. Under the circumstance, Users can’t either monetize or control the use of their broadcast streams by exercising exclusive rights of copyright which might undermine users’ will to live stream video game. The terms in contracts might be considered unfair because of being one-sided in favor of publishers.
This dissertation analyzes the actual contracts drafted by video game publishers to look into how publishers establish their relationship with users and then focus on the relationship in copyright law and contract enforcement issues between video games, publishers and users. It explores users’ interests and rights in video game streaming under publishers’ exclusive control over video games.
First, it discusses the background of copyright law in Taiwan and United States applied to video games and video game live streaming. It emphasizes video game users’ contribution to video game industry, and believes that users could have some minimal creativity in their use. Therefore, in the last part of this dissertation discusses the interests and rights of users could claim under publishers’ restrictions in copyright license contract.
This dissertation shows the current video game live streaming license problems and possible means for users to protect their interests and rights in video game live streaming. Finally, it suggests that video game publishers should value users’ contribution more when draft video game copyright license contract, in order to create a friendly environment for both sides in terms of engagement and creativity.
第一章 緒論1
第一節 研究動機與目的1
第二節 研究問題與範圍3
第三節 文獻回顧5
第四節 研究方法與研究限制7
第一項 研究方法7
第二項 研究限制8
第五節 論文架構8
第二章 電玩遊戲與遊戲產業10
第一節 電玩遊戲定義與類型10
第二節 電玩遊戲產業之組成11
第一項 遊戲發行商12
第二項 遊戲玩家13
第三項 賽事舉辦者14
第三節 電玩遊戲產業中的利害關係15
第一項 遊戲產業鏈15
第二項 建立於契約之上的利害關係18
第一款 商業利用模式:遊戲發行商與賽事舉辦者19
第二款 個人利用模式:遊戲發行商與玩家26
第四節 小結——初探授權契約與著作權法關係31
第三章 電玩遊戲與著作權法34
第一節 電玩遊戲與著作權法34
第一項 我國著作權法34
第一款 著作權保護要件35
第二款 電腦程式著作:遊戲程式36
第三款 視聽著作:遊戲表達元素構成之遊戲影音37
第二項 美國著作權法39
第一款 著作權保護要件39
第二款 視聽著作:遊戲影音40
第三款 語文著作:遊戲程式碼42
第三項 電玩遊戲作為視聽著作44
第二節 玩遊戲與著作權法46
第一項 玩遊戲與創作47
第一款 遊戲自由度與創作可能性47
第二款 重製與改作51
第二項 玩遊戲與玩家利用授權契約53
第三節 小結56
第四章 直播串流利用與遊戲利用人權益58
第一節 公開轉播遊戲歷程58
第一項 直播串流利用59
第二項 利用遊戲舉辦比賽61
第三項 小結62
第二節 轉播影音與著作權法63
第一項 轉播影音63
第二項 電競比賽轉播影音的原創性64
