It is really an interesting undeniable fact that usually most favored subculture is cooked up by someone who seeks profit only, and after that is fed into a hungry young crowd of fans. This is simply not always the case in Japan, though. The art is good for the art’s sake is the thing that comic market followers are longing for.
Yoshishiro Yonezawa, a novelist, critic along with a passionate supporter of popular manga subculture, developed an idea of founding an organization, an industry which is to be open for all the non-professional manga artists who form their particular circles called doujinshis to create manga mimic artwork and magazines (which are called doujinshis, too). The theory became very well liked as Comiket, the greatest comic market on the planet, is held in Japan every six months for three days back to back every time in the wintertime as well as in summer. There are many than 35 thousand circles engaging and also more than half one million attendees.
This is a space where freedom of expression is preached on a large scale, and organizers never wanted so large successful of these creation. Before Comiket, young people who studied in high school or university, took part in comic markets as amateurs, and ceased to sign up after graduation. In mid-seventies this changed drastically. It had become not really a hobby, however 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 2,000 doujinshi markets happening in Japan annually, and Comiket is by far the most famous one.
The actual 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 great number of amateur artists and mangakas (manga artists).
At the outset the predominant a part of doujinshis creators were women, about 80 percent. Inside the 1980s more males became interested, now the ratio appears to be 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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