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276 Patricia G. Lange and Mizuko Itobecause people knew me, but didn’t really know my work, they wouldwatch my video and then they would say, “Oh my god, there is this reallygreat video out there that AbsoluteDestiny has done. Go and see it.” AndI was essentially an overnight success.In addition to the org, AMV creators also meet up at anime conventions,which participants call “cons,” and these meet-ups often define the elitecore of the AMV world. For example, the Anime Weekend Atlanta (AWA)convention is widely known to be the central con for the AMV scene, andthere will be a dinner meet-up of more than a hundred creators to kickthings off. At most cons, the AMV editors will be hanging out in the screeningroom or the hotel-lobby bar, exchanging opinions about work, or asDarius, 9 a twenty-four-year-old African-American editor, described, “Andthey’d talk about some other works or—or whatever. Not even their works,but just ‘Hey, what’s up. How you doing? This is damn good Jack Daniel’s.’ ”Both AMVs and fansubbing are specialized practices relying on deep knowledgeof cult media. Creators appreciate feedback from other creators orwell-informed members of their public, and they think that there arecertain creative standards that have been established by their tight-knitcommunity. The reciprocity between different creators is an importantdimension of how learning works in these communities; the core participantsoccupy the roles of creator, viewer, and critic. For example, fansubbershave ongoing debates about what constitutes quality work, and fansubcomparison sites will conduct detailed comparisons of the quality of translation,encoding, editing, and typesetting between competing groups.These peer evaluation mechanisms are in play in online writing communitiesas well. In C. J. Pascoe’s “Living Digital” study, the case ofClarissa, a seventeen-year-old white female from California, is an exampleof how this dynamic operates with online creative writing. The roleplayingboard 10 she participates in is a tight-knit creative communityintent on maintaining quality standards. To participate in the board,writers must craft extensive character descriptions and formally apply foradmission. Clarissa described how she receives ongoing and substantivefeedback from other participants on the site, and she does the same forher peers (Pascoe 2007b). For her story, see box 1.3. In the case of fanfiction, writers and readers have a range of sites that they can go to. As isthe case with orangefizzy, a thirteen-year-old Asian-American female from