It becomes an interesting proven fact that usually hottest subculture is cooked up by somebody that seeks profit only, then is fed into a hungry young crowd of fans. This is not always the case in Japan, though. The skill is good for the art’s sake ‘s what comic market followers are craving for.
Yoshishiro Yonezawa, a novelist, critic plus a passionate supporter of popular manga subculture, came up with an idea of founding an enterprise, an industry that is open for all you non-professional manga artists who form their own circles called doujinshis to produce manga mimic artwork and magazines (which might be called doujinshis, too). The thought became popular as Comiket, the biggest comic market on earth, takes place in Japan every six months for several days uninterruptedly every time in the winter months as well as in summer. There are other than 35 thousand circles collaborating and also sudden expenses one million attendees.
It is just a space where freedom of expression is preached on a major, and organizers never wanted so large a hit of the creation. Before Comiket, teenagers who studied in high school or university, taken part in comic markets as amateurs, and ceased to participate after graduation. But also in mid-seventies this changed drastically. It came to be not simply a hobby, but a lifetime passion, as much artists got appreciation and followers as a result of growing rise in popularity of doujinshi phenomenon. There are more than the year 2000 doujinshi markets happening in Japan annually, and Comiket is certainly the most popular one.
Now the idea have spread far beyond Japan as comic markets opened in Taiwan, Korea, Hong Kong, China and even U . s .. The volume of doujinshi circles mushroomed as markets provided great opportunities for the large number of amateur artists and mangakas (manga artists).
At the start the predominant a part of doujinshis creators were women, about 80 percent. Within the 1980s more males became interested, and now the ratio seems to favor female artists only slightly.
We conclude that doujinshi can be a visual cultural phenomenon that is shaped mostly by youth, yet its meaning and consequences are of global importance.
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