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The Condor Trilogy in Manhua: Tony Wong’s The Eagle Shooting Heroes

April 3, 2012 by Sara K. 7 Comments

This is part three in a seven part series about the Condor Trilogy and its manhua adaptations.

Example Scene (be sure to click on the pictures for a bigger size!)

The theme of this round of the contest Huang Yaoshi is hosting between Ouyang Ke and Guo Jing is music, and – oh, who cares? I didn’t pick this scene because of the plot. I picked this scene because it’s pretty.

I really like the presence of swirling things in this manhua. The music coming from Huang Yaoshi’s flute is no exception.

This manhua is occasionally punctuated with a page which is meant to pop. The “pop” pages usually are done in pastel, and consist of a single panel. However, even though the left page is the “pop” page, my favorite panel here Guo Jing on the right, as he stops worrying about the fact that he knows squat about music and just listens. It helps that there is yellow fog/music/something swirling around him in that panel.

One of the things that helps keep the action clear is the alternation of panels showing close-ups of the characters faces and panels showing the action.

Yes! I love the copious use of visual metaphors to represent the action! Here, the sea represents the music. And notice how the orange sound waves contrast with the blue sea waves. The blue-orange color theme continues for the rest of the scene.

Look at the bottom-left panel. Not only has the sea metaphor been expanded to include a whale, fish, and dragons, but the way Huang Rong’s face pops in close up and at an angle makes this panel perfect. Her face connects the turbulence of the sea and Guo Jing’s tranquility.

Notice how in the top-right panel, the sharp-pointed, orange, concave diamond Guo Jing is inside contrasts with the blue sea swirling around it. Guo Jing’s extended arms reinforce the pointy nature of the diamond, while the mer-people’s curved tails reinforce the wavy nature of the sea. It’s the multiple layers of visual contrast which makes that panel so dynamic—of course, it’s also pretty.

There are many things I can say of the page where Huang Yaoshi is dancing and playing the flute around the seated Guo Jing, but I’ll stick to the colors. Notice that Guo Jing is blue, which is the opposite color of the orange swirls around him—maximum contrast. Huang Yaoshi, of course, is green, which does not constrast quite so much with either blue or orange, so, colorwise, he forms a soft border. And to reinforce the theme of the blue/orange contrast, in the background there is a blue/orange yin-yang.

By now, you should appreciate how wonderful the swirls, color contrasts, and visual metaphors are. And yes, Guo Jing wins this round.

About Tony Wong and his adaptation of Shè Diāo Yīngxióng Zhuàn

Tony Wong is called “the godfather of Hong Kong comics.” He has been publishing manhua since the age of 13, and has since become an institution of Hong Kong culture. More Jin Yong novels have been adapted by him than any other manhua artist.

This manhua, first published in 2007, is a relatively recent Tony Wong work, and he definitely had an army of assistants help him make this. That doesn’t matter. What matters is how good is it to read.

The Art:

Once in the while, I have the pleasure of reading a comic where the art is so good that, after finishing a volume, I am compelled to immediately go back through the pages so that my eyes can rest some more upon the pictures. This manhua is one of those pleasures.

I am impressed by the way that the art manages to be detailed and complex without looking too busy. I am not completely sure how Tony Wong pulls it off, but I do have some ideas. First of all, this comic is in color. Tony Wong uses colors to increase the contrast between different things, which increases the level of detail each panel can sustain without losing the reader. Look at this page (and click on the picture to see it in full size!).

In this page, the main color theme is green against red-orange, two colors with a high contrast. This helps my eyes figure out quickly where one object begins and another one ends. While I didn’t notice it while casually reading the comic, looking through the pages again, I see than most scenes have 2-3 key colors which form a theme, which not only helps distinguish things inside a given scene, but also helps set that scene apart from the scenes with different color themes.

Especially impressive are the fight scenes, which in spite of being long and complicated, are lively, varied, and easy to follow. Looking at the extras sections, it becomes apparent that a lot of planning had to go into the battle scenes to get this result – there are illustrations of all Guo Jing performing all 18 of the “Eighteen Dragon Subduing Palms,” as well as Huang Rong performing all of “Dog Staff Technique” moves. Taking the time to distinguish every individual move helps a lot to keep the fights interesting and readable.

In addtion, the high level of detail supports many wonderful flourishes in the linework. Swirls and circles are in abundance, like frosting on the cake.

I also love the constant use of visual metaphor. There are little visual metaphors throughout the comic, like pretty little flower petals casually left in the wake of a pacing young lover saying “He loves me… he loves me not…” For example, this:

Hong Qigong hurls some buckets of water at Ouyang Feng, turning the water into dragons.

I love that Hong Qigong can turn buckets of water into dragons!

Of course, the big, bold visual metaphors come out when it’s time to fight! It helps the reader keep track of what’s going on, and even better, it’s exciting.

The artwork alternates between regular coloring and pastel work. At first, this jolted me a little, but I got used to it quickly. The pastels generally come out to emphasize the expression of a certain character or to highlight a key moment in a battle. Usually there is only one pastel panel every few pages or so, or a full single or double page spread done in pastel. When the pastels are used differently, it feels even more special.

Seeing so many panels in pastel together really drives home that this is as special scene. And pastels are also warm, soft, and fluffy, like the characters’ feelings for each other.

Wait a minute, the pastels are stopping. Uh oh…

Yep, something is definitely wrong – in the story, I mean. There is nothing aesthetically wrong with the way Mu Nianci has poised a sword at her own throat.

While Tony Wong is not a master of showing subtle feelings or complex personalities through drawings, the characters all feel quite lively with a little spring in their step, keeping the energy level high.

And overall, the art evokes a greater-than-life grandeur. The frequent use of slanted angles makes the artwork more exciting, the costumes are often lovingly rendered, and palaces, islands, cliffs, and all sorts of grand sights make the world seem bigger than life.

The Adaptation

This is the whirlwind edition of Shè Diāo Yīngxióng Zhuàn. The story has been greatly streamlined. Many details, and even some story arcs, have been removed, pretty much leaving just the essence of the plot intact. This allows the story to move—and move it does. Sometimes things happened so quickly that I felt like I got whiplash. However, the fast pace keeps the energy high, and makes the comic all the more sweeping.

There is also a strong emphasis on the battles. Many battles run 20+ pages. This allows Tony Wong room to fully flesh out the battles with sophisticated yet easy to understand moves. The battles are a lot of fun to read.

However, because the story has been so stripped down and the battles are given so much room, the characters and the pathos are greatly dimished. While the characters do not ring false, with so many details removed, they feel much less rich than in the original novel. And while the characters are given many pages to punch each other, the scenes which are meant to punch the readers in the heart often only run 4-10 pages. This is not really enough pages to let the impact sink in, especially when the reader is quickly swept to the next event. I do not think this adaptation of Shè Diāo Yīngxióng Zhuàn will make anybody weep.

One exception is the backstory of Yi Deng, Yin Gu, and Wan Botong. This manhua actually goes into their history in greater detail than the original novel, and gives sufficient room for the reader to feel the tragedy. That said, this manhua still did not make my eyes wet with this story arc, whereas the original novel did.

In short, this adaptation fails to bring out the melancholy, tragedy, and passion of the original story … and succeeds at bringing out the fun and excitement with flying colors.

Guo Jing, Huang Rong, and Hong Qinggong are running out of a giant snakes mouth - with lots of snakes chasing them.

Whee! Doesn't that look fun?

Availability

This manhua, to the best of my knowledge, is totally unavailable in English, or any language other than Chinese. That is not a big deal. If one already knows the story of Shè Diāo Yīngxióng Zhuàn, understanding the dialogue is unnecessary.

Conclusion

I knew these characters really well before I read this manhua. Therefore, even though many of the details that fleshed them out are missing, I still know those details, and filled them in as I read this manhua.

I only recommend this manhua for fans of Shè Diāo Yīngxióng Zhuàn. Much of the story has been gutted—I think it would be very hard to get involved in characters’ struggles if this was a reader’s first contact with the story.

For me, this manhua truly was a pleasure to read. It made Jianghu look more lovely, spectacular, and wonderful than it ever looked inside my own head. It was like watching a friend coming to the ball looking like the most fabulous person in the world. Thank you, Tony Wong, for expanding my imagination.

Which brings me to the discussion question:

Which adaptations have you seen or read which, while clearly inferior to the original work, expanded your imagination or showed new sides of the story?

Sara K. has previously written for Manga Bookshelf: Why You Should Read Evyione Part 1 & Part 2, Mary Stayed Out All Night, and The Geeky Heart of Taipei. Her personal blog is The Notes Which Do Not Fit, though there is not much about comics or East Asian pop culture over there. She is a vegan, atheist, Linux user, ace, loudmouth, and the person in the back of the classroom who is always clicking her pen.

The Condor Trilogy in Manhua: Fighting

March 30, 2012 by Sara K. 11 Comments

The Condor Trilogy is considered a martial arts epic because there is a heck of a lot of martial arts. Without understanding how martial arts work in wuxia, much of the story will fly over one’s head. I had to figure it out the hard way—reading a lot. I am writing this post so that others will not have to figure it out the hard way.

I am going to use one of my favorite fights—the big battle a the Quanzhen monastery as depicted in both Wee Tian Beng’s Return of the Condor Heroes and Tony Wong’s The Legendary Couple—as my example.

Prelude

So, at the Quanzhen monastery, a delegation of Mongols/Tibetans are talking with the Daoist monks, asking them to accept the authority of the Mongol Empire. The Quanzhen monks want to remain loyal to Song China … but they also want to survive, and the Mongols have a “if you’re not with us, you’re against us” attitude.

Then a certain woman enters the monastery.

suddenly all of the attention is on her. The Quanzhen monks suspect she has not come with good intentions.

The Quanzhen sect specializes in the art of the sword, and all of the monks are at least above-average fighters. And this woman is alone. Yet she is the one who is totally calm, while the Quanzhen monks panic.

Now that I have your attention, let’s review some nuts and bolts:

Teacher-Student Relationships

Almost all martial arts fighters have a shifu, which literally means “teacher-father.” Even female masters are referred to as shifu—a shimu is one’s shifu’s wife (I admit, I do not know what one would call one’s shifu’s husband). Shifu are responsible for the martial arts education of their apprentices (Mandarin: tuer). However, the relationship is much more than that. Accepting somebody as a shifu/apprentice is as serious a matter as adoption, and the bond between shifu and apprentice is considering as strong as parent and child. Also important are the relationships between shijiemei (teacher-sisters) and shixiongdi (teacher-brothers). A shijie/shige/shimei/shidi is somebody who has the same shifu as you, and these relationships also carry the same weight as the relationship between blood siblings. And these are the foundations for a whole set of relationships. For example, a shishu would be one’s shifu’s shimei/shidi, and a shibo would be one’s shifu’s shijie/shige, and a shizufu would the shifu of one’s shifu. Much drama is squeezed from all of these relationships.

There are certain social rules for dealing with these relationships. For example, apprentices are supposed to obey their shifu as long as their shifu is not telling them to do something unethical. Apprentices also need their shifu’s permission to make many major decisions, such as marriage. It is okay for shijiemei and shixiondi to marry each other—with the shifu’s permission of course. It is NOT OKAY for shifu to have romantic/sexual relationships with their apprentices. Of course, Ouyang Ke has sex with his apprentices anyway, but he’s a villain, and villains do things which are not okay. Learning martial arts from somebody who is not one’s shifu is alright, though a relationship with an outside teacher/student does not carry as much weight as the relationship with one’s own shifu/apprentice(s). Having more than one set of shifu is not okay, though there is a villain who has multiple sets of shifu anyway.

If you notice an elephant in this room, and feel compelled to discuss it, please use spoiler warnings.

Sometimes, these shifu/apprentice relationships form the foundation of a larger group. Since martial arts and religion are intertwined, many martial arts groups are Daoist or Buddhist sects, in which the monks/nuns are all “descended” from a single shifu or group of shifu. For example, the Quanzhen sect, featured in this battle, was founded by Wang Chongyang, who was considered the greatest martial artist of his time. There are also groups “descended” from a single shifu or group of shifu that are secular. And of course, these groups have complicated relationships with each other.

Back to the Battle

Now Xiaolongnü gets down to business – which, apparently, is to kill all of the Quanzhen monks.

And considering that she is fighting one against many, she’s doing a pretty well. How does she do it?

She knows the “Sword Technique of the Jade Maiden,” which was developed specifically to counter the Quanzhen fighting style. That alone would mean that any individual Quanzhen monk fighting her would be in trouble, but it’s not enough to put an entire group of Quanzhen monks in trouble.

She knows the Quanzhen fighting style too—and it so happens that when one person is using the Jade Maiden technique, and another person is using the Quanzhen technique, and the two are in harmony with each other, they can provide each other perfect protection—in other words, they are invincible.

But wait a minute—Xiaolongnü is all alone! How can she be simultaneously using the Jade Maiden and Quanzhen techniques? First of all, notice that she has two swords. And just before this battle, she learned the technique of “Two Fists Fighting Each Other”—in other words, each of her arms can act as independent agents. One arm represents herself and uses the Jade Maiden technique, and another arm represents somebody else and uses the Quanzhen technique. Oh snaps.

And that is one the things I love about this battle. It takes a three techniques which had been gradually introduced during the course of the story—Quanzhen, Jade Maiden, and Two Fists Fighting Each Other—and combines them. And with these three combined techniques, Xiaolongnü has reached a new level of badass. As soon as I realized these three techniques could be combined this way, I really wanted to see the full extent of what Xiaolongnü could do with this, and this is the battle where she shows it.

