It is really an interesting proven fact that usually most favored subculture is cooked up by someone that seeks profit only, then is fed to a hungry young crowd of fans. This is not forever the situation in Japan, though. The art is made for the art’s sake is exactly what comic market followers are probing for.
Yoshishiro Yonezawa, a novelist, critic along with a passionate supporter of popular manga subculture, developed an idea of founding a business, a market which will be open for all the non-professional manga artists who form their unique circles called doujinshis to create manga mimic artwork and magazines (which can be called doujinshis, too). The concept became very well liked as Comiket, the greatest comic market on the planet, takes place in Japan each for three days uninterruptedly whenever in the winter months plus summer. There are far more than 35 thousand circles participating in addition to sudden expenses one million attendees.
It’s a space where freedom of expression is preached on a massive, and organizers never wanted so large a success of these creation. Before Comiket, the younger generation who studied in secondary school or university, taken part in comic markets as amateurs, and ceased to sign up after graduation. But also in mid-seventies this changed drastically. It came to be not really a hobby, but a lifetime passion, as many artists got appreciation and followers as a result of growing rise in popularity of doujinshi phenomenon. There are far more than 2000 doujinshi markets taking place in Japan each and every year, and Comiket is certainly the most popular one.
Now the idea have spread beyond Japan as comic markets opened in Taiwan, Korea, Hong Kong, China and even Usa. The number of doujinshi circles mushroomed as markets provided great opportunities for any many amateur artists and mangakas (manga artists).
At the start the predominant a part of doujinshis creators were women, about 80 percent. From the 1980s more males became interested, now the ratio appears to favor female artists only slightly.
We conclude that doujinshi is often a visual cultural phenomenon that is shaped mostly by youth, yet its meaning and consequences have global importance.
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