This article investigates an instance in convergence culture: the conflicts and compromises between modders (fans of a video game who actually make changes to the game) and their supporters, and the owners of the copyrighted works they appropriate. I suggest that current copyright ownership in cultural products interferes with the way creative industries can benefit from convergence; that modders (and fans generally) develop a specific rationale and set of norms rooted in Jenkins' concept of a `moral economy' (Jenkins, Convergence Culture: Where Old and New Media Collide, 2006) to justify their appropriations; and that mutually beneficial relationships can be teased out of the apparently contradictory positions of modders and copyright owners. This article focuses on two case studies that illustrate the ways modders reuse cultural products and incorporate them into their video game modifications to achieve a sense of creative ownership and meaning over their entertainment experience.
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