Which brings us to the next topic.

Fighting Techniques

Of course there are many weapons—bows and arrows, swords, clubs, fists, feet, as well as more unusual weapons such as jujube seeds. For example, Xiaolongnü can attack people with the sashes of her sleeves (and I claim—with my tongue bulging out of my cheek—that this is the main reason why Shēn Diāo Xiá Lǚ is so popular). But there is a lot more to these techniques than the choice of weapon.

Fighting techniques often come with a set of words, or mnemonics, to help people execute them properly. One can of course know the words without knowing the moves, which is useless in a fight. What is more interesting is that sometimes, if one knows the moves but does not know the words, the technique might still be useless in a fight.

In order to become a great martial arts fighter, one must have a powerful neigong. “Neigong” means something like “inner force.” Without a powerful neigong, it is not possible to execute the really powerful fighting techniques. Thus, a hero-in-training’s first order of business is building up one’s neigong. A common way to build one’s neigong is to sleep in uncomfortable places—for example, on top of a rock on a snowy mountain. Neigong can sometimes be used directly in a fight—for example, shoving one’s neigong into somebody else can hurt them—but neigong is more often transferred between people for healing purposes. Since building neigong is a life-long endeavor, older fighters tend to have more powerful neigong, which is one reason why older martial artists are considered more dangerous than younger martial artists. However, Xiaolongnü has built up an unusually powerful neigong for somebody her age. Oh snaps.

In addition to neigong, there is qinggong—speed and lightness. It basically grants martial artists the ability to defy gravity. Since actors are really bad at qinggong, they need wires to fake it. But manhua characters have excellent qinggong, so no wirework is required. And the most powerful qinggong in the martial arts world happens to be the qinggong practiced by Xiaolongnü’s sect. Oh snaps.

Xiaolongu practically flies around with her swords

Look, no wires!

Though acupuncture points are not being used in this battle, they are significant throughout the Condor Trilogy. Acupuncture points can be used in various ways in both fighting and healing, but the most common usage is to hit people’s acupuncture points in order to partially or completely immobilize them. Sometimes acupuncture points will re-open on their own after a while without intervention. Sometimes another character will re-open the acupuncture points of the afflicted. There are a few—very few characters—who can re-open their own acupuncture points without having to wait for the effects to wear off. Xiaolongnü is not one of those characters—if she were, the plot would have gone in a different direction, and this battle would not be happening.

There are two main ways techniques are transmitted, though sometimes they can be transferred by more unusual means. The most obvious way is from teacher to student, whether they are shifu/apprentice or not. The other way is by studying scriptures which describe various fighting/healing techniques—and much of the plot of the Condor Trilogy consists of searching and fighting over these scriptures. Of course, it is not enough to have the scripture. Training takes time, and somebody without a basic martial arts education would not be able to make use of the scripture at all. One of these scriptures, the Jade Maiden Heart Sutra, describes the Jade Maiden Sword Technique that Xiaolongnü is using. Of course, out of all the scriptures, the most coveted is the Nine Yin Manual, which describes the most powerful martial arts techniques in the world. Anyone who has mastered the techniques of the Nine Yin Manual can pretty much beat anybody who has not. The Quanzhen monks do not know any of the techniques of the Nine Yin Manual, but Xiaolongnü has a copy, and she’s had over a year to practice the techniques. Oh snaps.

Again, the Battle

There is an image in this battle so wonderful it was used as the illustration for this chapter in the original novel.

Xiaolongnu makes the swords fly like magpies

The illustration from the novel

This is yet another technique introduced earlier in the story—the “Palm of Infinity Web.” Previously, it had only been shown as a training technique—a character has to use the Palm of Infinity Web to keep a flock of magpies in place in order to improve his qinggong. Before this battle, I hadn’t realized that it could be used in a fight. But here it is—except, instead of flock magpies, it’s a flock of swords. That. Is. Cool.

That’s a basic rundown of the mechanics of the battle, and while watching a woman mow down a bunch of men using cool sword work is fun in its own right, what makes this battle (and all of the memorable battles) really moving is what is going on with the characters. While I used pictures from Wee Tian Beng’s manhua for the this part of this post, for the next part I’m going to use pictures from Tony Wong’s manhua.

The Character Side

So, why is Xiaolongnü trying to kill all of the Quanzhen monks? She says that she is there for revenge. But the problem with this explanation is that she has had opportunities before to get revenge for all of the bad things the Quanzhen sect has done, and she never took advantage of any of them. She has even said that revenge is pointless because it cannot undo the bad things which have been done. So why is now different?

Different readers may interpret this differently, but I think Xiaolongnü is fighting the Quanzhen sect because she does not know what to do. The past few months of her life have been rather awful—more awful than anything she has experienced before. And Xiaolongnü currently does not have a social network—no friends or family—and there are reasons why she will not contact any of the remaining members of her sect. That is one of the things which makes this battle so exciting. Not only is Xiaolongnü more potent than ever before, she is also psychologically less stable than ever before.

So she falls back on what she knows—martial arts—and practicing martial arts, to a large extent, means fighting people. Given that the Quanzhen sect is partially responsible for the awfulness in her life, they are the obvious target of her aggression. And as a reader, I find it satisfying to see the Quanzhen sect finally getting some payback for the uncool things they have done.

She really is targeting the Quanzhen sect rather than looking for any suitable opponent, because she tells the Mongols/Tibetans that she is not interested in fighting them. Unfortunately, the Tibetans are interested in fighting her.

Fortunately, Xiaolongnü is currently invincible.

And in the course of the battle, they manage to disturb the Quanzhen elders. They had secluded themselves so they could learn how to counter Xiaolongnü; they knew she was really dangerous and figured it was only a matter of time before she attacked. Little did they know that she would attack so soon. They also see the Mongols/Tibetans, who are also bad news. Then they notice that Xiaolongnü and the Tibetans are fighting each other, which is not such bad news.

Then Xiaolongnü thinks about a certain somebody and gets distracted. She had resolved never to see this special person ever again, but in the midst of battle, she suddenly realizes that she wants to see this person again, at least once, before she dies. Ironically, while her life is not at risk as she perfectly executes the Jade Maiden / Quanzhen sword techniques, thinking about how much she wants to live makes her stop, putting her life in danger. This, to me, is more evidence that she is fighting because she lost herself, not because she wants to punish the Quanzhen monks. If she were hellbent on revenge, I do not think she would be distracted so easily.

A Tibetan takes advantage of this opportunity to strike her.

Then one of the Quanzhen monks sacrifices himself to protect Xiaolongnü. Why? Hasn’t she been trying to kill them? Let’s just say that he is obsessed with Xiaolongnü and is personally responsible for some of the awfulness in her life.

He asks her if she can forgive him. She answers “You ruined my life, how can I forgive you?” And she pulls out her sword. Ouch.

A Quanzhen elder aims for a Tibetan … but the Tibetan pulls himself out of the way, and puts Xiaolongnü in the way. OUCH OUCH OUCH!

So, one of the world’s more powerful martial artists has just pulverized, albeit unintentionally, Xiaolongnü’s guts. I’ll stop here, because even somebody as powerful as Xiaolongnü cannot continue to fight in this condition.

The consequences of Xiaolongnü getting trashed like this are major. In the original novel, what happens after this battle is one of most heartbreaking scenes in the entire trilogy (alas, neither of the manhua adaptations get that scene right).

The Manhua

Often the manhua artists draw fantastic elements—such as dragons—in the midst of battles. Rest assured, there are no actual dragons in the Condor Trilogy. Those are all visual metaphors. The visual metaphors help keep track of which techniques are being used, since the same technique will probably have the same visual metaphor associated with it when it is performed. They should not be taken literally. Reading a bit of the manhua should be enough to get a hang of what is metaphor and what is literally happening. The fantastic elements are beautiful and make the artwork that much more wonderful.

When Guo Jing uses the 'Eighteen Dragon Subduing Palms' against Ouyang Feng's 'Toad Technique', we see a dragon and a toad. How cute!

I think the battles are one aspect of the story which I prefer experiencing through manhua over prose. Sure, I thought the battle at the Quanzhen monastery was superb when I read it in the novel, but having to keep track of the techniques and visually map it out in my head is work. Following the fights is much easier in the manhua where it is all laid out for the reader, with all of the techniques conveniently labeled. And the manhua artists make the battles look far more fantastic than what I see in my head as I read the novels. That is why they are professional visual artists, and I am not.

Hopefully, this can make readers’ first contact with wuxia manhua more enjoyable—and if you have any questions, please feel free to ask. Speaking of questions, I have some discussion questions for you:

How is the battle system in the Condor Trilogy / wuxia like the battle systems used in manga, particularly, but not exclusively, shonen manga? How is it different?

Sara K. has previously written for Manga Bookshelf: Why You Should Read Evyione Part 1 & Part 2, Mary Stayed Out All Night, and The Geeky Heart of Taipei. Her personal blog is The Notes Which Do Not Fit, though there is not much about comics or East Asian pop culture over there. She has been studying Chinese since the fall of 2009, and is dangerously close to becoming a wuxia fan.

50 Shades of Morally Unambiguous, Part 3: The Sparkle-Fairy Edition

March 28, 2012 by Aja Romano 6 Comments

Hello, MB! This is the 4th (or 5th, but who’s counting) post in a series of posts rebutting last week’s Dear Author series on fanfiction. And it’s the third of a set of posts responding to one post in particular: “Fanfiction: A Tale of Fandom and Morality.” TODAY IS THE VERY SPECIAL FAIRY EDITION OF THIS POST.

In the previous two posts, I talked about the ways in which trying to police how influence works itself out in fiction is nearly impossible, and ultimately bad for the works on either side of the equation. I also talked about how it’d be a bit hypocritical for us to do that in the case of 50 Shades of Grey, our current controversial work of fanfic-turned-pro, given that one of the things publishers want writers to do is to appeal to the audience who shelled out for Twilight.

In the original post, author Has asserts, “Taking an entire fanfiction story and turning that into a published book is:”

ethically wrong

a cynical ploy to market books… an easy way to cash in because there’s already a built-in fanbase that is able to market the book via word of mouth

[an indication] that the author does not believe what they wrote is strong enough to stand on its own merits but decided to publish it so they could profit by exploiting their fanbase

disappointing

might start off an ever-crazier circle of fanfiction based on fanfiction.

very detrimental to fandom and fanfiction

I’ve already pointed out, in the previous posts, how the “marketing ploy” argument is hypocritical to criticize a fan author for doing exactly what publishers want them to do in terms of appealing directly to a rich consumer base. As for the second bullet point: the whole weight of history is behind the act of spinning old works and characters into new versions and iterations. The idea that the fan author’s writing can’t stand alone/isn’t good enough to be publishable is one fanfiction authors have been saddled with for decades. I’ve already rebutted this argument very thoroughly, so I’ll just add: this argument, that fans surely couldn’t write an original plot, not only debases fanfiction, but it seems to target members of female fandom spaces. It also completely sidesteps the whole point that in most cases, the fanfiction that gets converted into original fiction winds up far removed from the source material. And in many cases already was to begin with.

Okay, now for bullet #4 (I’m skipping around, okay): might start off an ever-crazier circle of fanfiction based on fanfiction.

Hahaha. Okay, well, for one thing, people have been writing fanfiction based on fanfiction for fucking years. How is that bad? I’ve had several works of fanfiction written for my own works of fanfiction, and like every other member of fandom I know, I’ve never been anything but extremely flattered. Just like getting fanart or a podfic of your story, fanfic based on one of your own stories is seriously one of the best things ever that can be gifted to you in fandom. There are even remix challenges that invite authors to write fanfic of fanfic, all over fandom. This is not a serious criticism of the “danger” of published fanfiction, and no one who understands how remix culture works would ever offer it up as one, because the whole point of being in a remix culture is that we’re all gleaning, transforming, and passing on what’s come before.

Which brings me to fairies.

Eat, Pray, Love author Elizabeth Gilbert has an amazing 2009 TED talk entitled “A New Way to Think About Creativity,” where she talks about trying to find new ways to “manage the inherent emotional risks associated with creativity.” ((transcript) I would never encourage you to read EPL but I would urge all of you to watch her talk because I think it’s completely brilliant, and her ideas, while they are offered in the context of taming genius, also are extremely relevant to the way we frame the argument about fanwork. Gilbert asks if we can “go back to some more ancient understanding of the relationship between humans and the creative mystery:”

[In Ancient Greece], people believed that creativity was this divine attendant spirit… a “genius” was this sort of magical divine entity who was believed to literally live in the walls of an artist’s studio—kind of like Dobby, the house elf. So, brilliant, there it is, that distance—that psychological construct to protect you from the results of your work. ….

And for me, the best contemporary example that I have of how to do that is the musician Tom Waits, who I got to interview several years ago on a magazine assignment. And we were talking about this, and you know, Tom, for most of his life he was pretty much the embodiment of the tormented contemporary modern artist, trying to control and manage and dominate these sorts of uncontrollable creative impulses that were totally internalized.

But then he got older, he got calmer, and one day he was driving down the freeway in Los Angeles he told me, and this is when it all changed for him. And he’s speeding along, and all of a sudden he hears this little fragment of melody, that comes into his head as inspiration often comes, elusive and tantalizing, and he wants it, you know, it’s gorgeous, and he longs for it, but he has no way to get it. He doesn’t have a piece of paper, he doesn’t have a pencil, he doesn’t have a tape recorder.

