Global Journal of Human Social Science, C: Sociology and Culture, Volume 21 Issue 5

Volume XXI Issue V Version I 34 ( ) Global Journal of Human Social Science - Year 2021 C © 2021 Global Journals Total War System and Youth Culture in East Asia Looking at 20th Century Culture from the Changes of Mobilization Mode composing and playing. The same goes for drama. Many performances have begun to leave the theater, and the works with audience participation have also appeared. Literature is of course no exception. Fan activities in which readers participate in creation or performance are popular with young people. Since the 1980s, Chinese society has introduced various cultural thoughts from overseas for decades of the 20th century. At that time, the world culture that the Chinese accepted was all “modern”, but it should be noted that the world’s modern culture absorbed was not just a “theatre-type mobilization” model in which creators (mobilizers) and receivers (mobilized) were separated. There is also a new model of literature and art where the recipient becomes a creator at the same time. And this kind of literature and art has a great influence on young people. Especially when discussing the culture of the new generation such as the “post-80s” in China, we cannot ignore its influence. The youth culture common to East Asia that I introduced emerged from this background. In particular, the youth subculture has achieved the above-mentioned changes in the relationship between receiving works and creating works, in other words, it realizes the change of cultural mobilization mode. The reason why I said that "subculture activities are of crucial significance" lies in this. For example, the above-mentioned young people's hobbies for subcultures such as animation and light novels are closely related to fan activities. The origin is the fan culture that has been very popular in Japan since the 1990s. Their activities include publishing fan magazines, participating in or organizing cosplay conventions, making video games, collecting figures together, etc., which are diverse and active. Most of the works published in their magazine are secondary creations, ―― they are not original works, but are re- created works by borrowing the characters of certain works. In addition to comics, there are novels, reviews, and videos. Their works have almost nothing to do with the original. Although most of them are works like boy’s love (similar to slash) or beautiful girl’s pornography, there are also good works among them. Some Japanese writers who have won the Akutagawa Literature Award and the Naoki Literature Award, as well as some popular famous manga artists, are from fan writing backgrounds. Fan magazines and books that publish this kind of work are exchanged and sold on the fan’s book market (called the comic market) or on the Internet. For example, in Japan, the nationwide comic market is held twice in the largest exhibition hall in Tokyo each summer and winter. This book fair is one of Japan’s largest events. Fans from all over the world come to participate. Some magazines can sell tens of thousands of copies a day. This means that there are many people participating in these activities. There are more people who do not participate in fan activities, but who are interested in the above activities or support it. The social impact is so great. Needless to say, a similar situation can be seen in mainland China, Taiwan, Hong Kong and other East Asian cities. Cosplay and collection figures are very popular, fan clubs, fan magazines and anime manga festivals are constantly increasing. Each Asian city holds a comic market several times a year. There are many young people participating in these activities, and they are increasing. Looking at the above description, some readers may think of "Convergence Culture" by Henry Jenkins. 8 However, the youth culture in East Asia is very similar but different from it. Jenkins does analyze fun culture in subcultures, and he said it is a participatory and grassroots culture. But the object of his analysis is the activities of fans on the works provided by creators or companies. They want to better appreciate the original work and make activities. Jenkins's concern lies in the relationship between this activity and the enterprise, government, how to overcome the various problems that occur from it (such as copyright issues, etc.), and how to use its trustworthiness. 9 It can be said that the difference between the mobilizer and the mobilized still exists, which is part of the "theatre-type culture" in other words. Jenkins also admits that convergence culture is something between in the existing cultural system and in the new cultural movement. He said: "Welcome to convergence culture, where old and new media collide, where grassroots and cooperate media intersect, where the power of the media producer and the media consumer interact in unpredictable ways". 10 But the activities described above are different. Their secondary creation only uses a very small part of the original work (the names and characters of the characters in work, etc.). The storyline has almost nothing to do with the original. They are not to better appreciate the original work, but to communicate and use the original work with their colleagues and expand their own world. When you publish your secondary creation, if you do it well, you will receive a huge response immediately and find your place. Their reason for borrowing elements from the original work is simply to facilitate communication with fellow fans. (If it is original, fellow fans don't know it, so you may not be able to share the world and characters of the work with them, etc.). Until now, there have been no copyright issues between fans, creators, and companies. This is not only because the copyright laws in Japan and East 8 Henry Jenkins “ Convergence Culutre ”New York University Press 2006 9 Japan and East Asia also have the same activities, such as Mobile Suit Gundam and Evangelion’s fan activities. They hold several social activities such as model exhibitions and sales events each year. The copyright is restricted by the company, and fans cooperate with them. 10 ibid. pp 259-260