The rise of the Internet also meant that Comike lost its monopoly as the center of otaku and dōjinshi culture. Nevertheless, Comike remained the most important event for Japanese fans, especially after companies with otaku-related products started to exploit it.
Corporate sales, creator identity, and audience heterogeneity lead yuri to an awkward place in terms of genre identity. Is yuri the schoolgirl romance created by men for a male audience who consider love between girls pure, or is it the
Greater competition (between dōjinshi creators in the 1980s) gradually fostered rising standards of quality, which in turn attracted more circles and buyers. Higher sales shrank production costs and boosted profits, which could then be reinvested in the dōjinshi themselves. Small
Perhaps most notably, by offering works that arguably “push the envelope” more than the works of the formal manga industry, dōjinshi may produce examples of innovation that create new opportunities for the entire industry. Indeed, mainstream manga publishing companies have
[QUOTE] From Fan-Yi Lam, Comic Market: How the World’s Biggest Amateur Comic Fair Shaped Japanese Dōjinshi Culture, p243
Upon the appearance of Web 2.0 sites like YouTube or DeviantART (and especially their explicitly Japanese counterparts NicoNico Dōga and Pixiv) one might think that Comic Market as a physical and costly event would suffer from losing its monopoly on
[QUOTE] From Queering the media mix: The female gaze in Japanese fan comics | Kathryn Hemmann | Transformative Works and Cultures
As this media mix has had several more decades to evolve in Japan than in the United States and Europe, the Japanese understanding of convergence culture is significantly more progressive concerning the user-generated portion of the mix (note 6). Specifically,
Seven new essays on transcultural fandom
Via @tea-and-liminality: “For anyone interested, there’s a new themed section on transcultural fandom up at the online journal Participations, with the following essays: Chin, Bertha & Lori Hitchcock Morimoto:‘Introduction’ Driessen, Simone:‘Larger than life: exploring the transcultural fan practices of the
NHK – The Secret World of Comiket (2015), made by Ken Burns. (Source: https://www.youtube.com/)
The censorship problems faced by anime and manga fans
songstersmiscellany: fanhackers: For fans of manga, anime, and other Japanese media, pointing and laughing at inaccurate mass media portrayals of Japanese pop culture has been something of a sport for decades. A few weeks ago, however, things took a slightly
The censorship problems faced by anime and manga fans
For fans of manga, anime, and other Japanese media, pointing and laughing at inaccurate mass media portrayals of Japanese pop culture has been something of a sport for decades. A few weeks ago, however, things took a slightly more serious