So he starts to feel all of that old anxiety start to rise in him like, ‘I’m going to lose this thing, and then I’m going to be haunted by this song forever. I’m not good enough, and I can’t do it.’ And instead of panicking, he just stopped. He just stopped that whole mental process and he did something completely novel. He just looked up at the sky, and he said, ‘Excuse me, can you not see that I’m driving? Do I look like I can write down a song right now? If you really want to exist, come back at a more opportune moment when I can take care of you. Otherwise, go bother somebody else today. Go bother Leonard Cohen.’

And his whole work process changed after that. Not the work, the work was still oftentimes as dark as ever. But the process, and the heavy anxiety around it was released when he took the genie, the genius out of him where it was causing nothing but trouble, and released it kind of back where it came from, and realized that this didn’t have to be this internalized, tormented thing. It could be this peculiar, wondrous, bizarre collaboration kind of conversation between Tom and the strange, external thing that was not quite Tom. ….

This is hard. This is one of the most painful reconciliations to make in a creative life. But maybe it doesn’t have to be quite so full of anguish if you never happened to believe, in the first place, that the most extraordinary aspects of your being came from you. But maybe if you just believed that they were on loan to you from some unimaginable source for some exquisite portion of your life to be passed along when you’re finished, with somebody else. And, you know, if we think about it this way it starts to change everything.”

I like this idea a lot. I like it because it makes ideas a community process of receiving, sharing, and passing on. I like this idea for its potential to revise the way we think about storytelling and narrative theory. I like it because it’s anti-capitalist! I like it because it reconfigures creativity with communal narratives at the center of a kind of group process in which we all give and receive ideas as they come to us. And I like it because it implies an equal balance of agency between us as creators and the fairy-like muses that gift us with stories and ideas.

What if we viewed creators as being strands along a larger, interconnected web of ideas? What if we could agree that original works and the works they inspire could co-exist alongside of one another—since we know they already do—and that maybe that’s okay? And what kinds of new business models could we derive from thinking about creativity this way? What if I write a book that I am willing to openly claim is based on an idea that I drew from your book, and instead of you sueing me, we work out a deal where “Inspired by (Your Book)” goes on my cover? What if, after a certain number of copies sold, both of our books are reprinted and we share the wealth?

What if taking inspiration from someone else’s works didn’t have to get conflated with “plagiarism” (which is when you explicitly copy something and don’t credit) but could instead be seen as a form of literary sampling? Dear Author actually has a post from 2010 arguing for compulsory licensing for ALL fanfiction (um, how about no); but what if a conversation about licensing and royalties could be had without thinking of these things as a way to proscribe the boundaries of fanfiction? What if they could be seen, instead, as potential ways to make it easier for attributed transformative work to be sold openly and linked back to its source inspiration, for the mutual benefit of all parties?

Tomorrow, we’ll talk about the down-side of this new world of Free Love And Published Fanfic! But for now:

(source)

Damn straight!

Manga the Week of 4/4

March 28, 2012 by Sean Gaffney

It’s a first week of the month at Midtown, and we’ve got the usual Viz suspects, some Kodansha runoff from last month courtesy Diamond, some new Vertical titles (also a week late, also courtesy Diamond), and… two very odd releases.

Bandai may be dead, but it apparently had quite a backlog of titles to keep releasing. Thus we get Vol. 5 of both of their Code Geass doujinshi anthologies – Queen for the male readers, and Knight for the female ones. I’m going to take a wild guess that these are the final volumes we’ll see from Bandai here.

Kodansha has another volume of the Negima re-release, which updates the translation with its current version provided by the Nibley twins. This volume has Vols. 10-12 of the original, covering a great deal of the tournament battle, which, unlike many shonen tournament battle arcs, was really where Akamatsu came into his own. There’s some great stuff here.

I didn’t get a chance to use GTO as my featured image when Vol. 1 came out, so it goes here. The second volume of 14 Days in Shonan is almost nonstop action, and really packs a kick. As does its hero. There’s also the 3rd omnibus volume of Drops of God, containing the original Vol. 5 and 6. It looks as if we may finally get to see the First Apostle. As well as lots more wine.

Then there’s the huge pile o’ Viz. A Devil and Her Love Song got the image last time instead of GTO, but Vol. 2 excites me just as much as Vol. 1 did. There’s also a new Dawn of the Arcana, Kamisama Kiss, Sakura Hime, and Skip Beat!, giving you lots of shoujo goodness. If shonen is more your thing, well, this is Jump week. New Bakuman, new Bleach (still not at all caught up with the online releases), new Blue Exorcist (man, this and Kamisama Kiss come out FAST), A new Rosario + Vampire Season 2, a nicely retro new Slam Dunk Vol. 21, and the 9th Toriko. Lastly, they also have the first volume of that Voltron Forge graphic novel to excite sentai fans.

As an aside, this is my 100th post tagged ‘Manga The Week Of’. I hope it’s proven of interest to you, as it’s mostly just an excuse for me to geek out, and also keep track of what’s been coming out when. What whets your appetite to read over the Easter weekend?

The Condor Trilogy in Manhua: Introduction

March 27, 2012 by Sara K. 16 Comments

Xiaolongnu and Yang Guo embracing at the bottom of the gorge

This fanart was made by Dy Martino.

The three novels in Shè Diāo Sānbùqǔ, or as it is known in English, The Condor Trilogy, are the most popular Chinese-language novels of the 20th century. Due to their popularity, the novels have been adapted into TV shows, movies, video games, and of course, comic books (manhua). Because everybody has read the novels or at least seen one of the TV adaptations, the trilogy needs no introduction and I can jump straight to talking about the manhua.

Maybe not.

Even though asking somebody in the Chinese-speaking world “Have you heard of The Condor Trilogy?” would be like asking somebody in the English-speaking world “Have you heard of Harry Potter?,” The Condor Trilogy is strangely obscure outside of Asia. When I discuss the manhua, I want to discuss the manhua, so before we get there, an introduction to the trilogy is in order.

Background

The books in the Condor Trilogy are wuxia novels – wuxia being a Chinese genre which lies in the gray area between historical, action, and fantasy fiction. The term “wuxi a” comes from “wǔ” (which means “martial” as in related to the military or martial arts) and “xiá.” “Xiá” is often translated into English as “chivalry,” but I think that translation is wrong, because xiákè are very different from knights or samurai. Knights and samurai generally belong to the gentry and try to uphold their society’s social hierarchy, whereas xiákè generally belong to the peasant class and are often opposed their society’s corrupt ways. A xiákè has a lot more in common with Robin Hood than Sir Lancelot. Nonetheless, the xiákè are trained fighters and do have a code of conduct referred to as the way of the ‘xiá’.

The Condor Trilogy was written by Louis Cha under the pen name Jin Yong in the 1950s and early 1960s. Jin Yong is considered the top wuxia writer of the 20th century, possibly of all time. The novels were originally published as newspaper serials in Hong Kong, and later collected as books. They had been banned in Taiwan and possibly China too (I know some of Jin Yong’s other novels were banned in China). The bans did not work, because pirated copies were widely distributed. Nowadays, the Condor Trilogy is available unabridged everywhere in the Chinese-speaking world.

The General Story

The plot of the trilogy spans over a century—from the late Song dynasty to the very beginning of the Ming Dynasty. In between the Song and the Ming eras, China was ruled by the Mongol empire, and Mongols play a major role in all three of the novels. However, the Mongol invasion is usually in the background, not foreground. The heroes sometimes choose to collaborate with the Mongols, and the Song and Ming are not exactly depicted in a flattering light. While the Mongols are considered particularly bad because they destroy towns, massacre people, and are not Chinese, there is a general sense that all governments are corrupt and dominated by the power-hungry, and that the common people suffer no matter who is in charge. The trilogy is much more concerned with the lives and relationships of individual characters against the backdrop of such historic events.

Some people say that the trilogy is a martial arts soap opera. They are correct, mainly because there are many scenes like this:

Character #1: (Oh no! Six groups have joined forces to kill off the faction that my maternal grandfather and maternal uncle belong to! I must save them!) “I won’t let you all hurt a single person in this faction”
Crowd: “Who the hell are you?”
Character #1: (If I reveal my true identity, they will force me to betray my godfather) “I am [fake name]. Each of you, send a champion. If I can beat every one of your champions in a duel, then don’t kill anybody from this faction.”
Crowd: “Fine”
[Long elaborate fight scene]
Crowd: “How come this nobody is such a great martial arts fighter?!”
[Long elaborate fight scene finishes. Character #1 won, but is in a bloody heap and, without medical attention, will die soon]
Character #2: “I must kill that person over there!”
Character #1: “I won’t let you hurt a single person from that faction!”
Character #2: “But he kidnapped and raped my fiancée!”
Character #1: “Before you can hurt a single one of them, you must kill me first.”
Character #2: “Even though it is not honorable to kill people who are already bloody heaps, I must get vengeance for her!”
Character #1: “Then kill me, dear uncle.”
Character #2: “You said that just the same way my brother’s son used to call me uncle. My poor nephew, he died years ago… could it be… you are…”
Character #1: “Yes, it’s me!”

In the process of simplifying and de-spoilering this scene, I also significantly downplayed it. The actual scene is vastly more melodramatic.

However, the story of the Condor Trilogy feels as much like a fairy tale as a soap opera to me. There is the constant use of the number three. For example, after a princess saves the life of the hero’s comrade, the hero must fulfill whatever three things she requests as long as they are not against the way of the xiá, do not threaten his faction, and do not threaten his own position (actually, the mere presence of princesses makes the trilogy feel more fairy-tale like). And there are the almost-magical elements, such as a boy getting sword lessons from a giant eagle, or someone seeing what looks like a fairy approaching him on a lake, or a character being pursued by someone who looks so much like the girl she murdered that it cannot be anyone else. The supernatural is never directly invoked, but much of what happens seems almost supernatural.

Furthermore. the novels are also filled with a human-bites-dog, or rather, human-bites-snake logic.

A snake gets a human-bite.

Example 1: In order to climb an un-climbable mountain, the characters pull out a flock of sheep, chop off the sheep’s legs, and use them to create a ladder (when the blood in the legs freeze, they stick to the side of the mountain so hard that people can step on them).

Example 2: There is a boy who follows a girl and keeps on provoking and harassing a girl so that she will yell at him. Why? To him, being yelled at by a woman is the sweetest sound in the world—in fact, he considers the times he has been scolded and punished by a certain woman to be the best moments of his life.

Example 3: There is a scene where a girl is talking about how a boy bit her and she never forgot him. Said boy and a different girl are eavesdropping. The second girl then bites the boy. Then the second girl asks the boy if she bit him as deeply as he had bitten the first girl. The boy asks her why does she want to know. The second girl answers that she never wants him to forget her, so she wants to make sure that the bite is just as deep.

These off-the-wall moments make me love the trilogy that much more. It’s engaging to not be sure what bizarre thing will happen next and to constantly blurt out (in my mind) “What the hell was THAT?!” Most of all, the off-the-wall-ness makes the relationships feel that much more real. Some of the things that the characters do together are so just odd. In my mind I often treat them more like real people than fictional characters, offering them advice while reading the story, giving them a high-five when they are being awesome, and yelling at them when they frustrate me.

Unfortunately, all of the manhua adaptations tone down the off-the-wall-ness – I suppose nobody wants to draw martial artists urinating on live, venomous snakes.

Since each novel feels distinct, here’s a basic overview of each novel.

First Novel: Shè Diāo Yīngxióng Zhuàn

English Titles: The Eagle-Shooting Heroes, Legend of the Condor Heroes

More so than the other books in the trilogy, this is an adventure. A Chinese boy who grew up in Mongolia travels south to take care of unfinished business, and in the process he makes friends, makes enemies, falls in love, and of course, learns many martial arts techniques. There is plenty of swashbuckling fun for everyone—getting shipwrecked on an uninhabited island, hiding in a secret room, riding giant eagles, meeting the great martial arts masters one by one, running around a palace, and so forth.

However, in the last fourth of the story, fun and games are over. All of the relationships built up in the first three-fourths of the story are ripped apart. Tragedy strikes again and again. And our humble hero is forced to ask some tough questions.

This was the first novel I ever read in Chinese, and for that reason alone it will always have a special place in my heart. I grew very fond of the characters. Some—such as Huang Rong and Yang Kang—I liked right away (okay, maybe I do not “like” Yang Kang, but I really like reading about him), whereas it took more time for other characters, such as Guo Jing, to grow on me. To me, the plot is of secondary importance. Whenever I experience this story again, it is like spending time with old friends.

Second Novel: Shēn Diāo Xiá Lǚ

English Titles: The Giant Eagle and Its Companion, Return of the Condor Heroes, Divine Eagle, Gallant Knight, Condor Hero

When you heard or read the story of “Sleeping Beauty,” did you ever think “This story needs a Mongol invasion, a bunch of characters from Shè Diāo Yīngxióng Zhuàn, and tons of violence and kung fu?” No, me neither. But having read Shēn Diāo Xiá Lǚ, I think the story of “Sleeping Beauty” is much improved with these additions.

