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Ip Gaming A global phenomenon VideoHow to Get The Best Connection for Gaming
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If developers want to create a new work on the basis of an existing copyrighted work, a so-called derivative, then they must first secure the appropriate licenses from the copyright holders.
An example of a derivative work is Shrek the game which was based on Shrek the film. The process can also work the other way. When filmmakers want to develop a film on the basis of the story line of a successful game they too must secure rights from the right holders of the original work, for example, Doom the movie was based on Doom the game.
Without the appropriate rights and licensing agreements in place, developers may find their game cannot be distributed; they may be unable to fully leverage the value of their work.
What developers own is IP; what they sell through licensing deals is IP. In fact, all they have is IP, so they need to protect it.
The pace of change within the gaming industry itself can be a challenge insofar as the laws that are currently in place to safeguard and encourage innovation and creativity may lag behind and may not always provide an adequate solution to an emerging or unforeseen situation.
These challenges are further compounded by the lack of harmonization of the laws applicable to the video game industry around the world. Photo: Electronic Arts.
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Sign in. The tight control of publicity and PR is also a contributing factor — games are treated more like products than they are like creative efforts that happen also to be products.
The downside to such a state of affairs is obvious: When corporate goals take total precedence over artistic ones, the quality of creative products often suffers and we saw what I thought was a historically bad crop of sequels and retreads this past fall, during game's traditional AAA release season.
But there's another way of looking at it: Gamers and game producers may simply have a more realistic view of creative production in The production and distribution of art has always been a negotiation between creativity and commerce a fact visual art has been coming to tortured terms with for 50 years , and games may simply be the art form that most honestly admits this.
Says Bogost, "You could see it as a virtue, a willingness among creators and players to see games as a weird intertwining of creativity and business concerns.
And gamers exert more influence over creative and business concerns in their chosen medium than perhaps any group of artistic consumers.
Gamers protest narratives, sue companies that they feel have failed to deliver on their promises, are consulted by game companies to make sure their products meet expectations.
Not to mention the enormous backlash against the proliferation of downloadable add-on content. Can you imagine a collector suing Damien Hirst because he didn't feel there were enough diamonds on For the Love of God?
The legal disclaimer notice tells you all about who owns the IP and what rights they have given the consumer to use it.
Oakey Member. True and not true at the same time. The developer retains all rights to the game and how it can be used but when you buy a game you buy a license to use the game for personal use and that copy of it becomes your property.
The only situation where this may be possible is if you have been proven to be breaching copywrite - i. So in short - the developer retains the rights of the intellectual property i.
It is yours to use within the law. Member Distinguished Member.