UlasanAnime.com – Walking through the artist alley at Anime Expo, a thought struck about the nature of merchandise sold in the US compared to Japan’s Comiket. In the US, artist alleys primarily feature character merchandise like t-shirts with witty phrases or prints, often resembling an arts and crafts show rather than a dedicated fan gathering for specific works like Comiket, where fans seek out doujinshi.
The difference in fan culture between the US and Japan also influences how copyright is practically applied. While licensed merchandise is increasingly available in the US, there are still gaps, particularly for niche items like “sarcastic t-shirts” which can be hard to find and expensive. This situation prompts a question for fans who wish to create and sell their own works: what market segment truly remains unfilled?
Historically, American fans have produced their own zines, such as EX, Colony Drop, and Super Rat’s zine, over the past two decades. Even now, individuals involved in fan communities express interest in this publishing format. The rise of e-readers and tablets presents a rich visual space ideal for such material, offering an attractive publishing platform for creators.
The author wonders why this format isn’t more prevalent in US artist alleys. The perceived workflow for creating prints or buttons is less demanding than the intensive, deadline-driven process of producing a 16-page manga for Japanese doujinshi events. This suggests a difference in how these activities are approached: the former resembling a casual endeavor, the latter a significant project.
The article emphasizes that this is not to diminish the efforts of artist alley creators, whose work can be valuable and deserving of attention. The concept of the artist alley, with its blend of local flavor and convention culture, functions well. However, from a creative standpoint, it’s described as a “dead space” dominated by two types of offerings: derivative works capitalizing on popular trademarks and original art. The author expresses a desire for a US counterpart to the Japanese doujinshi market that could foster the success of works based on specific series like Tsukihime or Nyoro~n Tsuruya-san, a scenario that seems unlikely under current conditions.
The “intarwebs” are identified as the current hub for such activities. The mode of consumption has shifted, with buyers at artist alleys seeking image-based goods and merchandise rather than in-depth content or narratives. For stories or specific character portrayals, fans turn to anime, manga, webcomics, forums, and fanfiction. The author posits that any American fan creating similar content would likely publish it online. The artist alley, in this view, becomes more of a dealer’s room for selling merchandise rather than a primary platform for showcasing original, content-rich works.
Quoting Makoto Shinkai from an Otakon press panel, the article highlights the evolution of animation and computer technology. Shinkai notes that while circumstances, hardware, software, and internet distribution have improved, the fundamental basis of an artist’s work remains their desire to express something. Without understanding this core intent, advancements in technology may not significantly alter the creative outcome.
The article proposes a solution for independent artists within the US context: leveraging fan-creation communities and establishing a system for long-format, self-published works. This could involve partnering with online print-on-demand companies to manage infrastructure, bulk orders, and pricing. Such a system would include submission deadlines, screening processes, author support, and a centralized print-on-demand service. The author suggests acting as an intermediary between printers and artists, organizing limited-time sales at a discount with consolidated shipping, and extensive online marketing. The possibility of offering e-reader/tablet-friendly formats is also mentioned.
- Separate the creative endeavor from “con” culture while still contextualizing it within fandom, utilizing the internet as the primary platform.
- Target interested audiences by marketing to specific online communities.
- Create value for print-on-demand services and publishers by aggregating online interest and associating their brand with the initiative.
- Benefit buyers and artists through collective bargaining for bulk sales and reduced shipping costs.
- Provide a go-between for technical assistance, billing, education, and general support for online sales.
While technical challenges exist, the core question remains: what would consumers want to buy? Would it be traditional doujinshi, text-heavy works, music, or games? The article points to initiatives like “Altogether” as a potential model, acknowledging that translating a doujin game is a complex process. Other possibilities include photobooks of figures or adult cartoons, though these may present their own set of issues. The author poses a “Field of Dreams” scenario: if an accessible way to create, sell, and buy doujinshi is established, will people come?
The author reiterates that the current state of US artist alleys is not a fault of individuals but rather a consequence of the ease of operating a “lemonade stand” compared to managing a large-scale doujinshi project. Similarly, running a dealer’s room is simpler than managing an event like Comiket. Instead of trying to change what already works, the author suggests seeking out what is currently missing from these spaces.
The article concludes by stating that Comiket and similar events depend on doujinshi, which in turn rely on passionate creators and fans. At the heart of it all are dedicated fans seeking to connect with each other and with others over shared interests. The author questions whether the American fascination with Japanese pop culture, particularly anime, manga, and games, can be organized enough to build upon these shared emotions and motivations to create a thriving doujinshi market.
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