At heart, Shēn Diāo Xiá Lǚ is still a “Sleeping Beauty” story. However, rather than eliminating all of the spindles in the lands, in order to protect her from having her heart broken, the guardian of “sleeping beauty” instead trained her to kill all emotions to the extent that she is indifferent to the prospect of her own death. So successful is “sleeping beauty” in withdrawing from life that her body does not age—she looks indefinitely like a 16-year old even though she is significantly older. Yet because “sleeping beauty” is not literally sleeping, she has agency and makes choices—that makes her a much interesting character. The story of Shēn Diāo Xiá Lǚ really belongs to ‘prince charming’—he has a history, he has a personality, and it is not love at first sight—he has to spend time falling in love with ‘sleeping beauty’ only to lose her. “Sleeping beauty” and “prince charming” represent two approaches to the hardships of life: to escape, sacrificing joy to avoid pain; and to expose oneself to the cruelties of the world in pursuit of fleeing moments of happiness.

I would say, of all the novels, this one has the worst plot. But that is unfair, because the plot is not supposed to be good. This novel is all about exhilarating, intense moments. The plot is there to make those moments happen, no matter how much it has to contort itself. Between the amazing fight scenes, beautiful imagery, complex relationships, and of course, the passion, this is my favorite novel in the trilogy.

Third Novel: Yǐ Tiān Tú Lóng Jì

English Titles: The Heaven Sword and the Dragon Sabre, The Tale of Relying on Heaven to Kill the Dragon

While Chinese society is falling apart in the first two novels, the society has already collapsed in this story. The Mongols have been ruling China for almost a century. Violence is widespread, even between commoners. The Dragon Sabre and Heaven Sword were created so that the Chinese would eventually be able to drive out the Mongols for good. Ironically, the struggle for the Dragon Sabre, which supposedly contains the secret to dominating the martial arts world, polarizes the martial arts world and inspires the various sects to continue the internecine fighting which prevents them from uniting against the Mongols.

The main character, Zhang Wuji, is constantly defending people who I consider to be scum. I think the characters are scum because of the horrible things they did. One reason there is so much fighting is that, when Character A finds out that Character B did something terrible to Character C, Character A figures that it is okay to to horrible things to Character B. Then Character D finds out about this, and figures it is now okay to do terrible things to Character A. Zhang Wuji, on the other hand, insists on seeing people at the best, not their worst … and that’s how he manages to make things slightly better. When I finally realized this, I was quite humbled to realize I had the same attitude as the characters who were escalating the violence. In addition to being a great martial artist, Zhang Wuji is also a great doctor, and I think this represents that his true role is not to fight the Mongols, but to heal his scarred society.

This is my least favorite novel in the trilogy, mainly because the story does not really get going until halfway through the book, and it has a relatively high percentage of characters I do not like. Of course, even the first part of the novel has its gems—Chapter 10 made me cry. And, while I did not enjoy this novel as much as the other two, it has been no less thought-provoking.

Availability of the Novels

If you can only read European languages, you are out of luck. The only novel which has ever been published in a European language is the first novel, Shè Diāo Yīngxióng Zhuàn, as La Légende du Héros Chasseur d’Aigles. There are fan translations into English, floating around the internet, but they are 1) in violation of copyright law and 2) incomplete. Three other Jin Yong novels, on the other hand, have been published in English: The Book and the Sword, The Fox Volant of Snow Mountain, and The Deer and the Cauldron.

Availability is much better in Asian languages. The entire trilogy has been published in Japanese, Korean, Indonesian, Vietnamese, Burmese, and Malay. And of course, if you can read Chinese, you’ve already read the novels, right?

More TV adaptations have been made of the Condor Trilogy than I can keep track of, and some of them are available on DVD with English subtitles. While I have not watched any of them yet, many people say that the 1980s TVB adaptation is the best, and it also happens to be the only TV adaptation which is entirely available with English subtitles on DVD. For people who cannot read the novels, this is how I suggest experiencing the complete trilogy.

And, surprisingly, some of the manhua adaptations—specifically The Legendary Couple by Tony Wong, Return of the Condor Heroes by Wee Tian Beng, and The Heaven Sword and Dragon Sabre by Ma Wing-shing—have been published in English.

What’s next?

Many people who have never tried wuxia before find the fights confusing. Thus, in the next post, I am going to break down how they work.

Then, I am going to review every manhua adaptation of the Condor Trilogy. There is a manga adaptation—Shachou Eiyuuden Eaglet—which I have not read and will not review.

For each post, I will pose a discussion question. And the question for this post is:

If you do not know the story of The Condor Trilogy, based on this post, which manga/manhwa do you think is most resembles? If you know the story of The Condor Trilogy, which manga/manhwa do you think are not most like it?

I have my own answer, which I will post in the comments section after a few other people have weighed in.

Sara K. has previously written for Manga Bookshelf: Why You Should Read Evyione Part 1 & Part 2, Mary Stayed Out All Night, and The Geeky Heart of Taipei. Her personal blog is The Notes Which Do Not Fit, though there is not much about comics or East Asian pop culture over there. She grew up in Jiujinshan – meaning the city in Jiazhou – and currently lives in Peach Garden County, Ilha Formosa.

Subtitles & Sensibility: Let the Bullets Fly & K-20

March 26, 2012 by Jaci Dahlvang 5 Comments

Let the Bullets Fly is currently the highest-grossing Chinese-language film ever. Essentially a western, it opens with a classic bandit attack on a train. Said train is carrying a new mayor (You Ge) to Goose Town, but since his motives were none-too-pure to start with, he and his wife (Carina Lau) cut a deal with the bandit chief (Wen Jiang, also the director & screenwriter), and off they go to profit.

Profiting turns out to be not that simple, because there’s already a gang in charge and they’re in no hurry to give up their power, let alone their money. Thus we begin with a game of many wits and surprisingly few bullets, double crossing and triple crossing, and hardly a lady in sight beyond the sadly underused Lau, now posing as the wife of the bandit chief.

I was excited to see it because I have been known to enjoy ridiculous, over-the-top action movies, and because, like everyone, I am a fan of Yun-Fat Chow. Unfortunately, the film is over-long, often confusing, and not nearly as funny as it thought it was.

For example, in theory I like the idea of subverting expectations by casting Yun-Fat Chow as the villain gang leader, but in practice, it would have been nice if he had been given something more to do than laugh uproariously at his own cleverness and mug a bit as his own double.

Tonally, it doesn’t work. Obviously a film can be both violent and funny, but it is a delicate balance. A drawn-out scene where a character was manipulated into slicing open his own stomach and a (mercifully offscreen) gang rape were probably intended as further indications of just how bad our bad guy was, but they were also played for laughs, taking me right out of the film.

Let the Bullets Fly does offer lush cinematography and great images (particularly the horse-drawn train, even if the attack effect itself was lacking), and it references everything from Red Cliff to Butch Cassidy & the Sundance Kid with the broadest of winks, but in the end it isn’t universal enough to work.

Since seeing the film I’ve read in a few places that the humor in particular requires a deeper knowledge of Chinese culture than I have personally, and that it has political undertones (or even overtones) which were largely lost on me. Nonetheless, a better film would have worked on multiple levels.

In contrast, K-20: The Fiend with 20 Faces was wicked fun both times I saw it: first at a packed film festival screening and later at home. It’s also an over-the-top, vaguely historical action film. The set-up with K-20 is that WWII never happened, the aristocracy still controls the vast majority of the wealth in Japan, and there is no class mobility.

Against this backdrop swoops K-20, a failed Robin Hood who steals from the rich and keeps it all for himself. He sets up Heikichi Endo (the always-charming Takeshi Kaneshiro), a circus acrobat & illusionist, to take the fall for him.

Since K-20‘s genre of choice is the superhero movie, this injustice sets up Endo to become the hero. With the help of a band of thieves and a band of orphans, he launches into the obligatory training montage. It’s parkour and disguise training rather than the traditional swordsmanship or the like, which is a lot of fun, and Endo’s goal is simple: to clear his name so he can return to the circus.

Along the way he encounters the baron-slash-detective (Tôru Nakamura) who is hunting K-20, as well as the detective’s fiancée (Takako Matsu). She’s a delight, a duchess who considers self-defense “just part of being a lady”.

The film is a little long, but the plot keeps moving at a decent pace, hitting all the points of the classic origin story and a villain off to steal some massive technological weapon. Character-wise I am a big fan of Yoko, the fiancée, who is clever and resourceful, rescuing others far more often than she is rescued.

Visually the movie is pure eye-candy, from the wild steampunk world of the upper class to the dense maze of Thieves’ Alley. And sure, we’ve seen it all before, but it’s still a great ride through all of the best bits stolen from the golden age of comics, with an acrobat and a duchess fighting crime.

All in all K-20 is an absurd movie, but it knows that full well that it’s absurd, and it doesn’t take that as an excuse to sacrifice character development. We care about these people even as we’re suspending our disbelief from here to Japan, and as the end credits rolled (both times!) I wished I knew when I could queue for a sequel.

Review copy of K-20: The Fiend with 20 Faces provided by New People Entertainment.

Going Digital: March 2012

March 25, 2012 by MJ and Sean Gaffney 6 Comments

Welcome to the latest Going Digital, Manga Bookshelf’s monthly feature focusing on manga available for digital viewing or download. Each month, the Manga Bookshelf bloggers review a selection of comics we’ve read on our computers, phones, or tablet devices, to give readers a taste of what’s out there, old and new, and how well it works in digital form.

This month, MJchecks in on the iPad manga scene, while Sean takes a look a a recent JManga release for your web browser. Device, OS, and browser information is included with each review as appropriate, to let you know exactly how we accessed what we read.

iOS

Manga on the iPad: 18 month check-in

It’s been a year and a half since New York Comic Con 2010, where Yen Press announced the launch of their new iPad app. Viz followed soon after, and quickly rose to the head of the class thanks to their quickly growing catalogue and significantly lower pricing. Fast forward to NYCC 2011, where Kodansha USA finally joined the game, followed by Digital Manga Publishing a few months later.

For me, the success (or failure) of any manga app can be boiled down to three basic components: functionality, selection, and price. So now, 18 months after manga first began trickling onto the iPad, how are publishers faring on these three key issues?

Functionality

All four of the major manga apps began with strong functionality right out of the gate. Their (very similar) layouts are all fairly intuitive, with easy access to each publisher’s catalogue as well as the user’s own library of purchased manga. Each app offers high-quality images, and the ability to read in single or double page-view, as well as the ability to zoom in on (and out from) any single panel with ease. Of these apps, only Kodansha Comics’ displayed any functionality issues at launch time, with its progressive images that stall readability from page to page. Unfortunately, this issue appears to remain unresolved at the time of this writing, making Kodansha Comics’ app the least visually attractive of the manga apps to-date.

It’s worth noting here, too, that while both Viz and DMP both have browser-based stores as well, so far only Viz’s app allows for cross-platform purchases, while eManga customers must buy again to read their purchased volumes on the iPad.

Selection

Viz far outshines its mainstream competitors in this category, with over fifty titles available to-date (and more being added all the time), including super-popular titles like Naruto and One Piece, as well as more eclectic fare like House of Five Leaves and Saturn Apartments. Though I’m still hoping to see some of Viz’s out-of-print shoujo licenses show up here one day (e.g. Please Save My Earth, Banana Fish, Basara) there’s no denying that Viz is blowing everyone else away when it comes to selection on this platform. Recent additions like Hikaru no Go suggest that Viz indeed views its various digital platforms as a means for introducing long-running, completed series to new readers, and I certainly hope to see that continue.

DMP started out with a very strong catalogue, particularly for fans of its Juné and Digital Manga Guild imprints, but new additions have stalled since their recent issues with Apple censors, and it’s difficult to know at this point what the future of their app might be. BL fans can still pick up over fifty different titles (several with multiple volumes) at the time of this writing, ranging from newer releases like An Even More Beautiful Lie, Seven Days, and Blue Sheep Reverie, to older titles like Maiden Rose and Il Gatto Sul G. Though many more DMP/DMG titles are currently available to iPad readers by way of Amazon’s Kindle app (which has had its rocky moments, too), issues like image quality and reading direction make this option less than ideal.

While Yen Press’ catalogue is relatively small (25 titles as of this writing), it does have the advantage of being the only real source for Korean manhwa among these publishers to-date. Manga Bookshelf favorites like Time and Again and 13th Boy are both being released by Yen Press on this platform, and I certainly hope this will be a continuing trend. Though Yen’s manhwa licensing seems to have come to a halt over the past year or so, it would be a real treat to see series like Forest of Gray City or Very! Very! Sweet make a reappearance on the iPad so that they can be discovered by new readers. OEL series are another highlight of Yen’s app, including critical successes like Nightschool and Soulless: The Manga. Yen’s manga selection is less impressive, with titles Yotsuba&! and The Melancholy of Haruhi Suzumiya standing as its heaviest hitters.

Bringing up the rear in this category again is Kodansha Comics, whose catalogue has still not expanded beyond the four series it launched with (Arisa, Fairy Tail, Sayonara, Zetsubou-Sensei, and Until the Full Moon) even after six months.

Price

Here, again, Viz leads the pack, with prices starting at $4.99 a volume for Shonen Jump and Shojo Beat series, $5.99 for IKKI and Signature series, and between $6.99-$8.99 for oversized or omnibus releases. Though I still think that $5 a volume is too high to encourage real bulk purchases, it remains the best price out there for manga on the iPad. Kodansha Comics’ volumes sell for $4.99 apiece as well, though it’s worth mentioning that they ran a $2.99 special for Fairy Tail when the app first launched—a price I absolutely would pay for bulk purchases of a series I had interest in reading.