第三項 電競比賽轉播影音著作權歸屬68
第三節 遊戲利用人權益69
第一項 再探遊戲利用授權契約約定70
第一款 授權契約分析71
第二款 契約條款之於遊戲利用人權利義務之影響76
第三款 契約當事人間利益平衡82
第四款 遊戲利用授權契約之反思87
第二項 合理使用90
第一款 利用之目的及性質91
第二款 著作之性質94
第三款 利用之質量94
第四款 利用結果對潛在市場與現在價值之影響95
第五款 小結99
第三項 展望遊戲著作權人與遊戲利用人關係100
第五章 結論102
參考文獻 105
中文文獻
書籍
蔡惠如(2007),《著作權之未來展望——論合理使用之價值創新》,元照。
謝銘洋(2019),《智慧財產權法》,九版,元照。
羅明通(2014),《著作權法論(I)》,8版,台英國際商務法律事務所。
羅明通(2014),《著作權法論(II)》,8版,台英國際商務法律事務所。
期刊論文
李治安(2012),〈著作權法中的灰姑娘:利用人地位之探討〉,《臺大法學論叢》,41卷3期,頁931-979。
沈宗倫(2010),〈新興科技媒體與著作財產權授權疑義評最高法院九十七年度台上字第一五三五號民事判決及其下級法院判決〉,《月旦法學雜誌》,180期,頁249-278。
林利芝(2018),〈著作權決戰電玩遊戲實況直播串流—探究電玩遊戲實況主面臨的公開表演權〉,《東海大學法學研究》,53期,頁121-181。
林洲富(2021),〈侵害電腦程式著作之判斷—分析智慧財產及商業法院案例為中心〉,《教育暨科技法學評論》,7期,頁153-163。
姚信安(2013),〈他山之石可以攻錯—由比較法觀點析論視聽著作之立法〉,《中正財經法學》,6期,頁137-193。
胡心蘭(2021),〈從近期案例剖析美國著作權法合理使用原則新發展〉,《中正財經法學》,22期,頁1-65。
張懿云(2013),〈視聽著作保護之研究—以國際著作暨鄰接權條約為中心〉,《智慧財產權》,179期,頁51-100。
陳忠五(2012),〈定型化契約條款的規範依據與管制方法—最高法院100年度台上字第1635號判決評釋〉,《台灣法學雜誌》,197期,頁9-20。
許政賢(2010),〈非消費性定型化契約之審查/高院九八重上更(一)一○八〉,《台灣法學雜誌》,161期,頁187-190。
郭俊佑(2013),〈繼續性供給契約消滅之效力〉,《財經法暨經濟法》,34期,頁47-76。
詹森林(2006),〈最高法院與定型化契約法之發展——民法第二四七條之一裁判之研究〉,《政大法學評論》,94期,頁83-172。
蔡明誠(1996),〈論多媒體與數位著作〉,《臺大法學論叢》,25卷2期,頁309-329。
蔡明誠(2010),〈著作權契約之解釋與目的讓與理論及契約目的理論——從智慧財產法院九十八年民著上字第一號民事判決談起〉,《裁判時報》,5期,頁93-103。
蕭雄淋(2012),〈兩岸著作權法視聽著作之立法檢討—以視聽著作之定義、歸屬及保護期間之比較為中心〉,《智慧財產評論》,10卷1期,頁111-132。
謝銘洋(2018),〈衍生著作及其相關問題研究〉,《台灣法學雜誌》,338期,頁59-83。
謝銘洋(1993),〈契約自由原則在智慧財產權授權契約中之運用及其限制〉,《臺大法學論叢》,第23卷第1期,頁309-330。
碩士論文
周正昕(2018),《台灣電競產業鏈之建構-以英雄聯盟為例》,國立政治大學科技管理與智慧財產研究所學位論文。
陳瑞信(2009),《電腦影音多媒體互動式娛樂數位內容之研究》,國立台灣大學法律學研究所碩士論文。
黃麗瑾(2018),《電子遊戲實況與直播之著作研究》,國立中央大學產業經濟研究所碩士論文。
鍾宛芸(2020),《從遊戲產業之抄襲現象論著作權法保護範圍應有的調整》,國立清華大學科技法律研究所碩士論文。
網路資料
文化內容策進院(2022),《2021年台灣文化內容產業調查報告IV遊戲、電競產業》,載於:https://research.taicca.tw/report。
文化內容策進院(2021),《2020年台灣文化內容產業調查報告IV遊戲、電競產業》,載於:https://taicca.tw/article/26bcd207。
周遵儒,國家教育研究院,串流媒體stream media,https://terms.naer.edu.tw/detail/0fc3a85b9af09928ed10e851f598a7ec/(最後瀏覽日:10/22/2022)。
紀沈廷(07/03/2019),電競節目里程碑!《狼谷競技台》上架有線電視用戶數破210萬,https://tw.news.yahoo.com/news/電競節目里程碑-狼谷競技台-上架有線電視-用戶數破210萬-065146592.html。
章忠信(06/06/2021),專屬授權與否及其範圍是授權的重要核心,http://www.copyrightnote.org/ArticleContent.aspx?ID=6&aid=3035。
經濟部智慧財產局,(一)著作權基本概念篇-1~10,https://www.tipo.gov.tw/tw/cp-180-219594-7f8ac-1.html(最後瀏覽日:07/25/2022)。
