Are Video Game Companies Next In Line For Copyright Termination Battles?
from the Betteridgian-answers-may-be-deposited-in-the-comment-thread-below dept
We've seen the beginnings of a battle at major labels as artists are filing to reclaim the copyright to their recorded works. The magical 35-year mark triggered by Section 203 of the US Copyright Act arrived in 2013 for works created in 1978. Each passing year will bring with it another batch of recordings that artists can reclaim from their current and former labels.
The labels aren't too happy with this arrangement (although they seem to be generally chill with the rest of copyright law as it stands) and have made a lot of noise about artists' works being nothing more than works-for-hire, something not eligible for copyright termination.
Dan Rogers at Gamasutra points out that the next few years might see the same sort of defensive activity from video game companies as the termination date rolls up on some old classics. Here's an illustrated list Rogers created showing some of titles due for termination within the next five years.
Rogers also points out that this battle may be short-lived and involve very few combatants, at least much fewer than the recording industry is facing.
This isn't to suggest that the rights to these specific games can be terminated, and my guess is that many were created by in-house teams—thus work created by employees within the scope of their employment. But other games created during these years were no doubt created by outside, independent developers, and these rights could very well be subject to Section 203.It's probably a safe bet that most games created for large companies like Nintendo and Atari were work-for-hire, if for no other reason than these games were created by teams of developers, rather than resulting from the effort of two or three individuals. Not only that, but developers working for game companies are usually referred to as "employees." Artists recording for labels aren't usually considered to be part of the staff. Even thirty-plus years down the road, it's next to impossible for a set of developers to jump ship and retain their IP.
And if developers aren't locked out by contracts specifying their efforts are "works-for-hire," the expansive definition of non-specific exclusions will likely exclude several more game creators.
A “work made for hire” is--Still, there could be few outliers with valid claims for copyright termination, and if there's enough of those, things could get interesting. Chances are that most of these creations are locked up eternally, which works out well for game companies if not so much for the original developers. Unlike other media forms, video game IP can be almost endlessly exploitable, what with new platforms being developed constantly and the easily-triggered nostalgia of lifelong gamers. Companies aren't done milking various 20+ year-old titles to death so they'd likely be unwilling to cough up what's left of the cash cow without a fight.
(1) a work prepared by an employee within the scope of his or her employment; or
(2) a work specially ordered or commissioned for use as a contribution to a collective work, as a part of a motion picture or other audiovisual work, as a translation, as a supplementary work, as a compilation, as an instructional text, as a test, as answer material for a test, or as an atlas, if the parties expressly agree in a written instrument signed by them that the work shall be considered a work made for hire. For the purpose of the foregoing sentence, a “supplementary work” is a work prepared for publication as a secondary adjunct to a work by another author for the purpose of introducing, concluding, illustrating, explaining, revising, commenting upon, or assisting in the use of the other work, such as forewords, afterwords, pictorial illustrations, maps, charts, tables, editorial notes, musical arrangements, answer material for tests, bibliographies, appendixes, and indexes, and an “instructional text” is a literary, pictorial, or graphic work prepared for publication and with the purpose of use in systematic instructional activities.
[Speaking of all of the above (large game companies, development teams, nostalgia), if you've got some time to kill, this collection of 10 years of Atari's internal VAXmail is extremely fascinating, detailing internal bickering and development twists and turns, along with some postmortems of new IP 'field trials' at local California arcades.]
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Filed Under: copyright, copyright termination, termination, video games
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Well, Mr Wrongy W. Wrongenstein...
Except that, you know, many were created by only a few people who did keep rights or received them through reversion clauses in their contracts with big companies like Atari and Namco and, er... Bally/Midway. Like Jamie Fenton. But why let facts get in the way of some good ol' supposition?
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Re: Well, Mr Wrongy W. Wrongenstein...
For instance, Eugene Jarvis created Defender while working for Williams. Then, later, he and Larry DeMar (as Vid Kidz) made Robotron and Stargate which were released by Williams. There is a very good possibility that they could reclaim these two games, as they created them and then sold them to Williams.
https://en.wikipedia.org/wiki/Eugene_Jarvis
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But i believe as we can see from the latest "in the spirit " of megaman kickstarter that it doeant matter as much with software. (Yes im aware that that commwnt is the beginning of a slippery slope but in this very narrow instance i believe it is ok)
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Question
Logic and fairness would suggest that since the specific dev team is usually disbanded on completion, it would be "release date +70". However, that would limit the copyright term to something within a human-spaceflight-distance-worth of sensible, not to mention it being shorter than a copyright held by an actual creator, so I know it's not that...
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1/ Give absolutely no rights to the people that actually create the work in question
2/ Last pretty much as long as individual copyrights
3/ Still last longer than anyone who cared about the work in the first place is likely to be alive.
Yeah, my "faith" in copyright law has been restored. Thanks for the (depressing) info..
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More individual creations that you think
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And new music, by definition, would actually have to be good instead of One Direction.
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There's no money in these games anyway
Plus, a lot of those old classic games are so old that there's like a million free versions of them online. I mean seriously, any programmers ever make a mine sweeper game when learning a programming language? I have.
Copyright on games should end after 5 years, or 10 at most, because at that point the game system/computer it was built for is no longer in use.
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Re: There's no money in these games anyway
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Re: There's no money in these games anyway
If you want to be even more fair, no one should be able to claim the rights to that game again after the time expires so that it can permanently stay in public domain. But there may have to be an exception for subscription based games, especially WoW which is still doing really good.
But I guess some companies are just that greedy and think their games will still be making money after 35 or more years, and just because they complained, that's what the rule is.
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Copy Right Maze
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