Both Yen Press and DMP lag in this category, with single volumes going for $6.99-$8.99 apiece—sometimes significantly more than print prices online—and $12.99 for larger volumes. Though BL readers, in particular, are accustomed to paying more for their habit, thrifty shoppers who are willing to put up with the downsides of the Kindle app can pretty much always get the same books for less by going that route—and have their purchase available on their other compatible devices as well, including their computers. I will admit that though I was fairly depressed not to be able to purchase Keiko Kinoshita’s You & Tonight through DMP’s far superior iPad app, it’s awfully nice to have it available on both my iPad and my laptop via Amazon’s Kindle app.

Bottom Line

Viz is the clear winner on the iPad overall, performing well in all three categories of functionality, selection, and price. DMP’s app is promising, and should they manage to resolve their issues with Apple and find a way to better serve cross-platform customers, they could become a digital powerhouse for BL fans, despite a significantly less attractive price point. Yen Press’s app lags in both selection and price, though it does hold a particular allure for manhwa fans. (Will we ever see NETCOMICS in the iPad app game?) And though Kodansha Comics does well when it comes to pricing, its dinky selection and less-than-optimum readability diminish its worth significantly.

What do you suppose this year’s New York Comic Con will bring? – MJ

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Anesthesiologist Hana Vol. 2 | By Nakao Hakua and Kappei Matsumoto | Futabasha, Manga Action | JManga.com | Windows XP, Firefox 11.0
Volume Two of this medical series continues to pummel our heroine with exhausting daily living. I’d say crises, but she’s an anesthesiologist, so to a certain degree this is what she does. She has professors teaching a class putting her on the spot to embarrass her, the hospital changing to more of a trauma unit center (meaning longer hours), and most of all a new doctor in the unit, Hiura, who is a complete and utter jerk to her He’s constantly yelling at her and forcing her to step up her game, and is rude to her other colleagues… especially Dr. Kobayakawa, the troubled young doctor Hana hit it off with last volume. Of course, those familiar with this type of manga will know immediately that he is the sort of person that doesn’t suffer fools gladly. He dislikes Kobayakawa for his fear and wasted potential, and is so hard on Hana because of her increasing skills and pluck – he teaches by rudeness, basically.

He also, in yelling at Hana, basically notes that her breasts are big, something this manga never really allows us to forget. There’s no gratuitous shower scene here, but instead we get a new trauma doctor, Kenshi, who simply walks up, marvels at her breasts, and starts to fondle them. My jaw dropped briefly, and I am once again reminded of the huge sexual harassment gulf between here and Japan, in that Hana didn’t slug him. Yes, this is supposed to take place in the mid-90s rather than the time it was written, but sheesh. This doctor later gets a nice moment where he tries to teach Hana a basic truth – patients die, and that doctors simply have to accept this and try to save the next one just as hard – but he can’t read her as well as Hiura, so it doesn’t really take. In any case, if his schtick of groping Hana becomes his running gag, I can’t say I’ll be too fond of him.

There’s a lot of medical stuff going on here, and like the first volume if the reader doesn’t want to wade through some jargon they may be in trouble..That said, it’s not too difficult, and the basic premise remains the same – a doctor’s life is very hard, and every day is a struggle to wonder if it’s worth it. Especially given that these are anesthesiologists, so they don’t have the ‘these are my life-saving hands!’ aspect that, say, heart surgeons would. Hana, like the heroine of Nao Go Straight, can be too empathic at times – something contrasted with the new trauma doctors introduced towards the end. The best chapters were the two-parters, one dealing with the patient who loses his life, as I’d mentioned, and the other with how anesthesiologists have immense trouble with morbidly obese people. Hiura wants to harness Hana’s passion, and avoid having her become like Kobayakawa. Can he do it? To be continued! -Sean Gaffney

Disclosure: MJ is currently under contract with Digital Manga Publishing’s Digital Manga Guild, as necessitated for her ongoing report Inside the DMG. Any compensation earned by MJin her role as an editor with the DMG will be donated to the Comic Book Legal Defense Fund.

50 Shades of Morally Unambiguous, Part 2

March 24, 2012 by Aja Romano 15 Comments

Copyright, Transformative Fiction, and Value

Continuing the series of responses to the Dear Author series on fanfiction; this is Part 2 of a 3-part response to “Fanfiction and Morality.” (Part 1 is here!)

To recap, the author of this post, Has, argues that “Taking an entire fanfiction story and turning that into a published book is:”

ethically wrong [in part because the fan code of conduct is never to profit off fanfic]
a cynical ploy to market books… an easy way to cash in because there’s already a built-in fanbase that is able to market the book via word of mouth
[an indication] that the author does not believe what they wrote is strong enough to stand on its own merits but decided to publish it so they could profit by exploiting their fanbase
disappointing
might start off an ever-crazier circle of fanfiction based on fanfiction.
very detrimental to fandom and fanfiction

The CoC (my oh-so-hilarious abbreviation for ‘fan code of conduct’) is a lie meant to keep fandom protected from copyright holders, but the reality is that it’s the copyright holders who aren’t protected—not because of any malice on the part of fans, but because of the fact that modern copyright law upholds the value of transforming existing works.

Copyright will always deter straightforward derivative rip-offs of your work, but it doesn’t guarantee your work can’t be really transformed and that money won’t be made off that transformation. The copyright holder can be legally subject to having their work taken and revamped and published in (at least?) 4 ways:

The copyright holder can have their work revamped and published as parody under the Fair Use clause—which allows, of course, for the commercial sale of parody, even when works aren’t parodies but are in fact serious, like the famous case of Alice Randall’s bestselling African-American critique The Wind Done Gone.

The copyright holder can have their work inspire a new universe with new settings, contexts, and characters, the way Twilight inspired 50 Shades.

The copyright holder can have their copyright expire and enter the public domain—at least 50 years after their death for countries following the Berne Convention.

The copyright holder can drop off the face of the earth and be unreachable when the remixer comes calling. This is called the orphan works clause, and it allows for your copyright to be overruled if no information about the work can be traced back to you as the creator after a good faith effort has been made to find you.

Obviously the law doesn’t think transformative fair use threatens the copyright holder. And historically the copyright holders themselves haven’t seen it that way either. I just happen to be re-reading Jerome K Jerome’s classic satirical memoir Three Men In a Boat (To Say Nothing of the Dog), which was originally published in 1889, sold a bajillion copies, and has never gone out of print since. For the 1909 edition (which is printed in my copy, which incidentally was published by Barnes & Noble), Jerome writes:

The world has been very kind to this book. Mr. Arrowsmith speaks only of its sales in Great Britain. In Chicago, I was assured by an enterprising pirate now retired, that the sales throughout the United States had exceeded a million; and although, in consequence of its having been published before the Copyright Convention, this has brought me no material advantage, the fame and popularity it has won for me among the American public is an asset not to be despised.

I find it wondrous and wonderful that one hundred years ago the concept of copyright could so amiably co-exist alongside the idea that monetary value was not the only kind of value that mattered in the dissemination of an author’s works and reputation throughout the world. And it still can and does.

In contemporary Japanese culture, copyrighted manga is sold in stores right next to fan-produced doujinshi of that manga. Wiki notes that doujinshi artists “rarely secure the permission of the original creator,” and that the largest doujinshi con has over a million freaking people in attendance. Nothing about the practice of fanwork is secret or hidden, and neither are fans prevented, either legally or socially, from making money off what they do. As MB’s own Brigid Alverson writes:

Current copyright laws allow publishers to tolerate a certain amount of remixing of copyrighted characters. …on balance, many observers think that the doujinshi phenomenon is good for the manga market, because it builds interest for the series and characters and provides a training ground for new creators—perhaps the best known being Rumiko Takahashi, creator of InuYasha and Ranma 1/2, who got her start creating doujinshi under the guidance of Lone Wolf and Cub artist Kazuo Koike.

Let’s make this even clearer: in Japan, E.L. James could write and sell Twilight doujinshi and no one would prosecute her for it because the culture, production, and sale of doujinshi adds value to Stephenie Meyer’s original product. In Japan, she wouldn’t even have to change the names to a) profit off her work AND b) increase the value of SMeyer’s work.

I’m not making this point to argue that SMeyer shouldn’t get to prosecute people who infringe upon her copyright. I’m arguing that what’s happening here is not really infringement, because even when it is for profit, it still increases the value of the original product.

My friend Silvia Kundera has a quote on my ‘fanfic is okay‘ post that I think is relevant here:

I am actually the proud owner of an authorized & published One Tree Hill Brooke/Lucas, implied Peyton/Nathan novel that I bought at fucking Borders. And it’s ‘real’ fanfic, man. It’s a pairing-centric fix-it that does a shippy re-write on Season 2. for the author’s preferred couples. It’s exactly what I’d expect to bookmark on delicious when I’m in the mood for het. The only difference between this and a 50k Sheldon/Penny fanfic is that:
— one of these is on my bookshelf & someone got paid for it;
— one is on my computer & someone did it for love.

Has’s argument that publishing fanfic as origfic is “a cynical ploy to market books” fails to take into account the value-added worth of a book that can be tied back to a previous source. The One Tree Hill franchise obviously thought that paying an author to write a shippy fix-it fic would add value and meaning to its overall product. How, in theory, is this any different from EL James publishing 50 Shades and then linking it back to Twilight?

For that matter, in what kind of warped thought process does a for-profit novel with no obvious connection to a franchise get branded as less legitimate than a for-profit novel written directly for a franchise? One is a series tie-in, one is a bestselling novel that you would never connect to the Twilight series if you didn’t already know through word of mouth and the media that it began as Twilight fic. The book 50 Shades of Grey has literally nothing to do with the book Twilight.

I said I wasn’t going to tackle Dear Author’s examination of 50 Shades itself, because it’s a maddening, dishonest red herring of a post, but—okay. Look. Dear Author focuses a lot of time on attempting to decode how transformative the new, names-changed version of James’ fanfic is compared to the original version. They devote an entire post to the task of comparison which starts by doing a literal find/replace count on the character names. This is an EPIC example of missing the point. The side by side comparison never once considered how similar the work of fanfiction itself was to Twilight, and how far removed the characters may have been from Meyer’s to begin with. Because honestly, most people picking up 50 Shades of Grey would never be reminded of Twilight—prolly because Twilight is about TEENAGE VAMPIRES AND NOT BDSM PORN, JUST A THOUGHT.

And I’ll add: the DA side by side comparison is also an epic example of rudeness, since they obviously acquired their copy of the fanfic after the author had removed it from the web. In other words, they dug up her deleted fanfic just because they could. There is absolutely no reason for a side-by-side comparison of MotU and 50 Shades except to attempt to humiliate and shame the writer, and to imply that all she did was change some names around, AND to imply that changing some names is all ANYONE does when they convert their fic to original fic. That is. just. SO INSULTING. It’s so insulting that I’m not going to devote a whole separate post to responding to it because I think it’s completely duplicitous.

Because you know what words they didn’t do a find/replace on? VAMPIRE. WEREWOLF. SPARKLE. FORKS. Possibly because none of those central elements of Twilight are anywhere to be found in 50 Shades. Oh my god I just. okay. moving on.

Is the argument here honestly that the success of E.L. James’ novel is somehow a shameful thing because it dares to piggyback on Twilight’s success?

Um. Then what the hell has the publishing industry been doing since 2005?

Because correct me if I’m wrong, but I thought we’d spent the last 7 years seeing hundreds upon thousands of Paranormal YAs flooding bookstores. I thought I’d spent years seeing bookstore displays using “If you liked Twilight, you’ll love this!” as a promo to sell books. I thought I’d seen dozens of books being reprinted specifically to have iconic red and black covers. I thought I’d seen Wuthering Heights, Pride and Prejudice and Romeo and Juliet all being explicitly appropriated and repackaged for teenagers as books Bella and Edward love. Did I just make all these things up?

When I am head cultist we will name Mr. Darcy to the assemblage of our minor deities.

Er. No?

It is intellectually dishonest to handwring about undue influence because a few dozen of Twilight fandom authors are owning up to doing, explicitly, what the publishing industry has been blatantly encouraging the entire industry to do for years. Why on earth shouldn’t E.L. James market her book’s appeal to Twilight fans, given that that’s exactly what publishers want a book to have?

And the thing is you usually never know what the sources of influence are as long as they aren’t disclosed and aren’t completely overt or apparent in the work itself. What if Left Hand of Darkness really is a Star Trek fanfic? What if Inception really is unauthorized Paprika fanfic? After all, Nolan calls it one of his “principle influences.” What if “Firefly” really is unauthorized fanfic of “Cowboy Bebop? After all, Joss said it had anime influences. I’m pretty sure no rights or attribution was ever given in these cases. Does that mean the influence wasn’t felt? Nolan even said he based the character of Ariadne on the main character of Paprika. But it’s okay, because clearly they’re just general tropes, right? Much like the character trope of a young spunky heroine falling in love with a seductive, dominating hero….

In all of the cases I mentioned above, there is a documented influence because the creator was familiar with the previous work and its genre conventions. Are these things fanfiction? A better question is how aren’t they fanfiction? And what’s more, how don’t they add value to the original work? I like these specific examples because I watched Cowboy Bebop after I heard Firefly was based on it. I watched Paprika and the film Dark City because I heard Inception was based on them both. I finally decided to take the plunge and watch Original Trek after I read Left Hand of Darkness. Even when influence isn’t openly claimed and owned up to, value still reflects upon the original inspiration.

And whether or not Twilight fans and critics want to admit it, there’s nothing harmful about 50 Shades’ success. Stephenie Meyer’s fans aren’t going to stop being fans of her books just because 50 Shades exists. But fans of 50 Shades might decide to go back and read Twilight, if there’s anyone out there who hasn’t yet. These two different novels can co-exist, just like they already do in Japan. These works amplify each other, to the credit of all.

