As one reflects upon the history of culture in the twentieth century, at least within what we call the “developed world,” it’s hard not to conclude that Sousa was right (to fear in 1906 that creation by regular people was
Fanworks Inc. directory of pro writers’ policies on fan fiction
Fanworks Inc. directory of pro writers’ policies on fan fiction A large directory of pro writers’ policies on fan fiction, including mostly authors who write in English. The directory links to direct quotes or other sources that indicate the authors’
New issue of Transformative Works and Cultures on comics fandom
Fan studies journal Transformative Works and Cultures has published its thirteenth issue on comics fandom. Here are links to all the articles, on topics ranging from women in comics fandom to fans on 4chan to Captain America and various other
[QUOTE] From Fan-Yi Lam, Comic Market: How the World’s Biggest Amateur Comic Fair Shaped Japanese Dōjinshi Culture, p240-241
Since the 1980s, it has become common for talented dōjinshi creators to be recruited by professional companies and become popular on the mass market. Many famous artists have had a past in the dōjinshi scene or are still involved. Artists—including
[QUOTE] From Fan-Yi Lam, Comic Market: How the World’s Biggest Amateur Comic Fair Shaped Japanese Dōjinshi Culture, p242
(besides Type-Moon) Two other dōjin games, Higurashi no naku koro ni (2002–6, When they cry) by the circle 07th Expansion and Tōhō Project (1996–present, Orient project) by the Shanghai Alice Gengakudan circle, later became commercial hits of a similar or
[META] Oprah Winfrey and Joss Whedon: Transformative Works from Within
Typically, I think that this space should be reserved for celebrating the achievements, creative works, and intellectual production of fans themselves, and not those of the incredibly rich owners of the media franchises that give us some of our most
[META] Existing settings, existing characters
We are all familiar with the elements of fiction: plot, character, theme, setting, point of view. When a writer decides to set a story in San Francisco in 1980, or in Bonn in 1950, or in her home town the