經濟部智慧財產局(20/07/2020),著作權法部分條文修正草案,https://topic.tipo.gov.tw/copyright-tw/cp-876-879699-8ae19-301.html。
數位時代(10/18/2018),〈暴雪揪企業打電競公益賽,名模、主廚組戰隊玩真的〉,https://www.bnext.com.tw/article/50975/blizzard-charity-tournament。
Blizzard(10/31/2018),〈《鬥陣特攻》世界盃播放器:嶄新的視覺享受〉,https://overwatch.blizzard.com/zh-tw/news/22548747/。
Blizzard(03/28/2023),暴雪最終用戶授權協議,https://www.blizzard.com/zh-tw/legal/13b92640-666c-42c0-b25b-3aabd42fb813/暴雪最終用戶授權協議。
Blizzard,BLIZZARD 影片條款,https://www.blizzard.com/zh-tw/legal/d82f3fff-678a-4661-aab4-12b2c357758c/blizzard-影片條款(最後瀏覽日:07/26/2023)。
BlendVision(11/12/2022),串流技術是什麼?一次搞懂8個影音串流常見名詞,https://www.kkstream.com/zh/cases-insights/串流技術
ETtoday遊戲雲(04/30/2020),〈《絕地求生》號召全球戰隊做公益發揮電競正能量 洲際慈善賽五月登場〉,https://game.ettoday.net/article/1703785.htm。
MINECRAFT服務條款與終端使用者授權合約,https://www.minecraft.net/zh-hant/terms/r2(最後瀏覽日:07/28/2023)。
PUBG MOBILE(12/30/2021),最終使用者授權協議,https://www.pubgmobile.com/terms/TW.html。
Riot Games(04/30/2021),服務條款,https://www.riotgames.com/zh-hant/terms-of-service。
Steam Workshop,https://steamcommunity.com/workshop/workshopsubmitinfo/ (最後瀏覽日:04/06/2023)。
Twitch(06/08/2023),服務條款,https://www.twitch.tv/p/zh-tw/legal/terms-of-service/#7-license。
Twitch, Terms of Service, https://www.twitch.tv/p/zh-tw/legal/terms-of-service/#8-user-content(最後瀏覽日:08/12/2023)。
Twitch,隨選影片,https://help.twitch.tv/s/article/video-on-demand?language=zh_TW#faq(最後瀏覽日:08/12/2023)。
Twitch,以內容賺取收益,https://www.twitch.tv/creatorcamp/zh-tw/paths/monetize-your-content/(最後瀏覽日:04/09/2023)。
Twitch(07/19/2021),數位千禧年著作權法案通知指南,https://www.twitch.tv/p/zh-tw/legal/dmca-guidelines/。
Twitch,小奇點與訂閱,https://www.twitch.tv/creatorcamp/zh-tw/paths/monetize-your-content/bits-and-subscriptions/(最後瀏覽日:04/09/2023)。
YouTube說明,在YouTube上進行直播,https://support.google.com/youtube/topic/9257891?hl=zh-Hant&ref_topic=9257610(最後瀏覽日:08/12/2023)。
Yahoo!新聞(11/07/2020),〈《英雄聯盟》改編動畫《奧術》正式上線!揭開吉茵珂絲和菲艾的過去〉,https://tw.news.yahoo.com/arcane-netflix-032429541.html。

外文文獻
Books and Reports
ASHLEY, LIPSON S & ROBERT D. BRAIN, VIDEOGAME LAW: CASES, STATUTES, FORMS, PROBLEMS & MATERIALS (2nd ed. 2016).
BOYD, S. GREGORY ET AL., VIDEO GAME LAW: EVERYTHING YOU NEED TO KNOW ABOUT LEGAL AND BUSINESS ISSUES IN THE GAME INDUSTRY (2019).
