互联网时代，网络游戏产业是我国文化娱乐产业中发展最为迅速的产业之一。新《著 作权法》修订颁布之前，著作权意义上的作品定义在旧法中的规定呈现封闭性特征，作品 类型限于旧法中规定的八大作品类型，并且新《著作权法》颁布之前的法律及相关条例对 网络游戏这类新型作品未能有明确定性。网络游戏作品保护中存在诸多问题。

2020 年 11 月 11 日，经过第三次修订的新《著作权法》颁布，并于 2021 年 6 月 1 日 起正式生效。此次修订对《著作权法》(2010 年修订)进行了诸多修改，修改内容包括对 作品特征进行了定义、将作品类型由原先的封闭式列举规定修改为概括列举并包的开放式 规定、修改作品类型使“视听作品”替换先前的“电影和类电影作品”、“广播权”定义的 修改等等。此次修订对发展迅速的网络游戏产业有着重大的意义，转变了此前网络游戏著 作权保护在理论上存在巨大争议的局面。

网络游戏作品类型的认定一直是网络游戏保护问题中的焦点问题。目前我国国家版权 局对网络游戏登记的名目仍然是计算机软件著作权。相对于版权登记时的统一标准，我国 司法实践对网络游戏作品类型的判定标准出于不同的保护理由并没有形成统一的意见。实 践中，网络游戏作品类型主要被认定为“计算机软件作品”、“视听作品”(新《著作权法》 颁布前为“类电影作品”)，近年来也出现将答题类网络游戏认定为“汇编作品”的案例。 由于“换皮游戏”等抄袭网络游戏规则、游戏地图的新型侵权模式的诞生，对网络游戏保 护的讨论也不再局限于对计算机代码、游戏画面的保护，还拓宽到网络游戏规则、游戏地 图等元素是否应当独立成为著作权保护的对象等问题。

网络游戏产业的爆火也带动了游戏直播行业的发展，玩家、直播平台、运营商、开发 商等各主体对于直播利益进行争夺的较量如火如荼。不过，由于我国司法目前对网络游戏 作品有定性为“视听作品”继而进行保护的趋势，加上新《著作权法》对“广播权”定义 的扩大，使得网络游戏开发商似乎在较量中占据了绝对优势地位。这也使得网络直播平台 哀声遍野，玩家不能自由地在社交平台上进行网络游戏的直播。对此，应当采取一定的措 施对网络游戏的广播权进行一定程度的规制，让网络游戏直播行业能持续良性发展。

本文从新《著作权法》的角度出发，梳理网络游戏保护中的问题，在肯定此次修订积 极意义的同时，也对立法上的不足之处提出一些建议。其中，最主要的建议就是类型化网 络游戏作品，使得网络游戏独立成为著作权意义上的作品，进而在实践中更好的受到著作 权法律的保护。另外，网络游戏作品应明确权属及权属规则，确定“广播权”的适用场景， 以此减少司法争讼。

In the Internet era, the online computer game industry is one of the fastest growing industries in our cultural and entertainment industries. Before the revision and promulgation of the new Copyright Law, the definition of works in the sense of copyright in the Copyright Law before the new showed a closed feature, and the types of works were limited to the eight types of works. Also the laws and relevant regulations before the promulgation of the new Copyright Law did not have a clear definition of new works such as online games. There are many problems in the protection of online game works.

On November 11, 2020, the new Copyright Law was promulgated after the third amendment, and came into effect on June 1, 2021. This revision has made many changes to the Copyright Law (revised in 2010), including defining the characteristics of works, changing the type of works from the original closed listing regulation to the general listing and inclusive open regulation, modifying the type of works to replace the previous "film and cinematographic works" with "audiovisual works", and modifying the definition of "broadcasting rights". The revision is of great significance to the rapid development of the online game industry, which has changed the situation that the copyright protection of online games has been controversial in theory.

The identification of the type of online game works has always been the focus probelm of online game protection. At present, the title of network game registration of the National Copyright Administration is still computer software copyright. Compared with the unified standard of copyright registration, there is no one standard opinion on the type of network game works in our judicial practices for different protection reasons. In practice, the types of online game works are mainly identified as "computer software works" and "audio-visual works" (before the promulgation of the new "Copyright Law", they were "quasi-film works"). In recent years, there have also been cases of "compilation works" identified to answer questions online games. Due to the emergence of new infringement modes such as "skin-changing games", which copy online game rules and game maps, the discussion on online game protection is no longer limited to the protection of computer code and game images, but also extends to whether online game rules, game maps and other elements should be independently the object of copyright protection.

The explosion of the online game industry also drives the development of the game livestreaming industry. Players, livestreaming platforms, operators, developers and other subjects are in full swing to compete for the interests of livestreaming. However, due to the trend of the protection of network game works as "audio-visual works" and the expansion of the definition of "broadcasting right" in the new Copyright Law, network game developers seem to have an absolute advantage in the competition. As a result, live streaming platforms complain that players cannot freely broadcast online games on social platforms. Therefore, some measures should be taken to regulate the broadcasting rights of online games to a certain extent, so that the online game live broadcasting industry can continue to develop healthily.

According to the new Copyright Law, this paper has sorted out the difficulties in the protection of online games. While affirming the positive significance of the revision, it also puts forward some suggestions on the shortcomings of the legislation. Among them, the most important suggestion is to type online game works, so that online games can become independent works in the sense of copyright and be protected by copyright law. In addition, online game works should clarify the ownership and ownership rules, and determine the applicable scene of "broadcasting rights", so as to reduce judicial disputes.