臺灣同人誌販售會發展與獨立出版之研究

同人文化在臺灣已經有了三十年的發展歷史，創作者們會透過自費出版的方式獨立出版刊物與同好進行交流，而同好間的交流集會經過消費動作促成商業活動，演變成了同人誌販售會，但在近年同人活動的因多樣化而產生了諸多問題。所謂的「同人誌」，原來的意思是指同好間共同創作出版的書籍、刊物，而放到現今大多是作為動漫畫的二次創作刊物產出。在內容上有分為「原創派」及「衍生派」，現在所看到的大部分同人誌是在未有版權方授權的情況下而產出，這些同人作品是以原本作品的世界觀或角色人物等設定為基底進行衍生創作，因此同人誌的內容其實是涉及到著作權問題的。研究者從參與同人活動至今發現極少有同人誌電子書，發現這現象也與著作權有著關聯性。在臺灣的出版環境中，獨立出版小誌「Zine」跟同人誌有著相似的性質，創作形式自由、少量印製，且只流通在自己的小圈子不與出版社等商業機構合作，同人誌和Zine與一般出版刊物的界定方式可以說是非商業性質的出版刊物。本研究會先從同人誌的誕生開始，探討漫畫文化的歷史，也就是同人文化的發源地—日本，再到臺灣同人文化的歷程發展，討論關於臺灣的獨立出版，並探究為什麼同人誌會是一塊灰色地帶，同人誌在臺灣的出版環境是位居什麼樣的位子。本研究方法為文獻分析法及參與觀察法，主要針對現今同人創作與同人誌販售會為兩大元素，並了解目前同人誌創作者亦或是消費者的著作版權認知，探討臺灣同人活動還能有什麼樣的發展規劃。希望藉由本論文能給予後續加入同人文化的創作者和相關產業人士建議與啟發。

關鍵字

同人文化；二次創作；同人誌販售會；獨立出版；著作權

並列摘要

In Taiwan, the culture of homo sapiens has been developing for 30 years, with creators publishing independently through self-publishing and communicating with their peers, while the exchanges between peers have evolved into commercial activities through consumer actions, and have become homo sapiens magazines. The term 'fanzine' originally referred to books and publications created by fellow fans, but nowadays it is mostly produced as a secondary creation of anime and manga. In terms of content, there are two schools of thought: 'original' and 'derivative'. Most of the works we see nowadays are produced without the authorisation of the copyright holder, and are based on the world view or character settings of the original work. The researcher has found that there are very few e-books of the same work since he has been involved in the same activity, and finds that this phenomenon is also related to copyright. In Taiwan's publishing environment, the independently published zine is similar in nature to the homoerotic zine in that it is freely created, printed in small quantities, and circulated only in its own small circle without collaboration with publishers and other commercial organisations. This study will begin with the birth of the zine, explore the history of manga culture, the birthplace of zine culture in Japan, and the development of zine culture in Taiwan, discuss the independent publishing in Taiwan, and explore why zines are a grey area and the position of zines in Taiwan's publishing environment. This study will use in-depth interviews and questionnaires to survey the participants of the fanzine fairs, and to select those who are willing and experienced in creative writing to conduct interviews. It is hoped that this paper will provide advice and inspiration to creators and related industry players who will later join the community.