00:00The word doujinshi refers in Japan to self-published works by fans, usually manga, novels, or magazines.
00:08They can include both original works and stories derived from popular series.
00:13This format allows fans to express their creativity and share fan works in an organized way.
00:19The cultural relevance of doujinshi is enormous within Japanese fandom.
00:24It brings readers and creators together around common interests and encourages innovation.
00:29In fact, many original creators consider these derivative works to be harmless or even beneficial to the promotion of the original franchise,
00:37which explains the widespread tolerance enjoyed by this unofficial sub-market.
00:43The history of doujinshi dates back to the first fanzines published after World War II,
00:48but it was in the 1980s that this phenomenon took on massive proportions.
00:52At that time, specialized conventions began to emerge where fans exchanged their creations.
00:58The most notable example is comic market Comiket, which has been held twice a year in Tokyo since 1975.
01:06Comiket has attracted hundreds of thousands of fans to its annual editions,
01:11with tens of thousands of circles, groups of authors, selling doujinshi of all kinds.
01:17Comiket alone now attracts more than half a million attendees each year,
01:22a figure that illustrates the contemporary boom in this subculture.
01:25The doujinshi market is worth billions.
01:29According to official data, in 2007, doujinshi sales reached around 27.73 billion yen,
01:36about $300 million at the time, accounting for almost 15% of total spending on otaku hobbies.
01:44In recent years, growth has been spectacular.
01:47A study by Yano Research estimates that in fiscal year 2024,
01:52the doujinshi business reached 134.1 billion yen,
01:56approximate $1.2 billion, 80% more than in 2020.
02:01This is equivalent to about 22% of the traditional publishing industry's revenue.
02:07Circulation is enormous.
02:09About 1,000 doujinshi markets are organized annually in Japan,
02:13of which Comiket is the largest, with about 35,000 vendors and more than half a million visitors per edition.
02:21At each event, tens of thousands of fans buy copies at widely varying prices,
02:26from a few hundred yen to very expensive limited editions,
02:30allowing many independent creators to earn significant income.
02:33In addition, the entire related chain, specialized printers,
02:38stores such as Torinoana and Mandarik Digital Distributors,
02:42benefits from this parallel trade,
02:44forming an alternative creative economy linked to fandom.
02:48Although much of the doujinshi content is technically unlicensed derivative work,
02:53Japan adopts a control tolerance based on the law.
02:57The key is that copyright infringements in Japan are complaint-dependent offenses,
03:01meaning they cannot be prosecuted without a formal accusation from the rights holder.
03:07In practice, this means that original authors must file a complaint in order for a doujinshi to be removed.
03:13By social convention, complaints are almost never filed.
03:17Mangaka and publishers themselves prefer to let their fans publish for non-profit purposes,
03:22as they see it as a sign of success or promotion for the franchise.
03:26As Prime Minister Shinzo Abe and several scholars have pointed out,
03:31doujinshi are perceived more as parodies or creative tributes than as malicious piracy.
03:37Even professional authors recognize this tacit agreement.
03:40Ken Akamatsu, UQ holder, for example,
03:44stated that Kamiket doujinshi are exempt given that there is a formal understanding with the authorities
03:50and that a lawsuit is only appropriate if someone actually complains.
03:54In short, as long as there is no serious economic damage to the original work
03:59and no explicit complaint, doujinshi circulate without legal problems.
04:04However, there are current debates about whether international treaties,
04:08such as the TPP, or new laws could force an end to this traditional practice,
04:13as they would establish mechanisms for broader lawsuits even without direct damage.
04:19Far from being seen solely as competition,
04:21The doujinshi movement has fueled the official creative industry.
04:26Several professional mangaka and studios emerged precisely from fan circles.
04:31The prime example is Clamp,
04:33the famous group of artists responsible for Cardcaptor Sakura, X, and Tsubasa.
04:39Clamp began their career by publishing doujinshi,
04:42including Yaoi, a famous series until their original works,
04:46such as RG Veda, led them to debut in a commercial magazine.
04:50Clamp's story reflects a recurring phenomenon.
04:54Publishers often look at self-published comics at conventions to scout new talent.
04:58That's why publishers and studios attend these events.
05:01At Comiket, for example, there is a corporate area where publishers,
05:06printers, and anime and video game companies participate,
05:10promoting their licenses and related products.
05:12Thus, the doujinshi circuit functions as an incubator for creators
05:17and as an unofficial showcase that in turn reinforces the mainstream industry.
05:22The doujinshi culture has also had an impact outside Japan.
05:26In East Asia, conventions inspired by Comiket have been established.
05:31For example, World Dugin's Paradise.
05:34In Hong Kong and Fancy Frontier in Taiwan,
05:37and stores such as Torinoana and Mandrake are opening branches overseas.
05:42For example, in Taiwan,
05:44the Fancy Frontier convention includes booths from the Japanese chain Torinoana,
05:49selling fan comics and official merchandise.
05:52However, in the West, the reality is different.
05:56Copyright laws are strict,
05:58so fan works tend to be distributed in the form of non-profit online fan fiction and fan art.
06:03There is no widespread parallel market for derivative fanzines.
06:07Rather, fans produce original fanzines or compile fanfics,
06:12usually giving them away at conventions.
06:14In any case, the internet is breaking down some barriers.
06:18Japanese digital platforms facilitate the global sale of doujinshi.
06:24For example,
06:25Pix of Booth allows circles to have online stores where they offer their works directly.
06:29Similarly, deal site and similar services distribute thousands of independent novels,
06:36games, and manga online.
06:38Overall, although doujinshi originated in Japan,
06:42its concept has inspired similar models around the world,
06:45even without official regulation in the West.
06:48And digital access has made it more accessible internationally.
06:52Doujinshi faces new challenges in the coming years.
06:56Digitization is transforming the way these works are distributed.
06:59In 2020, when Comic-Cat was canceled due to the pandemic,
07:03Comic-Cat was held a virtual convention where hundreds of circles sold their comics
07:08in an interactive online space.
07:11Events like this could become commonplace,
07:14even integrating VR and AR technology to recreate the physical experience.
07:19In a legal sphere,
07:21tension remains between the Japanese tradition of tolerance and external pressures.
07:25In 2023,
07:27Japan already warned AI companies about the misuse of its intellectual property.
07:32Minister Minoru Kiyuchi asked OpenAI not to use protected anime characters in its Sora 2 video generator,
07:39warning that anime and manga are national cultural treasures.
07:43This claim reflects concerns that artificial intelligence could create automated fanworks without control.
07:50It remains to be seen how Japanese law will adjust its rules,
07:54for example,
07:55the new criteria in Article 16 of the AI law,
07:59to balance the promotion of creativity with the protection of rights.
08:03In short,
08:04the doujinshi phenomenon is alive and well and expanding.
08:08Its future will depend on how digital publishing technology
08:11and the legal framework evolve in Japan and around the world,
08:15as well as on the otaku community's ability to adapt to these changes.
08:18Thank you very much.
Comments