Abstract
Convergence of creative elements such as literature, music, painting, and even film in the production of videogames has allowed them to be ranked as the eighth art in the framework of creative industries. However, such a work should hold an information technology support that allows it to be played and set by the user, which implies a degree of unusual interaction in all other creations made part of it. The main objective of this article is to set, through a qualitative research, the most appropriate way of legally protecting videogames; despite an arrangement has been developed worldwide based on two important branches of copyrights (software and multimedia works), both show failures which could be easily repaired either by applying an analogy with cinematographic work or by creating a specific work category known as videogame.
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