EGENFELDT-NIELSEN, SIMON et al., UNDERSTANDING VIDEO GAMES THE ESSENTIAL INTRODUCTION (1st ed. 2008) (ebook).
GREENSPAN, DAVID & GAETANO DIMITA, MASTERING THE GAME: BUSINESS AND LEGAL ISSUES FOR VIDEO GAME DEVELOPERS - A TRAINING TOOL (2022).
NIMMER, 1 MELVILLE B. & DAVID NIMMER, NIMMER ON COPYRIGHT (2005).
RAMOS, ANDY ET AL., THE LEGAL STATUS OF VIDEO GAMES: COMPARATIVE ANALYSIS IN NATIONAL APPROACHES (2013).
SMITH, GORDON V. & VLADIMIR YOSSIFOV, MONETIZATION OF COPYRIGHT ASSETS BY CREATIVE ENTERPRISES (2014).
TAYLOR, T. L., RAISING THE STAKES: E-SPORTS AND THE PROFESSIONALIZATION OF COMPUTER GAMING (2012).
WOLF, MARK J. P. ET AL., THE VIDEO GAME EXPLOSION: A HISTORY FROM PONG TO PLAYSTATION AND BEYOND (2008) (ebook).

Periodicals
Arin, Michael, Competing Competitions Anticompetitive Conduct by Publisher-Controlled Esports Leagues, 104 MINN. L. REV. 1585 (2020).
Bell, Abraham & Gideon Parchomovsky, Copyright Trust, 100 CORNELL L. REV. 1015 (2015).
Burk, Dan L., Owning E-Sports Proprietary Rights in Professional Computer Gaming, 161 U. Pa. L. Rev. 1535 (2013).
Chao, Laura L., You Must Construct Additional Pylons Building A Better Framework for Esports Governance, 86 FORDHAM L. REV. 737 (2017).
Coogan, Kyle, Let's Play A Walkthrough of Quarter-Century-Old Copyright Precedent as Applied to Modern Video Games, 28 FORDHAM INTELL. PROP. MEDIA & ENT. L.J., 381 (2018).
Elkin-Koren, Niva, Copyright Policy and the Limits of Freedom of Contract, 12 BERKELEY TECH. L.J. 93 (1997).
Howard A, Skaist, Hybrid IP Rights For Software, APIs, and GUIs: Understanding Copyright's Paradigm Shift, 30 CATH. U. J. L. & TECH. 1 (2021).
Holden, John & Mike Schuster, Copyright and Joint Authorship As A Disruption of the Video Game Streaming Industry, 2020 COLUM. BUS. L. REV. 942, 970-971 (2020).
Hughes, Justin, Actors As Authors in American Copyright Law, 51 CONN. L. REV. 1 (2019).
Harttung, Jochen, The Issue of “Deep Control” in Professional E-Sports-A Critical Analysis of Intellectual Property Structures in Electronic Gaming (Master’s thesis, University of Toronto (Canada)), https://hdl.handle.net/1807/70431 (2015).
Hollist, Katherine E., Time to Be Grown-Ups About Video Gaming The Rising Esports Industry and the Need for Regulation, 57 ARIZ. L. REV. 823 (2015).
Hemnes, Thomas M. S., The Adaptation of Copyright Laws to Video Games, 131 U. PA. L. REV. 171 (1982).
Hamari, Juho & Max Sjöblom, What Is eSports and Why Do People Watch It?, 27 Internet Research. 211 (2017).
Johnson, Mark R & Jamie Woodcock, The Impacts of Live Streaming and Twitch.tv on The Video Game Industry, 41 MEDIA, CULTURE & SOCIETY 670 (2019).
Joo, Jihan, Public Video Gaming As Copyright Infringement, 39 AIPLA Q.J. 563, 586–87 (2011).
Jarrett, Josh, Gaming The Gift: The Affective Economy of League of Legends ‘Fair’ Free-to-play Model, 21 JOURNAL OF CONSUMER CULTURE, 102 (2021).
