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

transformativeworksandcultures: TWC #23: Sherlock Holmes, Fandom, Sherlockiana, and the Great Game (special issue, edited by Roberta Pearson and Betsy Rosenblatt) Editorial Roberta Pearson,Betsy Rosenblatt “In all my experience I cannot recall any more singular and interesting study” Theory Ann McClellan,

The sexualised content of some Japanese media, particularly in regard to representations of characters who may ‘appear to be’ minors, has become the site of increased concern in some countries, notably Canada and Australia where fictional depictions of child characters

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

Whereas women artists are more likely to extract beloved characters out of their favourite manga, and develop love stories around them, often as beautiful gay boy couplings wholly unrelated to the originals. This approach, called yaoi -yamanashi “no climax,” ochinachi

However, because permitting — let alone encouraging — dojinshi runs afoul of copyright law, the agreement remains implicit: The [Japanese] publishers avert their eyes, and the dojinshi creators resist going too far. This anmoku no ryokai [“unspoken, implicit agreement”] business