1980년대 일본 소비사회가 낳은 창조성: 코믹마켓과 동인지 미디어의 변화

Abstract

This study examined the expansion in the scale and subsequent ideological changes in Comiket from the 1970s to the 1980s in the context of changes in doujinshi media and the consumerization of Japan in the 1980s. In doing so, this study explores how doujinshi, currently known as “derivative work,” was a product of a specific historical moment in Japanese consumer society in the 1980s and how the changes in dojinshi during this period were closely linked to the consumerization of Japanese society as a whole. Comiket was founded in 1975 as a doujinshi-oriented convention that aimed to “change the manga situation” by distancing itself from commercial publishing and mindless fandom. After the departure of the original members who pursued the manga movement in 1979 and the appointment of Yoshihiro Yonezawa as the second president, Comiket changed its character to a “venue for free expression” and expanded rapidly in size and number of participants. In particular, with the boom of Captain Tsubasa in 1985, Comiket took on a stronger character as a “marketplace” for doujinshi, where the mainstream of doujinshi became yaoi and aniparo doujinshi as a means of communication for fandom, as opposed to the creative doujinshi of the past. Eiji Otsuka’s Narrative Consumption focused on the fact that these new female-oriented doujinshi were neither satirized nor imitated but had a new creativity that would later have a major impact on Japanese otaku culture and the cultural industry in general. From this perspective, the changes in the ideology of Comiket and doujinshi media can be defined as an ‘event’ that realized the consumerization of Japanese society. Moreover, the change in the ideology of Comiket and the change in doujinshi media stimulated an irreversible change in Japanese otaku culture and its related cultural industry against the backdrop of macro changes in the socialization of the comic market.