Later: Part 3—the “morality” of all this, and new ways to think about creative autonomy!

50 Shades of Morally Unambiguous, Part 1

March 24, 2012 by Aja Romano 7 Comments

Hello, MB! First off, in response to requests to expand on a few of the terms I’ve been using in these posts (and thank you all so much for your comments!), I’ve created a glossary here! I will update it as new terms come up, and I will try to give more clarity in posts where concepts may not be clear. :D

Also! I have to say thank you to everybody for giving me such a warm welcome and providing such great comments! I really, really appreciate it and I hope that the gargantuan post I’m about to drop in your lap isn’t enough to permanently put you off this column. IF IT HELPS I am also subliminally recruiting for my cult.

Welcome to the second (or, really third) in a series of posts rebutting this week’s Dear Author series on fanfiction. The post I’m going to address today is a doozie: “Fanfiction: A Tale of Fandom and Morality.”

so i told melinda i would only write for MB if i could also recruit for my own cult.

Not gonna lie, this panda is me writing this commentary. I am this panda.
It’s been a few days of oh god please let the horror end / oh god how is this still not done

The entire Dear Author series on fic was prompted by the success of the novel 50 Shades of Grey, which began its life as a Twilight fic called “Masters of the Universe.” This novel is not the first Twilight fanfic to “go pro”—there are in fact a shitload of other ones. I have a more general post about the Twilight pro-fic phenomenon over at The Mary Sue today, so in this post I won’t focus on it so much as the argument around it. Fanfiction has for a long time existed as the elephant in the editorial room, and the wild success of 50 Shades is finally, for better or worse, forcing the conversation about whether or not fanfic is legitimate to move foward after a steady decade and a half of rapidly advancing the argument in fanfic’s favor. Suffice it to say that people on both sides of the argument, within fandom and outside of it, are up in arms about the fact that Twilight pro-fics have the audacity to openly link to their fannish origins and then sell different, “original” versions of themselves.

Things I’m Happy About (A Brief List):

that the author of the DA post, Has, is someone on my end of the spectrum of perspectives about fanfiction.

I’m happy that finally!!!! there is a NEW ARGUMENT about fanfiction! :D

I’m happy because Has’ argument illustrates how overwhelming remix culture is, how it’s confusing everyone, how it’s rapidly calling for paradigm shifts in the way we think about intellectual property, property law, copyright, publishing in the age of digital media, and collaborative creative culture.

I’m happy because this whole discussion can be seen as as a call to renegotiate copyright in the age of remix culture.

Things I’m Not Happy About (A Slightly Longer List):
Has makes a wide-ranging argument that for-profit fic converted from fanfiction is immoral. These are all direct quotes from the source post but I’m going to bullet-point them in the interest of simplicity. Has argues that “Taking an entire fanfiction story and turning that into a published book is:”

ethically wrong

a cynical ploy to market books… an easy way to cash in because there’s already a built-in fanbase that is able to market the book via word of mouth

[an indication] that the author does not believe what they wrote is strong enough to stand on its own merits but decided to publish it so they could profit by exploiting their fanbase

disappointing

might start off an ever-crazier circle of fanfiction based on fanfiction.

very detrimental to fandom and fanfiction

Okay, so. We have a number of different arguments being made here about why specifically profiting from fanfiction is dangerous, unoriginal, and immoral. There’s also another argument that’s not explicit, but which gets discussed repeatedly by fans in comments: that profiting off fanfiction is a violation of the code of ethics of the fan community. As commenter “S” articulates: “It’s an unwritten contract – fanworks are not to be made for profit.” Has herself is an active, proud member of fandom. She says that “Fanfiction is a great medium where fans can enrich and be a part of the world that they love.” Then she notes that, “historically, however, fandom has not been about making money, and any attempts to do so by fans were frowned upon.”

I want to start by examining this code of conduct in relationship to copyright. Then, in Part 2, I’ll talk directly about the value-added status of works published for profit under Fair Use, and then in Part 3 we’ll discuss the fears that all of this could hurt fandom. And finally we will cycle back around to morality. But first I’m going to give you a gif which illustrates your horror at realizing how involved this argument will be:

you won’t see the copyright infringement coming til it strikes

Which Came First, the Fandom or the Fic?

Fandom developed in the margins of pop culture; western media fanfiction in particular is tied to a sense of illegitimate production, subversive content, and bootlegged distribution. As U.S. and European fans have grown more open about what we do, we all insist that we do what we do for love and not for profit. And it’s true, we absolutely do, and will keep on doing so. But what gets forgotten is that this tacit ethical code grew out of the need to protect ourselves against the stigma of being thought of as “plagiarists;” as “unoriginal,” “untalented,” “only interested in porn,” “immoral.”

In other words, it was a code of ethics that grew out of marginalization, shame, and fear. Keep silent about what we do. Don’t give the creators/rightsholders any reason to care that you exist. Stay underground. KEEP IT SECRET. KEEP IT SAFE.

But all of this was before the age of the internet; before music sampling became commonplace; before Henry Jenkins published Textual Poachers, the first seminal academic work to argue that fanfiction was actually amazing; before Comic-Con became cool and creators started routinely interacting with fans; before fans started creating a discourse around what they did which challenged the pre-existing idea of fandom as shameful; before Youtube made fan response to a previous work literally just a click away; before it became clear to many of us that we are currently living in the middle of a remix culture where the gatekeepers of creative works are being more or less obliterated by the nature of global connectivity and the spirit of communal collaboration. And many fans, having grown up in this culture, naturally don’t see why they should keep fanwork secret and safe. It’s not hurting anyone, and it arguably is helping to create a more diverse world and inject multiple perspectives into discourse about creative works. What’s there to be ashamed of? This is a drastically different view of fandom than many people, fans included, hold even now, because the stigma of shame attached to geek culture is so high. But for a rapidly growing number of fans, what we do isn’t subversive at all. It’s creative, inventive, time-consuming, fulfilling, and cool.

I’m relieved that I don’t have to disagree with Has over the legitimacy of fanfiction; but I think we disagree about the source of this legitimacy. Has seems to feel fanfiction is legitimate because of the fact that it has a culture and community around it, because it has lots of people involved in creating an active thriving subculture. In other words, since lots of people are doing this thing, it’s okay.

I think this is completely backwards; and I feel like this is the crux of why so many arguments about fanfiction seem to many fans as though they’re being framed all wrong.

In my experience, most arguments about whether fanfiction is okay begin by examining the relationship of fanfics to copyright law. From this perspective, the Fannish Code of Conduct is always going to be front and center, because when we, as fans, are constantly seeing our activities framed with a view towards establishing their illegality, of course our first line of defense is always going to be “but we’re not doing it for profit!” and also “but look how many of us there are! You can’t sue all of us!” So endlessly the debate about fanfic cycles back around to the fact that since so many fans are doing it but they aren’t trying to profit from it, it’s okay to let them keep doing it.

But the impulse to expand on other people’s stories occurs on an individual level. It is a fundamental part of creativity. It happens whether or not you realize that it’s happening. I still remember reading an interview with Meg Cabot from years ago where she talked about how she wrote fanfiction on her own, privately, without ever realizing it was fanfiction. And Cory Doctorow claims to have written his first story at age 6—Star Wars fanfic. You cannot tell me, you will never be able to tell me that there are not millions of authors throughout the centuries who have not created books/stories/songs/movies/comics/art/parody in just this way. We don’t do it because we make a conscious decision to imitate other people’s styles, characters, voices; we do it because it comes naturally to us. We do it because we yearn to know more about what would happen if characters we love encountered new situations. We do it because imitation is how we learn to find our own voices. We do it because we want to see ourselves participate in something we love. And sometimes we do it because we get paid to do it.

You don’t have to have a community around fanfic to legitimize it. The community, as I talked about in the last post, just makes it that much more vibrant and wonderful, but the community doesn’t control or cause the flow of ideas. Stimulate, yes. Hamper, lol, often, as anyone who’s ever gotten sucked into Tumblr or TV Tropes and subsequently lost hours of their life will tell you. But the ideas exist apart from the community. Fanfiction will exist even if you take fans away from their fandoms. The fannish code of conduct—that we don’t do this for profit—was developed by our subculture to protect itself. It should not be taken as being some kind of literal restriction on the nature of creating fanfiction, because it can’t be. It is physically impossible to place a barrier between you and an idea simply because the idea might be linked to someone else’s.

Most people in the publishing industry know this, because, let’s face it, everyone knows about novels that began as fanfics, of authors who filed off the serial numbers, of fans who stopped writing in the middle of a work in progress to convert their fic into a novel because they realized they wanted to do something different with it. Some of us even know of editors and agents who explicitly seek out authors of fanfic and request that they convert those fics into originals. I have had editors approach me about existing fic; I have had friends approached by editors about their existing fic, as well as to request new fiction from them on the strength of having read their fanfic. These incidents have been happening for decades, and the only difference is that now a few fans are emboldened enough by the openness of the times we live in to actually claim their novels’ heritage as fanfics. They are actually attempting to give credit to the authors who inspired them, instead of changing names and contexts in secret and shame the way fans have had to do for years, all with the tacit complicity of the publishing industry.

When I say that framing fanfiction in the context of its relationship to copyright law is all backwards, I mean that the framework implies a causal relationship: copyright law exists, therefore fanfic is illegitimate. The opposing argument to this view has always been “but the fans are all right so let them keep doing it!” But transformative literature exists whether or not copyright exists, and the impulse to rework pre-existing stories is upheld and reinforced constantly in our society, be it through Pride and Prejudice and Monster Trucks or through endless revisions and retconnings of superhero myths and other comics universes, constant exploiting and profiting off works in the public domain, and literally innumerable examples of historical RPF which no one can copyright.

All of the agency, all of the sociohistorical evolution of narrative, all the power of creative impulse, stands behind the fanfic writer. It does not stand behind copyright. Just as you can’t place a code of conduct around the act of writing down an idea, copyright can never completely rein in the creative impulse to rework stories, because frankly that impulse is mightier than copyright law and will always be. You can’t order the entire of fandom to cease and desist, because even if you did, those works would all continue to be written. Only they would all be written a) in the privacy of their own homes, shared with no one, b) written and passed around via bootleg methods which would probably be impossible to control, and/or c) written and turned into “original” fic, exactly as they have been for centuries.

The code of conduct—fanfic is not for profit—is a lie. (Lol, THE CoC IS A LIE, GET IT /terriblepuns) It doesn’t suddenly erase an entire cultural history of reworking previous sources, or the publishing industry’s perpetuation of the practice, and it absolutely never has kept, never will keep, fans from turning fanfic into novels for profit. All it does is keep fans from admitting that they’re doing it, and it keeps the authors of the original work from receiving any kind of credit or residual benefit for having inspired the succeeding work.

OKAY I NEED A DRINK HOW ABOUT YOU GUYS.

Next up: looking at fair use works that make a profit and still fit within copyright. On to Part 2: Copyright, Transformative Fiction, and Value

BL Bookrack: March 2012

March 22, 2012 by MJ and Michelle Smith 13 Comments

Welcome to the March installment of BL Bookrack! This month, MJand Michelle take a look at two debut volumes from the Digital Manga Guild, Tweeting Love Birds and You & Tonight. In Brief: About Love from Digital Manga Publishing’s Juné imprint, and volume one of My Darling Kitten Hair from JManga.

Tweeting Love Birds, Vol. 1 (Kindle) | By Kotetsuko Yamamoto | Digital Manga Guild | Rated YA (16+) – Thanks to a back cover summary that made one of the characters sound intensely annoying, I wasn’t expecting much from Tweeting Love Birds. I ended up being pleasantly surprised, but that’s not to say that the book is riveting or unique.

Daisuki Ohtaka started playing baseball because his grandfather was a fan, and even goes so far as to enroll in his grandpa’s alma mater. He doesn’t seem to have much personal love of the game, however, and once he arrives and discovers the shabby state of the team, he immediately wants to leave. After the small and cute captain, Suzume Morino (aka “Tweetie,” a nickname derived from the fact that his name means “sparrow”), blackmails Daisuke (whom he promptly christens “Taka”) into staying, he finds himself becoming more intrigued by Tweetie and experiencing jealousy when others give him attention, even while maintaining that he is straight.

Yes, this might be another “only gay for you” story, but so far it’s kind of charming. It has a slice-of-life feel that I appreciate, with any baseball action firmly in the background, and sometimes it’s even funny. I snickered out loud, for example, when a drunk Tweetie proclaims, “Taka touched my boobies.” There’s nothing much original about the plot or its execution, but neither is there anything glaringly offensive. The adaptation by DMG group Boys’ Love Bang Bang is also flawless, with no errors or awkwardness to detract from one’s reading experience.

I’m a little surprised that Yamamoto-sensei was able to squeeze enough material out of this setup for a second volume, but there is indeed one more installment to go before the series is complete. Despite first impressions, I’ll be coming back for more.

– Review by Michelle Smith

You and Tonight, Vol. 1 (Kindle) | By Keiko Kinoshita | Digital Manga Guild | Rated YA (16+) – Rikuro has spent ten long years hiding his feelings for his straight best friend, Yasutaka, only to discover that Yasutaka gave in and slept with a male coworker after he begged and cried. Though the news gives him sudden hope, it also makes him begin to panic that his time is running out. But can his friendship with Yasutaka really survive the truth?

