It is really an interesting proven fact that usually hottest subculture is cooked up by somebody that seeks profit only, after which is fed with a hungry young crowd of fans. This is simply not forever the situation in Japan, though. The skill is made for the art’s sake ‘s what comic market followers are probing for.
Yoshishiro Yonezawa, a novelist, critic and a passionate supporter of popular manga subculture, invented a perception of founding a company, an industry which will be open for all the non-professional manga artists who form their own circles called doujinshis to create manga mimic artwork and magazines (which are called doujinshis, too). The concept became very popular as Comiket, the biggest comic market on the planet, is held in Japan twice yearly for 3 days back to back each and every time in the wintertime plus summer. There are other than 35 thousand circles engaging in addition to more than half a million attendees.
It’s a space where freedom of expression is preached on the massive, and organizers never dreamed of so large profitable of the creation. Before Comiket, young adults who studied in secondary school or university, taken part in comic markets as amateurs, and ceased to join after graduation. However in mid-seventies this changed drastically. It was not just a hobby, but a lifetime passion, as much artists got appreciation and followers because of a growing availability of doujinshi phenomenon. There are many than two thousand doujinshi markets going on in Japan every year, and Comiket is certainly typically the most popular one.
The idea have spread beyond Japan as comic markets opened in Taiwan, Korea, Hong Kong, China and in many cases Usa. The volume of doujinshi circles mushroomed as markets provided great opportunities for a large numbers of amateur artists and mangakas (manga artists).
At the start the predominant part of doujinshis creators were women, about 80 %. In the 1980s more males became interested, and after this the ratio generally 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 have global importance.
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