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

The  basic  ideas  behind  fandom’s  treatment  of  copyright  may track  to  fair  use  and  basic  copyright  law,  but  it  tracks  even  more closely  to  something  else. Consider  three  key  pieces together:  the freedom  to  create  derivative  works,  the  requirement  that

The regifting economy that is emerging, I argue, is the result of the industry’s careful cultivation of a parallel fan space alongside grassroots formations of fandom. By precariously attempting to balance the communal ideals of fandom’s gift economy with their