I’ve developed a bit of a love affair with Keiko Kinoshita’s work as of late, and this series has only deepened my feelings. Written in the same vein as her earlier two-volume series Kiss Blue, You and Tonight is a thoughtful, quiet manga about the delicate balance between love and friendship, and how two lifelong friends deal with the complications that arise when that balance is disturbed. Also like Kiss Blue, You and Tonight lets its characters process this sloooowly, which is one of the things that makes Kinoshita’s romance work so well. She isn’t afraid to let her characters wallow in uncertainty, and she certainly takes her time, but there’s never a sense that the story is dragging. On the contrary, there is tension in each moment, even the quietest ones.

Kinoshita’s artwork has always been on the understated side, but her expressiveness really shines here in this volume. She makes the most of her characters’ body language and subtle facial cues, working as much emotion into them as she does into her equally understated dialogue. Both Rikuro and Yasutaka process most everything on the inside, making their moments of visible weakness even more powerful. A single panel of Rikuro breaking down, alone in an elevator, springs immediately to mind. It’s an image that’s stuck with me for days after reading this volume. Digital Manga Guild localizing group Cynical Pink does a lovely job, too, providing a clean, lyrical adaptation that suits Kinoshita’s tone perfectly.

For fans of Keiko Kinoshita, this series is a must-read. For everyone else… it’s a must-read too. Highly recommended.

– Review by MJ

In Brief:

About Love (Kindle) | By Narise Konohara | Digital Manga Publishing/Juné | Rated YA (16+) – I’m late to the party on this title, and I can only say that with the deepest regret. With its complicated characters and slow-building romance, About Love is absolutely my type of BL. Mangaka Narise Konohara weaves an unlikely love story between two seemingly unremarkable characters—a fresh-faced newlywed and the insecure young wedding planner who discovers the truth behind his smile—and she does it with the utmost subtlety and care. From its expressive, melancholy cover to the very last page, About Love is thoughtful, moody, and stunningly poignant. The only downside is that this title is not yet available digitally, but if any recent BL title is worth the shelf space, this is it. Highly recommended. – MJ

My Darling Kitten Hair, Vol. 1 | By Haruko Kumota | JManga/Libre Publishing | Rated Mature – This title came to my attention by way of JManga’s ABC of BL/yaoi and I could not be more grateful for the introduction. This adorable manga follows the romance between a slovenly young writer and his salaryman boyfriend who has just come to live with him (in a charming, Maison Ikkoku-like setting) after maintaining a rather chaste, long-distance relationship for six years. It’s not often we see a romance manga that begins in the middle of the relationship, and even less often that the main pairing is surrounded by convincingly queer characters who feel authentic as part of the story and not just as glorified set pieces. Even more encouraging, the series is still ongoing in Japan, which means there is some hope of us having a good, long time with it. Honestly surprising and highly recommended. – MJ

Some review copies provided by the publishers.

Other recent BL reviews at Manga Bookshelf: Ata (Digital Manga Guild)

A Comic Beam of Light

March 22, 2012 by Erica Friedman Leave a Comment

“Monthly Comic Beam A Magazine for the Comic Freaks!” reads the tagline of Enterbrain’s Comic Beam magazine.(コミックビーム)

At a mere 25,000 copies sold every month, Comic Beam is not a contender in sales in any category of manga magazine, but that’s not a concern for the creators and editors of Beam – instead, they are playing to the small, but hardcore comics-reading audience,people who don’t care what category a manga is but just want to read good stories. Nominally listed as “seinen” (for young men,) along with Kodansha’s Morning 2, Shogakukan’s IKKI and Hakusensha’s Rakuen Le Paradis, Ohta’s Manga Erotics F, Comic Beam can easily be considered part of a small, but slowly growing genre of manga not limitedby gender or age, but is targeted to “whoever reads it.” I have taken to referring to these magazines in my head as the “fifth column” (i.e., not shoujo, shounen, josei or seinen.)

Comic Beam is the home of a number of stories that have been published in English. Kaoru Mori’s story about love between different classes in Victorian England, Emma, wasthe first to make its way here, through CMX’s beloved but unfortunately unsuccessful edition. Astral Project (Marginal and Syuji Takeya), Bambi and Her Pink Gun (Atsushi Kaneko), King of Thorn (Yuji Iwahara), and Fancy Gigolo Peru (Junko Mizuno) have allbeen released in English. Eagerly received, and from Fantagraphics is Takako Shimura’s award-nominated tale of tweens dealing with gender transitioning, Wandering Son. Currently running (and adorning the cover of the image above) is Mari Yamazaki’s award-winning Thermae Romae, a story that whimsicallycombines modern Japan and ancient Rome through their shared cultures of bathing. (This series is about to be launched as a a live-action drama and anime in Japan.) I was both surprised and pleased to find Izumi Takemoto contributing a charming little Heidi-esque romp, Akane Kono Mahou, to the current lineup. Kaneko Atsusuhi’s dark speculative fiction manga Soil has generated some press on both sides of the ocean as well.

Enterbrain has a website, mostly to provide information for potential contributors.There are no chapter previews and currently no downloads. It’s a sparse, somewhat depressing site. Given the “experimental” nature of the work in Comic Beam, it would probably be a good choice to offer example chapters, but then, the audience already knows what it likes.

Taken as a whole, it’s easy to label Comic Beam an “art house” comic magazine. There’s room for the sweet, the grim, the wacky, the serious, real and fantastic, all with room to explore artistic stylings and story telling techniques. Comic Beam is indeed a comic for comic freaks. People who prefer their stories formulaic and predictable need not bother. The light from Comic Beam will appeal to few, but for those few, it will be a beacon illuminating the world of manga magazines.

Comic Beam from Enterbrain and Kadokawa Group Publishing: http://www.enterbrain.co..jp/ad/html/media14.html

*Originally published on Mangacast.

Fannish Inquisitions: Countering Assumptions About Fandom

March 21, 2012 by Aja Romano 24 Comments

Happy 6th anniversay, KAT-TUN! Thank you for providing us this useful visual metaphor for what often happens when other communities and fandom, er, collide!

Hi, MB! This is the first of a series of posts about fandom being written in response to a series of posts about fandom. The romance review site Dear Author is holding a week-long examination of fandom and fanfic—with somewhat confusing results. It’s my goal, through these posts, to argue for a more contemporary view of fandom and fanwork that falls more closely in line with a) how fans actually act in fandom, b) how fanwork actually operates and what it actually does, and c) the actual status of fanwork under the law.

Starting with the first post in the DA series, we have “How I Came to Appreciate Fan Fiction.” This is, overall, a fairly positive post, but it has a lot of outdated assumptions about fandom that I’d like to unpack.

To give Sunita D, today’s contributor, credit where it’s due, there’s probably always a moment of shock upon a first encounter with fanfiction, or doujinshi or yaoi, just like there is with any new concept. Like sporks! Or literal cloud computing! We might think of this first encounter as a moment of simple culture shock. Sunita even describes hers:

Of course I’ve hated certain books’ endings, I’ve wished for sequels, and I’ve thought about the off-page lives of favorite characters. But I’ve never written to authors to ask them to keep writing about a particularly loved protagonist. And I’ve never wanted to write my own versions of books. Not because I thought doing so would be wrong, but because it just never occurred to me.

Whoa, hold on a tic. Already we’ve run into the first of what will be many false assumptions about fandom and especially fanfiction in general throughout the Dear Author series on fanfic.

False assumption #1: All fans long to interact with creators.

“I’ve never written to authors to ask them to keep writing about a particularly loved protagonist.”

Okay, but most fans haven’t either. Most fans don’t need to, because our interaction with a canon has very little to do with what’s going on in the author’s head. This is a key aspect of fandom that many people outside of fandom get wrong. Many fans get very nervous and gunshy when the prospect of interacting with creators comes up, because those fans prefer as little contact with the makers of their canons as possible. Please note that this impulse is often not, not, NOT out of shame or embarrassment or fear of reprisals, but rather from a desire not to have the gatekeepers poking their noses in our business. There are exceptions, of course, especially in RPF fandoms; we are seeing something of a cultural shift happen as Twitter puts celebrities and fans in touch with each other on a daily basis. But for the most part, fans go about their business with little regard for TPTB (The Powers That Be). Which brings me to the next mistaken assumption:

False assumption #2: Fanfiction = Do-Over.

“I’ve never wanted to write my own versions of books. Not because I thought doing so would be wrong, but because it just never occurred to me.”

Most fans don’t want to write their own versions of books either. That’s not what fanfic is. Many people think of fanfiction as the practice of trying to prove a creator got it wrong. Not at all. For most fans, most of the time, fanfiction is not about rewriting canon.

Sure, a fan can write fix-it fic—but then they’ll turn write around and write something completely different. Fans explore their canons and play around with the worlds they’re engaging with in order to do something completely new. Take, for example, what may be the most popular narrative genre of all: the post-canon fic. The canon ends—you write about what happens after. But that’s a story that can be told and retold forever, because the possibilities are endless.

In general terms, fanworks are about expansion, not re-creation.

Happily, this is also the conclusion Sunita arrives at: This path isn’t just about creating new romantic relationships or changing unhappy endings to happy ones. What if you think the most interesting character in the Harry Potter novels is Luna Lovegood and you want to read more about her?…. Even if you adhere strictly to canon, there’s plenty of scope for your imagination.

From this point on, Sunita’s post is a plain, fair and positive view of fanfiction; but it’s a simplistic one. It justifies rather than celebrates. Which leads me to…

False Assumption #3: Fanfiction is just a simple, fun creative exercise that has no serious repercussions!

My main problem with all of this justification/explanation of fanfic is that it’s just SO DATED. I have been hearing people “defend” fanfic or try to “explain” fanfic in exactly this way for the last ten years. Two thousand-fracking-two, folks (and incidentally those defenses were on the front page of the NY Times, hardly out of mainstream cultural earshot).

And yes, everyone’s experiences are different, and I’m sure Sunita’s explanation is helpful for many people. But REALLY. TEN YEARS, GUYS. COME ON. CAN WE MOVE THIS DISCUSSION FORWARD A LITTLE? How’s this for an advancement:

Fanwork is dangerous because it challenges your worldview and makes you think critically about pop culture, literature, art, and the world you live in.

Fanwork has serious repercussions because it operates outside of traditional modes of access to ideas, and it is predicated entirely on a culture of free exchange and non-monetary systems of value.

Fanwork is complex and diverse. It opens minds, educates, and introduces new cultural experiences to the fan participant. It is anything but shallow.

SHIT JUST GOT REAL AKA THIS IS THE COOL PART OF THIS POST

In lit-crit terms, fandom is the living, breathing embodiment of Bakhtin’s ideas about dialogic imagination. Canon is monologic, expressing a single worldview, because usually canons have single or very few creators with one narrative goal in mind. But fandom? Fandom creates fics within communities, fics that are partly meta-commentaries, fics that arise out of passionate debates, fics that get reworked and turned into original fic, fics that offer serious literary critique, fics that seek to actively engage other fans in responding to them. Fandom is dialogic imagination.

Canon has to stick to the narrative parameters that define its medium. (Unless you are Homestuck and you are your own medium. Yeah, yeah, we know.) But fandom has no defined parameters and expresses itself any way it wants. Fics written in fictional languages? Have several! Fanart? totally and 100% canon compliant! Fanvids? How much is that geisha in the window, Joss?

Fandom constantly critiques privileged narratives, challenges established sociocultural ways of thinking, and expands the parameters of a particular established worldview. Have some of my favorite examples of fics that critique canonical narratives:

a fic in which the character of Mary Poppins is reworked as an Indian ayah in order to offer an important critique of British colonialism.
A fic written around Avatar: the Last Airbender which tells a post-canonical story of struggles for equality through a simple description of museum artifacts from various cultures within the Four Nations.
A Hikaru no Go fic that realistically portrays Hikaru coming to terms with his sexuality despite his best efforts.
An Inception fic that redeems the character of Mal (the protagonist’s dead wife) by imagining she was right all along.

WTF is this b.s. about fanwork being derivative? To quote Lev Grossman in his amazing Time magazine article, which you don’t get a link to because you have to SLOG YOUR WAY THROUGH THIS MESS WITH ME FIRST, these works “talk back to canon.” And they show their teeth.

We could have ended this post here (and I could have saved you 500 words, look, I tried, guys), because Sunita was on the right track! We could have worked with this! ugh, we were doing so good, Sunita. we could have been pals.

Except then we arrive at the money quote:

“Whether the changes authors introduce to these characters are sufficient to make the jump from derivative to transformative is not something we can usually predict in advance, but I think it’s important to have a conversation about what such a transformation entails and think about conditions in which authors might succeed or fall short.”

what. I mean. WHAT.

lsjdfksadjklad you don’t suddenly GAIN TRANSFORMATIVITY BY BEING THE SPARKLIEST OF ALL THE FANFIC PONIES IN DERIVATIVELAND, WTF.

(this is one of the results I got when I googled “fanfic pony.” Looks legit.)

False Assumption #4 & #5: Fanwork is Derivative / Fanfiction May Or May Not Be Legal.

I hope that at the end of the week Rebecca Tushnet will come along with her shining orb of Transformative Justice and articulate this idea as part of the DA series much better than I ever could (ETA: YESSSS she has!), but in her stead: There are absolutely no court rulings on whether a work of not-for-profit fanfiction is legal or not. None. That means all fanfiction is legal under the fair use clause of U.S. copyright law, safe and legal until proven otherwise. This protection will most likely last as long as the Fair Use clause exists. To quote the OTW, “current copyright law already supports our understanding of fanfiction as fair use.” And as long as current copyright law supports fanfiction, fanfiction is legally transformative.

