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1 P M J O U R N A L O F D I G I T A L R ESEARCH & P UBLISHING #3>,%>&D3"&5700("$69M&B+%9&8%4"%&D3"&5700("$6$%*&)9&$"8$536$",&G+36&D3"*&87&3"8&87& not like (Gregson 2005). Fantexts are unlike those produced by mass media: they are for other fans with prior knowledge of the fanobject. N%8$3&D3"870*&>%C%56&6+%&D3"*L&D3*5$"36$7"&G$6+&6%#%I$*$7"&*%>$%*&3"8&6+%$>&D>(*6>36$7"& 7I%>&'>78(5%>*L&$"3)$#$69&67&6%##&6+%&*67>$%*&6+%9&G3"6&67&*%%M&23"&456$7"&%0'+3*$*%*&6+$*& duality because fan authors rework or rewrite texts to their satisfaction. ‘Canon’ is events in the original text, which present the universe, setting, and characters; this differs from ‘fanon’, events created by the fan author (Busse & Hellekson 2006, p. 9). An understanding of canon is important for fan authors, as they are judged by other fans on how well they follow or deviate from it. Common ways in which media fans rewrite texts include expanding textual boundaries, reworking ideology, manipulating genres, and defamiliarising stock conventions (Jenkins 1992, pp. 162176). Fan authors use their texts to engage other fans 3"8&6+%*%&D3"*&>%*'7"8&)9&8%#$I%>$",&5>$6$5$*0&7>&'>3$*%M&23"&456$7"&6+%>%D7>%&)%570%*& a social activity, and functions as a form of personal expression and source of collective $8%"6$69&.G+36&$6&X0%3"*L&67&)%&3&D3"1M&B+$*&3>6$5#%&G$##&"7G&)>$%C9&8$*5(**&+7G&6%5+"7#7,$53#& 5+3",%*&+3I%&3DD%56%8&D3"870*&3"8&D3"&456$7"M Online Fan Fiction and Identity The advent of the internet has been the most important technological advance for fandoms. Before this, most fandoms were restricted to facetoface encounters in the form of fan clubs, fan conventions, and physical fanzines. Fandoms were ‘transmitted from person to person’ and geographical borders were often an issue (Busse & Hellekson 2006, p. 13). Increasing access to the internet from the mid 1990s changed many aspects of fandoms. Financial resources became less of a concern and geographic boundaries and time zones "7&#7",%>&#$0$6%8&$"6%>356$7"M&N7*6&$0'7>63"6#9S&$6&)%530%&%3*$%>&67&4"8&$"D7>036$7"&3"8& other likeminded fans (Gregson 2005). Fans moved to new spaces as these spaces became accessible, and this was in part the result of fans’ adaptative abilities (Busse & Hellekson 2006). The history of fan 456$7"& 5#%3>#9& 8%07"*6>36%*& 6+36& 6%5+"7#7,9& $*& 570'#$5$6& $"& 6+%& ,%"%>36$7"& 7D& D3"& 6%P6*M& Fans with knowledge of how to edit, print, and sell fanzines learned how to use desktop publishing programs and other tools for online publishing. Fan texts became electronic. !"#$"%&3>5+$I%*&7D&D3"&456$7"&G%>%&5>%36%8&3"8&53>%D(##9&03$"63$"%8M&B+%*%&3>5+$I%*&7DD%>& megabytes of content for free and are easily accessible (Busse & Hellekson 2006). Fandoms expanded into the blogosphere in the early 2000s and this had consequences 42
1 P M J O U R N A L O F D I G I T A L R ESEARCH & P UBLISHING for fancreated space. While newsgroups and bulletin boards focused on a particular fan topic, fans that blog in places such as LiveJournal.com create journals with a mixture of ‘fannish’ (fandomrelated) and ‘nonfannish’ (reallife) musings (Busse & Hellekson 2006, 'M&EV1M&23"&456$7"&039&57"*%h(%"6#9&)%570%&#$"H%8&G$6+&6+%&G39&3&D3"&3(6+7>L*&$8%"6$69& is performed on LiveJournal. Some fans enjoy the individualised discourse of blogs like LiveJournal that permit ‘multifannish [multifandom] interaction’ and more personal conversation; others dislike it for the same reasons (Busse & Hellekson 2006, p. 15). In 57"6>3*6S&23"456$7"M"%6&$*&8%*$,"%8&67&D75(*&*7#%#9&7"&D3"&456$7"&3"8&D3"&5>$6$5$*0M&B+%&*$6%& 3##7G*&D3"&3(6+7>*&67&'7*6&D3"&456$7"&3"8&'>7I$8%*&8%*$,"36%8&*'35%*&D7>&'%%>&>%I$%G*&3"8& 57##3)7>36$I%&G>$6$",M&23"456$7"M"%6&$*&3&'>$0%&%P30'#%&7D&3&G%)*$6%&G+%>%&6>38$6$7"3#&'>$"6] based language and posttypographic forms of text play important roles in performing $8%"6$6$%*&.g#35H&V;;F1M&B+$*&3>6$5#%&G$##&"7G&%P30$"%&3&07>%&*'%5$45&*()*%56$7"&7D&0%8$3& D3"*&6+36&'>78(5%&7"#$"%&D3"&456$7"&7"&*$6%*&#$H%&23"456$7"M"%6M Anime Fans and Identity Fans of Japanese animation, or ‘anime’, are committed media fans. One difference between anime fans and other media fans is that anime is a nonWestern product, which *$,"$4%*&$6*&"7"]03$"*6>%30&*636(*M&/"76+%>&H%9&8$DD%>%"5%&$*&6+36&3"$0%&$*&3&0%8$(0S&"76& 3&'3>6$5(#3>&6%#%I$*$7"&*%>$%*S&4#0S&7>&,%">%M&i$6+$"&6+%&3"$0%&D3"870&6+%>%&3>%&*(),>7('*& 7D&D3"*&36635+%8&67&'3>6$5(#3>&*%>$%*S&4#0*S&3"8&8$>%567>*S&)(6&6+%&7I%>3>5+$",&#793#69&7D& anime fans is to anime in general (Napier 2001). A survey of anime fans revealed that most had a preference for a variety of genres that ranged from romance and comedy to horror 3"8&6+%&755(#6M&i+%"&3*H%8&67&"30%&6+>%%&D3I7(>$6%&4#0*&7>&*%>$%*S&3"*G%>*&L5(6&35>7**& genres’ (Napier 2001, p. 245). This suggests the overall anime experience attracts fans as 0(5+&3*&3"9&'3>6$5(#3>&*%>$%*&7>&4#0M B+%&07*6&57007"&>%3*7"*&3*&67&G+9&3"$0%&D3"*&4"8&3"$0%&3''%3#$",&3>%&)%53(*%&7D& its ‘thematic complexity compared to other animation’ and the ‘imaginativeness of the narrative’ (Napier 2001, pp. 249254). Many fans note that other animation, such as that of Disney, simplify storylines and are too predictable or familiar. These fans believe that anime portrays ‘more mature’ and appealing characters and stories in comparison with other animation (Napier 2001, p. 251). Anime is also known for its lack of compromise in making its narratives palatable for Western markets. This is true in regards to the many Japanese references within the texts, but also in regards to pacing, imagery, humour, narrative style, and the uncompromising portrayal of violent and sexual themes. Nonfans widely believe that anime’s popularity is primarily due to its distinctive Japanese qualities 43
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a large proportion of Chinese netiz
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issue and not be interfered by any
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