Jenny, Seth E. et al., eSports Venues: A New Sport Business Opportunity, 10 JOURNAL OF APPLIED SPORT MANAGEMENT 34 (2018).
Kokkinakis, Athanasios V. et al., Dax: Data-driven Audience Experiences in Eesports 94 (June 2020) (unpublished manuscript), https://www.researchgate.net/publication/342252952_DAX_Data-Driven_Audience_Experiences_in_Esports
Kelly, Stephen et al., Digital Supply Chain Management in the Videogames Industry: A Systematic Literature Review, 10 THE COMPUTER GAMES JOURNAL, 19 (2021).
Lastowka, Greg, Copyright Law and Video Games: A Brief History of an Interactive Medium (Oct. 2013) (unpublished manuscript), https://ssrn.com/abstract=2321424.
Lindstrom, Carl "Ott", Mod Money, Mod Problems: A Critique of Copyright Restrictions on Video Game Modifications and an Evaluation of Associated Monetization Regimes, 11 WM. & MARY BUS. L. REV. 811 (2020).
Liu, Jiarui, An Empirical Study of Transformative Use in Copyright Law, 22 Stan. TECH. L. REV. 163 (2019).
Miroff, Max, Tiebreaker An Antitrust Analysis of Esports, 52 COLUM. J.L. & SOC. PROBS. 177 (2019).
Maiorano, Tony, A Simple Solution to the Normative Practices of Copyright Infringement in the Video Game Streaming Community, 46 U. DAYTON L. REV. 325 (2021).
Mangeloja, Esa, Economics of Esports, 24 ELECTRONIC JOURNAL OF BUSINESS ETHICS AND ORGANIZATION STUDIES. 34 (2019).
Macey, Joseph et al., Does Esports Spectating Influence Game Consumption?, 41 BEHAVIOUR & INFORMATION TECHNOLOGY, 181 (2022).
Nichols, W. Joss, Painting Through Pixels: The Case for A Copyright in Videogame Play, 30 COLUM. J.L. & ARTS 101 (2007).
Ochoa, Tyler T., Who Owns an Avatar Copyright, Creativity, and Virtual Worlds, 14 VAND. J. ENT. & TECH. L. 959 (2012).
Puddington, James, Fair Play: Economic Justifications for Applying Fair Use to the Online Streaming of Video Games, 21 B.U.J. SCI. & TECH. L. 413 (2015).
Patton, Madeleine, How to Protect Users' Copyright Rights in the Age of Social Media Platforms and Their Unread Terms of Service, 53 U.S.F. L. REV. 463 (2019).
Qi Peng et al., Esports Governance : Exploring Stakeholder Dynamics, 12 SUSTAINABILITY, Oct. 2020, at 1.
Ridenhour, Kelsey F., Traditional Sports and Esports: The Path to Collective Bargaining, 105 IOWA L. REV. 1857 (2020).
Robinson, Nicholas, From Arcades to Online: Updating Copyright to Accommodate Video Game Streaming, 20 N.C.J.L. & TECH. 286 (2018).
Rub, Guy A,. Against Copyright Customization, 107 IOWA L. REV. 677 (2022).
Rothman, Jennifer E., The Questionable Use of Custom in Intellectual Property, 93 VA. L. REV. 1899 (2007).
Shisha, Shani, Fairness, Copyright, and Video Games: Hate the Game, Not the Player, 31 FORDHAM INTELL. PROP. MEDIA & ENT. L.J. 694 (2021).
Sobkow, Beata, Video Game Industry and User-Generated Content A Dynamic Interplay Between Laws and Video Game Community Norms (Aug. 14, 2020) (unpublished manuscript), https://ssrn.com/abstract=3270498.
Thomas, Amy, Merit and Monetisation: A Study of Video Game User-Generated Content Policies, 12 INTERNET POLICY REVIEW 1 (2023).
Tu, Alexander, Pausing the Game Esports Developers' Copyright Claims to Prevent or Restrict Tournament Play, 24 VAND. J. ENT. & TECH. L. 191 (2021).
