It becomes an interesting indisputable fact that usually most favored subculture is cooked up by someone who seeks profit only, then is fed to some hungry young crowd of fans. It’s not always the case in Japan, though. The skill is good for the art’s sake is exactly what comic market followers are longing for.
Yoshishiro Yonezawa, a novelist, critic along with a passionate supporter of popular manga subculture, came up with a perception of founding an organization, a niche which is to be open for all you non-professional manga artists who form their own circles called doujinshis to generate manga mimic artwork and magazines (which can be called doujinshis, too). The theory became very well liked as Comiket, the biggest comic market in the world, is held in Japan twice yearly for three days consecutively each and every time in winter as well as in summer. There are many than 35 thousand circles collaborating in addition to over fifty percent a thousand attendees.
This is a space where freedom of expression is preached on the large scale, and organizers never thought of so large profitable of their creation. Before Comiket, teenagers who studied in high school or university, took part in comic markets as amateurs, and ceased to participate in after graduation. In mid-seventies this changed drastically. It had become not really a hobby, but a lifetime passion, numerous artists got appreciation and followers as a result of growing interest in doujinshi phenomenon. There are many than two thousand doujinshi markets happening in Japan each year, and Comiket is by far the most popular one.
Now the idea have spread beyond Japan as comic markets opened in Taiwan, Korea, Hong Kong, China and also United States. The volume of doujinshi circles mushroomed as markets provided great opportunities for the many amateur artists and mangakas (manga artists).
At the outset the predominant a part of doujinshis creators were women, about 80 %. From the 1980s more males became interested, now the ratio seems to favor female artists only slightly.
We conclude that doujinshi is really a visual cultural phenomenon that is certainly shaped mostly by youth, yet its meaning and consequences have global importance.
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