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She identifies Pokémon as a media form that has defined the current framework, laying the groundwork for peer-to-peer communication and creation of media. While the current generation has outgrown Pokémon, the game franchise shaped how global youth think about culture and gaming. It linked analog and digital media, she proposes, by creating an electronic game that later manifested as a collectible card game, manga, anime, toys and other media. It put portability at the center of the media mix, and helped establish Japanese media content as a transnational source of cultural capital

She sees a generation of kids engaging in a set of cultural practices - cutting, pasting, linking and forwarding in spaces like MySpace

Individual identity is no longer consumer or producer - there’s a middle ground that includes connoisseur and amateur.

Japanese doujinshika---at least at this sort of amateur level---are often very leery of publicity. This might be a reaction to the arrests of several doujinshika in apparently random, token copyright enforcement cases in recent years (such as the infamous Pokemon doujinshika incident), or it might simply be a sign of how negatively "fringe" behavior is viewed in Japanese society

Snape is gorgeous---or at least that's what the djka at this show seemed to believe.

Doujinshika are infamous for "prettifying" real-life (or real-text) actors/characters, and who can blame them?

Pokemon doujinshi case, in which a female doujin creator was arrested for being suspected of copyright violation