Timmons, Abby L., Protecting the Players: An Argument for Copyright Rights in A N00b Esports Industry, 27 SPORTS LAW. J. 1 (2020).

Internet Sources
Azrael, Atari Space Invaders Tournament 1980, Megalextoria (April 18, 2017 9:31 am), http://www.megalextoria.com/wordpress/index.php/2017/04/18/atari-space-invaders-tournament-1980/.
Blizzard End User License Agreement, BLIZZARD (May 13,2023), https://www.blizzard.com/zh-tw/legal/fba4d00f-c7e4-4883-b8b9-1b4500a402ea/blizzard-end-user-license-agreement

Bryan Wirtz, The Complete Guide to Video Game Genres: From Scrollers, Shooters, to Sports, GAMEDESIGN (July 24, 2023), https://www.gamedesigning.org/gaming/video-game-genres/.
Bryan Wasetis, An Overview of Video Game Publishing for Developers, ASPECT LAW GROUP (Oct. 10, 2021), https://www.aspectlg.com/posts//an-overview-of-video-game-publishing-for-developers.
Competitive Policies & Rules For VOLORANT Esports, RIOT GAMES (Oct. 16, 2020), https://playvalorant.com/en-gb/news/esports/competitive-policies-rules-for-valorant-esports/.
Community Competition License Conditions for Overwatch®, OVERWATCH CONTENDERS,
https://overwatchleague.com/en-us/community-tournaments-license (last visited Aug. 29, 2023).
Chris Scullion, Capcom changes Street Fighter eSports licensing rules after community backlash, VGC (May 16, 2022), https://www.videogameschronicle.com/news/capcom-changes-street-fighter-esports-licensing-rules-after-community-backlash/.
Capcom Video Policy, CAPCOM (Jan. 6, 2021), https://www.capcom-games.com/en/video-policy/.
Christina Gough, Leading eSports games worldwide 2022, by tournament prize pool, STATISTA (Jan. 4, 2023), https://www.statista.com/statistics/501853/leading-esports-games-worldwide-total-prize-pool/.
Derek Faraci, Spacewar! And The Birth of Esports, High Score (July 10, 2019), https://highscoreesports.com/2019/07/10/spacewar-and-the-birth-of-esports/.
Dean Takahashi, Our deep dive into how esports broadcasting differs from traditional sports, GAMESBEAT (Apr. 13, 2019, 6:16 AM), https://venturebeat.com/business/our-deep-dive-into-how-esports-broadcasting-differs-from-traditional-sports/2/.
H.B. Duran, ESL signs exclusive media rights deal with G4, ESPORTS INSIDER (Jul. 22, 2021), https://esportsinsider.com/2021/07/esl-g4/.
J. Clement, Hours watched on leading gaming live stream platforms Q3 2022, STATISTA (Jul. 7, 2023), https://www.statista.com/statistics/1030795/hours-watched-streamlabs-platform/.
Kushal Bhattacharyya, Valorant NA partners with Knights Arena as tournament organizers for VCT 2023, SPORTSKEEDA (Nov. 04, 2022) https://www.sportskeeda.com/valorant/news-valorant-na-partners-knights-arena-tournament-organizers-vct-2023.
Kwaku Edusei, Autonomy, Choice, and Freedom in Video Games, Gamerslearn, https://www.gamerslearn.com/design/autonomy-and-choice-in-video-games (last visited Aug. 14, 2023).
Kirk McKeand, 61% of Activision Blizzard’s 2021 revenue was earned via microtransactions, FORTHEWIN (Feb. 8, 2022, 5:19 AM ET) , https://ftw.usatoday.com/2022/02/activision-blizzard-2021-revenue-microtransactions.
Legal Jibber Jabber, RIOT GAMES (Aug., 2018), https://www.riotgames.com/en/legal.
Michael McWhertor, Heroes of the Storm pros vent sadness, anger after Blizzard kills game’s esports future, POLYGON (Dec. 14, 2018, 6:00pm EST), https://www.polygon.com/2018/12/14/18141331/heroes-of-the-storm-canceled-hgc-blizzard-community.