It’s dishonest to talk about fanworks as if they pussyfoot around the law when they don’t. The ‘sliding scale’ train of thought implies that “transformative” fics have narrowly succeeded in evading the clutches of copyright law while “derivative” fics are just hanging around waiting to be slapped with a Cease & Desist. This train of thought implies shame, illicitness, wrongdoing, and flat-out genre snobbery and elitism. Most importantly, since presumably all fanfics (in the U.S.) currently enjoy legal protection, many fans don’t act as though they’re engaged in something that’s illegal. So the “sliding scale” perspective doesn’t even apply to us.

For comparison, look at the Comic Book Legal Defense Fund. You don’t see them going “Manga is not a crime! Except for the really, really dirty yaoi, and the shota, and okay, maybe we could really really do without the vore and the bukkake because honestly, people.” Their argument is simple: either all licensed manga, in all its forms, is legal and deserves protection, or none of it does.

By the same token, fanwork does not “succeed” or “fall short” by managing or failing to qualify as transformative.

And here’s the ultimate kicker—a concept that this series of DA posts sadly seems to completely miss: the meaning of ‘transformative’ creative work extends beyond purely legal contexts. It involves the power of creative expression to change the creator and the audience. To many fans, the act of conceiving and creating fanwork is a transforming act, before you ever write the first word. They are transformative because they transform the reader. You and me.

Fanworks Cited:

arboretum. “A Resolution of Territory.” Livejournal. May 5, 2008.

Dhobi ki Kutti. “Promise of the पुरवाई.” An Archive Of Our Own. June 30, 2010.

electrumqueen. “i am the hero of this story (i don’t need to be saved).” Livejournal. August 14, 2010.

eruthros. “Ephemera from the Avatar Collection at Republic City University with notes and commentary by the archivists.” An Archive Of Our Own. February 7, 2012.

Glock. “one last thing about Supernatural fanwork” and “Sam and Dean Winchestgopal.” Dreamwidth. June 15, 2010 and July 1, 2010.

Lierduoma. “How Much is the Geisha in the Window? (Firefly).” Youtube. July 24, 2009. (Fanlore listing.)

Shirozora. “So if Castiel was Zoe Saldana…” Dreamwidth. June 10, 2010.

Various authors. “Victorsverse Art and Artifacts. including the Ars Atlantiadae as well as Earth documents.” trickster.org. February 16, 2011.

Manga the Week of 3/28

March 21, 2012 by Sean Gaffney

A nice array of stuff this week, as… wait, what… could this be?

Legend speaks of an ancient and mysterious manga series, that detailed the exploits of a team of heroes whose job it was to embrace the dead and take on their causes for the betterment of all. Long thought to be a mere myth, the volumes were passed down from generation to generation in hopes that one day… ONE DAY their children’s children might someday see it. And now, that day is here! From Dark Horse, you thought it was gone, you thought it was sitting next to Translucent Vols. 4 and 5, YOU WERE WRONG!

Assuming that you are all buying this (You *are* all buying this, right?), there is actually SOME other stuff coming out next week. Gen Manga has Vs. Aliens, a collection of this series in complete form, and a great way to check out the alternative manga publisher if you haven’t already.

Kodansha has a trio of series. There’s Volume 4 of Animal Land, Vol. 5 of Deltora Quest, and the 3rd volume of cute 4-koma adventures of Shugo Chara-chan! None of which I follow. So, um, insert witty quip here!

When I looked at Midtown’s list about 1:30pm, they had listed the re-releases of Drawn & Quarterly’s three Tatsumi books: The Push Man, Abandon the Old in Tokyo, and Goodbye. Now that I look at it at 7pm, those releases were removed. So perhaps they are getting re-released next week… or not.

Lastly, Vertical gives comic shops its new re-release of Dororo, now in giant-sized brick format. Impress your girlfriends with how well you can bench press Dororo! To really show off, put A Drifting Life in your other hand!

So that’s it. Aside from Kurosagi Corpse Delivery Service 12, what appeals to you?

Lofty idealism? Bitter rants? Might as well just call it “fangirling.”

March 20, 2012 by Aja Romano 20 Comments

Hi, MB! I’m Aja! I’m your newest columnist and I have no idea what I’m doing, but I’ve been brought on board primarily to give a pan-fandom perspective to the work being done on this site, and to regularly infuriate you all with my hastily conceived opinions! So let’s just dive right in, shall we? :D

This is F(X)! This is going to be a long post, HERE, HAVE SOMETHING FUN TO LOOK AT.

I’ve been in fandom for 14 years. I’ve been active in lit, media, RPF, and Asian fandoms, writing het, slash, and femslash. If this is all fangirl Japanese to you, please let me know, guys, because I am going to be spending a lot of time talking about fandom in this column (which is why it’s called FANBATTE! is that not the greatest name ever) and I want to make sure I start from the same place as the rest of you! I feel comfortable claiming a general acquaintance with fandom history and culture regarding literary fandoms, “western media” fandoms, comics fandom, sci-fi/fantasy fandoms, anime/manga fandoms, and Asian pop fandoms. I don’t claim that my knowledge is universal (lol what is gaming fandom, what is Vocaloid, what is Homestuck*), but I’m here and this is my column, dammit, so it’s enough to be going on with!

My mission statement, in a nutshell:

♥´¨`♥ Ƹ̵̡Ӝ̵̨̄Ʒ Fanfic is okay. Ƹ̵̡Ӝ̵̨̄Ʒ ♥´¨`♥

Not just okay, but amazing. I believe that participating in fandom is a way of engaging in critical discourse about something you love, and I also believe that fanfiction is part of a huge, centuries-old cultural tradition of recursive literature. Fandom is so cool, and I hope you’ll stick around to talk about it with me, because I’m still learning so much and I hope ! :)

The focus of this column will most likely shift between general topics and discussions of specific canons. I have no idea what those topics and canons will be yet, so if there’s something you’d like me to discuss, please let me know, because I would love to!

* lol j/k no one can explain Homestuck

Now. Let’s talk for a second about Fandom Perspectives. oh wait hang on MJ said this should be a header

Fandom Perspectives~

This week, the respected romance review site Dear Author is doing a series on fandom and fanfiction. Unfortunately, they’re doing it wrong. So, so wrong, you guys. It’s like they’re trying to have peace talks while hemmed in on all sides by barbed wire. FACEPALM.

In most of the posts so far, the panelists’ starting assumptions and their conclusions actually highlight many of the problems you run into when you generalize about fandom. And since part of what I will do in this column is generalize about fandom based on my personal experiences, I want to start by talking about why such generalization is tricky.

Dear Author has obviously tried to round up differing perspectives and different topics related to fanfiction, so kudos to them for that, really. However, they have not secured a plurality of experience or even knowledgeability about fandom, so their discussions are proving very unsatisfying to many actual fans I’ve talked to who’ve followed along.

There are 3 main reasons for this disconnect between us (as fans) and the representations of fan experience in the DA posts:

So far, all of Dear Author’s assumptions seem to be built around the idea that fanfiction has to defend itself, that by way of existing it is encroaching on someone else’s space. This is not only a false dichotomy but completely antithetical to the way most fans do fandom and think about their fanfic.
I can’t say this enough. To most fans, what they do is not shameful, it’s natural. And why shouldn’t it be? People have been reworking their favorite stories for centuries. Why is fanfic somehow any different? But if you start your deliberation of fanfic from the perspective that fans have something to be ashamed of, then you color the entire discussion with all kinds of icky assumptions and negative stereotypes. What I will be doing, in my first week here at MB, is unpacking some of these assumptions and attempting to offer a more balanced and nuanced examination of what fandom is and how it operates in various cultural corners of the internet.
There are no fans from non-western fandoms represented in DA’s list, nor are there any queer fans (at least none I saw representing themselves as queer fans) or femslash fans. If the only voices you hear coming from fandom are from people who are culturally closest to you, then you won’t ever have a well-rounded discussion on what fandom is.
The majority of the DA discussion about fandom is being had by people who come either from outside of fandom, or from within primarily het fandoms. By “primarily het,” I mean fandoms for which major emphasis is given to canon heterosexual ships within the source pairing, and whose discourse encourage their fans to adhere to canon relationships. (This doesn’t mean that there aren’t subsets of alternate pairing fans within those fandoms, but those other fans don’t typically interact with the rest of the fandom.)
Among these primarily het fandoms, the major ones claimed by the panelists tend to be isolated pockets of fandom that don’t have any interaction with other fandom communities. Fandom, like every other corner of the internet, is as diverse as the people who are in it. So you can have whole communities within fandom that never talk to other communities, and then you can have whole corners of fandom that are focused around being multi-fandom hubs and pan-fandom hubs (like Livejournal or formerly Delicious), that also have their own limitations and cultural expectations that don’t translate out to the “satellite” communities of fandom. And that can become a problem because you can wind up with people who have drastically different conceptions of: a) what fandom looks like; b) what fans are doing fandom for; c) who is in fandom; and d) what kind of fanworks are produced by fandom.

D) is especially important because the fanfic that you find on, for example, AFF, looks nothing like the fanfic you find on AO3. By the same token, someone who is in an archive-based fandom would not have the same conception of what fandom is as someone who is involved in primarily livejournal communities, or for example Tumblr, where there are natural overlaps and discourse between all kinds of fandoms and fans. The Austen and Twilight fandoms are both represented several times on the panel, probably because of their close ties to the romance industry. While these fandoms are totally different in many respects, they are both well-known for being primarily archive-based rather than pan-fandom-community based. This means that pan-fandom fans don’t talk to them, and they don’t talk to us, which leads to a huge disconnect on both sides about what fandom is for everyone involved.

As an example, for years every time rare fandom nomination came up during Yuletide, people attempted to nominate Pride & Prejudice, and every year those of us who actually knew anything about Austen fandom would have to explain that Pride & Prejudice is in no way a rare fandom; that it actually has thousands upon thousands of fanfics and hundreds more published fanfics to its name–they just were all tucked away in archives and not in spaces that the typical Yuletide participant played in. So this disconnect hurts communication on both sides of the divide.

All of this translates into a need to recognize that your experiences are not universal. I’m going to spend a lot of time counter-arguing many of Dear Author’s other posts from this week, so I’ll just point to their post “Fan fiction: a personal perspective” as an example of an open-minded post about keeping your own experience in perspective.

If only the rest of their posts took this advice! Instead, the overall impression of fandom that I and others are taking away from this series is that fandom is primarily shamefaced, defensive, and poorly attempting to justify copyright infringement.

To all of which, over the next week, I will be merrily calling bullshit.

Whew! Okay, so that’s me finished for now! What about you guys? WHO EVEN ARE YOU PEOPLE? Where do you come from? What perspectives do you bring to your corner of the internet? Are you in fandom? (Hint: are you reading this site? Then yes.) Oh my god this post is 1300 words long. HERE, HAVE ANOTHER K-POP GROUP.

Manga the Week of 3/21

March 14, 2012 by Sean Gaffney

After a somewhat sedate 2nd week, things heat up once again thanks to our friends at Kodansha, Seven Seas, Viz and Yen. And wait, could Yen have a SPOILER on their cover? (Well, yes, but I think we can blame Shodensha for that.)

First off, Kodansha has a new volume of Sailor Moon. Last we left our heroes, Mercury and Mars had been abducted by the enemy! Can Jupiter and Venus avoid the same fate? And what of Chibi-Usa? We also see what I believe is the final volume of Ninja Girls, which no doubt will end with our hero making a definitive choice of one girl and the series having a nice, definitive ending. (attempts to control laughter) Lastly, there’s another volume of Phoenix Wright, which is still only for fans of the games, but if you are a fan of the game, there’s plenty here for you to love.

It may not be there if you look under the ‘manga’ category at Midtown, but Young Miss Holmes has been misplaced under Independents! No doubt due to the title – I told Seven Seas they should keep calling it Christie High Tension! Wait, that might have been misplaced as well. In any case, the first omnibus of this Comic Flapper series collects Vols. 1 and 2 from Japan. Even if it wasn’t about Sherlock Holmes’ niece solving mysteries (which it is), it’s a Comic Flapper title, so deserves all our love. Seven Seas also has the 4th Gunslinger Girl omnibus, for those who are looking for something with a few more guns with your lolis.

Viz is down to just one Signature release a month, it seems lately. This month sees the 6th volume of House Of Five Leaves. The plot may move at the pace of a turtle who’s broken both legs, but if you can cope with that there’s some gripping drama here.

At the end of my review of Vol. 4 of Bunny Drop, I asked if Vol. 5 would bring something new to the table. And behold! Everyone’s favorite warm and fuzzy single dad series is moving onward. Will it still be able to carry the same heft with the heartstrings? Also out from Yen this week: a new Bamboo Blade (sports manga 4tw!), the 3rd volume of Bride’s Story (so pretty…), the 5th volume of wacky 4-koma antics of Haruhi Suzumiya-chan, the 9th volume of Pandora Hearts (can I take a series with the name Alice Baskerville seriously?), the 6th volume of economic dissertation Spice & Wolf, an 11th volume of Korean manwha 13th Boy for my fellow Manga Bookshelf colleagues… (sigh) and yes, the first volume of harem crossdressing comedy Is This A Zombie?, which does not get the cover pic this week as I have some self-respect left.

So what’s appealing to you?