UlasanAnime.com – A recent article on Wired.com, penned by Jennifer Granick of Stanford Law School’s Cyber-Law clinic, has sparked discussion regarding doujinshi and its place within Japan’s content industry. While many are familiar with the broader landscape of manga and anime, doujinshi, often considered the pinnacle of fan-created content, occupies a unique and sometimes controversial niche.
The article touches upon the author’s personal experience with doujinshi, particularly in the context of a law professor’s visit to Tokyo. This personal angle, combined with the author’s legal background, brings a unique perspective to the discussion of fan-made works and their intersection with intellectual property rights.
Doujinshi, while a significant part of Japan’s visual culture, remains an anomaly when viewed through the lens of mainstream media and copyright law. The semi-annual Comiket event, often referred to as the “holy grail” for fans, exemplifies this. It’s a space where derivative works, often of a sexual nature, are created and sold openly, a stark contrast to the more restrictive copyright enforcement prevalent in North America.
Consider the example of “Suzumiya Haruhi,” a popular series that also saw a significant presence at Comiket 70. The question arises: would creators be comfortable with their fictional characters and settings being reinterpreted in various, often explicit, forms? This extends to the work of animators, character designers, and voice actors, whose likenesses and creations can be freely adapted.
The financial aspect is also noteworthy. Reports suggest that attendees like Shingo spent considerable sums on doujinshi, with a significant portion of that expenditure going towards explicit content. While exact figures for Comiket are difficult to ascertain, even rough estimates suggest a substantial market. In North America, such profit-making activities involving copyrighted material would likely lead to legal repercussions.
However, the doujinshi scene, and Comiket in particular, operates with a different set of norms. Creators often turn a blind eye to copyright infringement, partly because many of them are active participants in the doujinshi community themselves. This includes professionals in the manga industry, such as critics, editors, and even established mangaka, who contribute to or run doujinshi circles.
The concept of “professional” doujinshi circles, where individuals can potentially earn a living, is also explored. While doujinshi are generally inexpensive, often priced around 1000 yen and comparable in size to trade paperback comics, the low production costs allow for a sustainable market.
Granick’s second point highlights the creative environment fostered by allowing innovation on existing intellectual works. This isn’t about outright theft, but rather about using existing elements – characters, settings, concepts – as building blocks for new creations. This process allows creators to hone their skills and develop a unique artistic voice, making their work relevant to a wider audience.
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Independent artists and comic creators often face significant challenges in breaking into the industry. Webcomics like “Megatokyo” have achieved success by leveraging existing popular culture trends. By drawing inspiration from established series and genres, they tap into pre-existing fanbases, creating a pathway to recognition and audience engagement.
This approach, while perhaps not always ethically straightforward from a copyright perspective, allows for artistic expression to flourish in areas untouched by legal restrictions. The demand for unique, even provocative, mashups of popular franchises, like a pornographic version of “Super Mario Bros.” crossed with “Final Fantasy 7,” demonstrates a niche market that traditional copyright laws cannot easily accommodate.
The implicit message to content producers and distributors in America is to reconsider their approach. Instead of rigidly enforcing copyright, allowing for greater freedom of expression could foster cultural development and creativity. Japan’s doujin scene, despite its legal ambiguities, often adheres to its own ethical codes, a contrast to some English-language fansubbing communities. Moreover, the expectation is that sensible individuals will keep explicit fan-made content within appropriate spheres, while those who don’t can be dealt with accordingly.
The article then shifts focus to the future of Comiket itself.
Discussions with individuals connected to the Comiket committee reveal the immense logistical challenges involved in managing such a large-scale event. The presence of riot squads, emergency services, and extensive security personnel underscores the potential for disorder. The event also attracts criminal elements, with “overnighters” who camp out prior to the convention often carrying significant amounts of cash, making them targets for gangsters. Furthermore, the sheer volume of attendees creates considerable disruption for the local community and transit systems in Tokyo.
Despite these challenges, Comiket remains the undisputed heart of the Japanese doujinshi scene. While doujinshi are available year-round through various channels, Comiket holds a legendary status. It serves as the primary commercial hub, drawing a diverse crowd of creators, from seasoned professionals to newcomers. The event’s economic impact, even with its unconventional approach to copyright, is substantial enough to warrant attention from corporate interests.
The sheer scale of Comiket presents ongoing management difficulties. Many conventions, like Otakon, have capped attendance to maintain manageable operations. Comiket, however, has grown exponentially from its humble beginnings, attracting hundreds of thousands of attendees. While official attendance figures are tallied daily, leading to potential double or triple counting, the overall scale of the event is undeniable.
Ultimately, the article prompts contemplation on the eventual trajectory of Comiket. While its future remains uncertain, it’s acknowledged that such a massive phenomenon cannot continue indefinitely. The question remains whether it will maintain its current momentum, scale down, or undergo a more dramatic transformation, making these exciting times for enthusiasts and observers alike.