Matt Kim, Nintendo Issues Full Statement Over Smash World Tour Cancellation "If we discover that a partner is doing something inappropriate, we will work to correct it.", IGN (Dec.10, 2022), https://www.ign.com/articles/nintendo-issues-full-statement-over-smash-world-tour-cancellation.
NA Tournaments North America Community Competition Guidelines, RIOT GAMES (Jun. 8, 2022), https://developer.riotgames.com/policies/na-tournaments.
Nintendo Game Content Guidelines for Online Video & Image Sharing Platforms, NINTENDO (Nov. 29, 2018), https://www.nintendo.co.jp/networkservice_guideline/en/index.html.
Noah Smith, YouTube is the exclusive streaming home for the Call of Duty and Overwatch Leagues, The Washington Post (Jan. 24, 2020, 4:34 PM EST), https://www.washingtonpost.com/video-games/esports/2020/01/24/activision-blizzard-announces-youtube-exclusive-streaming-home-call-duty-overwatch-leagues/.
Ubisoft Video Policy, UBISOFT (Jan. 2016), https://legal.ubi.com/VideoPolicy/en-INTL.
Pieter van den Heuvel, Esports Revenues Deep Dive: The Esports Economy Is Expanding Rapidly but ROI Is Still Limited, NEWZOO (Feb. 28, 2017), https://newzoo.com/insights/articles/esports-revenues-deep-dive-the-esports-economy-is-expanding-rapidly-but-roi-is-still-limited-for-most-individual-companies.
Red Barrels Outlast, https://redbarrelsgames.com/games/outlast/ (last visited Aug. 29, 2023).
Super Animal Royale, https://animalroyale.com/ (last visited Aug. 29, 2023).
Stephen Ellis, Esports is growing up: IP law and broadcasting rights, ESPN (Jan. 25, 2016, 12:19 PM ET), https://www.espn.com/esports/story/_/id/14644531/ip-law-broadcasting-rights-esports.
Tyler Wilde, Should streamers pay game developers to stream their games?, PCGAMER (Oct. 23, 2020), https://www.pcgamer.com/do-streamers-owe-game-developers-money/.
Tom Wijman, The Games Market and Beyond in 2021: The Year in Numbers, NEWZOO (Dec. 22, 2021), https://newzoo.com/insights/articles/the-games-market-in-2021-the-year-in-numbers-esports-cloud-gaming/.
Tom Ivan, Streamers should pay game developers royalties, argues Stadia creative director ‘STADIA’ TRENDS WORLDWIDE FOLLOWING DEVELOPER’S COMMENTS OVER CONTENT LICENSING, VGC (Oct. 22, 2020, 9:47 PM), https://www.videogameschronicle.com/news/streamers-should-pay-game-developers-royalties-argues-stadia-creative-director/.
Third Party Tournaments License Terms, PUBG MOBILE, https://www.pubgmobile.com/cp/a20191127sssq/index.shtml (last visited Aug. 29, 2023).
Terms And Conditions Of Fan Art Submissions To Blizzard, BLIZZARD, https://www.blizzard.com/zh-tw/legal/a6def1da-48b1-41ba-8e8c-8b849efa1f24/terms-and-conditions-of-fan-art-submissions-to-blizzard-entertainment (last visited Aug. 29, 2023).
Update to the Street Fighter V Community License Agreement, CAPCOM (May 12, 2022), https://news.capcomusa.com/2022/05/12/update-to-the-street-fighter-v-community-license-agreement.
Valve Corporation Limited Game Tournament Licenses, STEAM, https://store.steampowered.com/tourney/limited_license (last visited Aug. 29, 2023).
Video Policy, BANDAI NAMCO (Feb. 15, 2022), https://www.bandainamcoent.asia/video-policy.
Valve Corporation DOTA 2 Tournament License and Paid Spectator Service Agreement, http://cdn.dota2.com/apps/dota2/leagues/league_terms.pdf (last visited Aug. 15, 2023).
 
 
 
 
第一頁 上一頁 下一頁 最後一頁 top
* *