It is really an interesting undeniable fact that usually most popular subculture is cooked up by someone that seeks profit only, then is fed with a hungry young crowd of fans. This isn’t always true in Japan, though. The art is made for the art’s sake is what comic market followers are yearning for.
Yoshishiro Yonezawa, a novelist, critic along with a passionate supporter of popular manga subculture, invented a solid idea of founding a business, an industry which will be open for the non-professional manga artists who form their unique circles called doujinshis to generate manga mimic artwork and magazines (which are called doujinshis, too). The thought became very well liked as Comiket, the greatest comic market on the globe, is held in Japan twice yearly for three days in a row each and every time in the wintertime plus summer. There are many than 35 thousand circles engaging and also more than half one million attendees.
It’s a space where freedom of expression is preached with a large, and organizers never dreamed of so large a hit of these creation. Before Comiket, teenagers who studied in high school graduation or university, taken part in comic markets as amateurs, and ceased to join after graduation. However in mid-seventies this changed drastically. It came to be not just a hobby, however a lifetime passion, as much artists got appreciation and followers because of growing interest in doujinshi phenomenon. There are more than 2000 doujinshi markets going on in Japan each and every year, and Comiket is in no way the most famous one.
The actual idea have spread far beyond Japan as comic markets opened in Taiwan, Korea, Hong Kong, China and even 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 portion of doujinshis creators were women, about eighty percent. In the 1980s more males became interested, and today the ratio generally 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 are of global importance.
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