The Relationship between Content Creation and Monetization by Consumers

Abstract

1. IntroductionJapanese content is globally considered cool or trend and a component of Japan's advancement in the content industry. The industry is assumed, particularly in overseas markets, to have substantial growth potential (Ministry of Economy, Trade and Industry, 2015). Japanese pop culture products not only represent a global phenomenon but also enter the realm of artwork (Nobuoka, 2010). The source of Japan's competitiveness in the content industry is considered to be the large number of consumers who possess great creativity. It is difficult for corporate organizations to develop such creativity in employees; therefore, creative individuals must be sought out among consumers (Katsumata & Ichikohji, 2013). Some aspects of Japan's competitiveness in the content industry can be found in the creative works of consumers.This study focuses on amateur manga (comic), which is called doujinshi,1 and the activities of the consumers who create them with reference to manga, which exerts a strong influence worldwide among Japan's content industry. The study first surveys the aspects of doujinshi highlighted in prior research. These aspects are summarized into four areas: history and current status, overseas trends, gender aspects, and copyrights. Next, this study notes that prior research has not focused on consumers who create works across multiple content categories and suggests three hypotheses concerning the relationship between creation and monetization, which form the basis for a research model. To test the hypotheses, an online survey was conducted among 2,593 consumers, which generated the following results: 1. Consumers who create works in one content category tend to do so in other categories. 2. Consumers who monetize their own work in one content category tend to do so in other categories. 3. Consumers who create works in multiple content categories tend to monetize their own works.2. Prior Research on DoujinshiThe study surveyed prior research on doujinshi and categorized this research into four areas. 1. Clarification of the historical development and current status of doujinshi in Japan (Kinsella, 1998; Nobuoka, 2010; Orbaugh, 2003). 2. Clarification of the current status of doujinshi outside Japan (Chen, 2007; Lamerichs, 2013). 3. Examination of the significance of doujinshi from a gender theory perspective (Bollmann, 2010; Chen, 2007; Chou, 2010; Orbaugh, 2003). 4. Examination of copyrights that impact Japanese doujinshi (He, 2014; Lee, 2009; Lessig, 2004; Mehra, 2002). The major studies in each of these areas are introduced below.Doujinshi history and current statusKinsella (1998) noted that Japan's amateur manga movement was the largest subculture in modern Japan and described the historical development of this movement as follows. With the rapid spread of inexpensive offset printing starting in the early 1970s, doujinshi sales conventions proliferated. During this period, companies publishing or selling doujinshi emerged, and the doujinshi market has expanded since the mid-1980s. There were also qualitative changes to doujinshi produced during this time. In the early 1980s, parody manga became popular in addition to original works, and in the late 1980s, there was an increase in publications aimed at men rather than at women.Orbaugh (2003) summarized the history of commercial manga and doujinshi development and noted that compared to commercial manga, amateur manga (or doujinshi) were unusual, experimental, and controversial. In addition, the author showed that female doujinshi creators,2 such as Keiko Takemiya, CLAMP, and Rumiko Takahashi, were successful in breaking into commercial manga.3Nobuoka (2010) examined the importance of Tokyo's Akihabara district in the competitiveness of Japan's unique popular culture. Nobuoka (2010) noted that while doujinshi targeting females were sold primarily in Ikebukuro, doujinshi targeting males were sold in such Akihabara retail stores as Mandarake rather than at conventions such as Comic Market (or Comiket). …