You know how every single thing your watched artists do can have a little pop-up in your notifications bar on dA? That's not a thing on Pixiv. Some people even watch you just because you gave them a Llama or something. Usually on dA when someone faves two or three of your drawings they end up watching you. Why are tags so necessary, you say? Because.Ĥ. Because guess what? Ratings are also rare. Pretty much everyone gives 10 stars like it was the norm. I use sarcasm quotes because it's basically just a way to get told "this is niceeee" in a completely anonymous way. Pixiv has something else called "rating". And they seem to come in bunches for some reason. But even then, bookmarks are a rare sight. You really have to use tags if you want to have ANY exposure. It seems bookmarks have a stronger meaning on Pixiv, because they're pretty rare. I guess that's a good thing? Which brings me on to the next point.ģ. Those don't exist on Pixiv as far I'm aware. You know, the ones that fav just so you visit their page. 30% are watchers (usually coming from groups) and 20% are favspammers. But let's face it, groups are sooo handy. Thankfully people on Pixiv *actually* browse tags because it's easier and you can "collect" your favorite tags (I used to check the Yume Nikki fangames tag daily, now I do it with the Digimon tag). I mean sure, I only upload my best visual (not literature) works there, but STILL.Ģ. two comments maybe? As opposed to the thousands I got here in dA it's a pretty heavy change. In the entirety of my Pixiv life I got like. You will never, or hardly ever, get comments. And I'm not just talking about the much higher anime drawing ratio. The dynamic and general mindset of the entire community. the whole experience has been pretty disappointing. what, three years now? And at first it was kinda cool but. Pixiv is still as good as DeviantArt can be, you just have to know how to work with it. You can still expect to see mostly Japanese people though, which is normal since it's a Japanese website. Pixiv has recently gotten way friendlier, or as least that's I feel now that I've gone back there. We argue that the conflicts and negotiations between Chaos Lounge and pixiv users exemplify fundamental contradiction between gift and commercial economies.This journal no longer applies. Finally, we look at pixiv from politico-economic perspectives and illustrate the activity of Chaos Lounge, a young visual artist group in Japan, and pixiv users’ movement against the. By introducing the concept of gift economy, we put users’ participation on pixiv in the history of dōjin culture. We then investigate pixiv from historical perspectives and examine dōjin-shi culture, or fanzine culture in Japan, as a pre-digital era version of cultural participation in pixiv. We argue how pixiv users express their collaborative creativity beyond the level expected by the service company. This paper starts by examining pixiv from cultural perspectives, through which the first section draws on the concept of participatory culture and views pixiv’s specific function as a resource for cultural practice. These perspectives suggest ways in which pixiv users communicate with one another to constitute its service through visual media. This study is among the first to examine pixiv, an online platform for amateur anime and manga artists in Japan, as a key global network and to explore the platform from cultural, historical and politico-economic perspectives.
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