1. DIGITAL TRANSFORMATION, SMES AND THE LEGAL STATUS OF VIDEO GAMES
INTELLECTUAL PROPERTY IN THE DIGITAL ECONOMY FOR SMALL AND MEDIUM-SIZED ENTERPRISE (SMES) CONFERENCE IP AND INTERACTIVE ENTERTAINMENT (IE)
DIGITAL TRANSFORMATION, SMES AND THE LEGAL STATUS OF VIDEO GAMES

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3. ADVANCING THE DEVELOPMENT OF SMES IN AN AGE OF DIGITAL TRANSFORMATION
Game-changing innovation has become the norm;
New technology’s impact on business and society accelerate progress exponentially;
The digital revolution certainly poses new challenges but digital businesses are not so different that they cannot be scrutinized using the existing tools of IP Law;
Impact of digitalization takes place across varied industries;
Capturing value by business and society;
Digital business models do raise some difficult and some novel questions and it is to be welcomed that these issues are being looked at in an overarching policy-focused way.

7. Artificial Intelligence (AI) Internet of Things (IoT)
WIPO is investing time and research into the IP dimensions of these advanced technologies, and how they impact industries:
Artificial Intelligence (AI)
Blockchain
Internet of Things (IoT)
3D printing
Robotics
Big Data

8. FOUR GROUPS OF COPYRIGHT INDUSTRIES
Identified on the basis of their level of dependence on copyright material, namely
Core copyright-based industries
Interdependent Industries
Partial Industries
Non-dedicated Industries
Press and Literature
Music, Theatrical Productions, Operas
Motion picture and video
Radio and Television
Photography
Software and Databases
Visual and Graphic Arts
Advertising Agencies and Services
Copyright Collecting Societies
The line between software and artwork can be fuzzy. For example, video games are counted in software – but they include storylines, graphics and music like a theatrical movie.

9. Video games are complex works of authorship
– They contain multiple art forms, such as music, scripts, plots, video, paintings and characters – that involve human interaction while executing the game with a computer program on specific hardware.
Therefore, video games are not created as single, simple works, but are an amalgamation of individual elements that can each individually be copyrighted (i.e., the characters in a given video game, its soundtrack, settings, audiovisual parts, etc.) if they achieve a certain
level of originality and creativity.
– All video games share a common element: the computer program that runs the game (but do not each use the same software).

10. COPYRIGHTABLE SUBJECT MATTER FOUND IN VIDEO GAMES
Video games contain multiple elements, each of which can receive copyright protection.
Main creative elements:
I. Audio Elements:
1. Musical Compositions
2. Sound Recordings
3. Voice
4. Imported Sound Effects
5. Internal Sound Effects
II. Video Elements
1. Photographic Images (p.e., Giff, Tiff, Jpeg)
2. Digitally Captures Moving Images (p.e., Mpeg)
3. Animation
4. Text
III. Computer Code (Source Code and Object Code)
1. Primary Game Engine or Engines
2. Ancillary Code
3. Plug-Ins (Third-Party Subroutines)
4. Comments
Additionally, other subject matter eligible for copyright protection can include the video game script, its plot and other literary works; well-developed characters; choreographies and pantomimes; and maps and architectural works.
These elements are not protected per se, unless they meet each jurisdiction’s criteria for protection; in this regard, some countries, like the United States of America, provide copyright protection only to original works of authorship fixed in any tangible medium of expression, while other countries, like those in the European Union (EU), also guarantee protection to non-fixed works.

11. PROFESSIONALS INVOLVED IN THE CREATION, DEVELOPMENT AND MARKETING OF VIDEO GAMES – Examples:
PRODUCER
The producer supervises and oversees the work of all those involved in creating the video game. Video game producers have a similar role, mutatis mutandis, to that of a movie director. Other roles found in this category are:
Production coordinator
Assistant producer
Associate producer
Director of production
GAME DESIGNERS
Lead Designer
Level Designer
Content Designer
Game Writer
System Designer
Technical Designer
User Interface Designer
Creative Director
Writer
Scriptwriter
ARTIST
The creator of the visual art of the game
PROGRAMMER or ENGINEER
Who creates and adapts the video game code
AUDIO DESIGNER
Responsible for creating sound effects and other related sound elements
OWNERS OF NEIGHBORING RIGHTS
Performers and Actors, in relation to both voice and movement
Producers of audiovisual and sound recordings
OTHER NON-CREATIVE POSITIONS
Quality Assurance Tester
Publisher of the video game
Accountants
Marketing experts
Community Manager
The Publisher
and the
Developer Relationship

12. TOOLS FOR CREATORS Mastering the Game:
Business and IP issues for Video game
Developers
Making a living from Music
From Script to Screen (Film)
Management of IP in the Book Publishing Industry
Rights, Camera, Action (Film)
Distance Learning Module (Advanced)
Managing Creative Entreprises
Managing IP in the Advertising Industry
The Monetization of Copyright Assets
DL 501 Course on Collective Management

13. COPYRIGHT IS BUT ONE ELEMENT IN ANY NATIONAL POLICY SUPPORTING SMES AND THE CREATIVE INDUSTRIES
Copyright is only one building block.
It is a tool. Not a miracle cure.
It must be embedded in a series of other measures.
WHO ICD-11 LIST AND THE INCLUSION OF GAMING

14. That’s it for now …
Thank You …