As noted above, material culture is generally limited by money and space (Woo 2014, ¶4.1). This is not the case for textual productions, because anyone with a computing device, an Internet connection, and network permission to visit a relevant Web site (e.g., Equestria Daily) can find and access them. Thus they belong to no one in particular but rather to the fandom as a whole (Busse and Hellekson 2006, 7). In contrast to Derek Johnson’s argument that assigning authorship to bronies “attributes the creativity of participatory culture to exclusively masculine, adult, and heterosexual identities” (Johnson 2013, 145), I have found that the combination of accessibility and the ambiguity of digital creativity creates a situation in which no one possesses exclusive rights to fan fiction, just as no one owns the show Friendship Is Magic. As a means of participation and expression, fan fiction and digital media allow individuals and groups to explore and renegotiate the MLP source text in a way that has a tangible impact on how the community in general thinks about and draws from pony and its own history.
Cuteness, friendship, and identity in the brony community | Theo A. Peck-Suzuki | Transformative Works and Cultures ift.tt/2eUIZYz