Doujinshi As Unprecedented Visual Sub-Culture

It is an interesting indisputable fact that usually most widely used subculture is cooked up by someone who seeks profit only, after which is fed into a hungry young crowd of fans. This is simply not always the case in Japan, though. The skill is perfect for the art’s sake is what comic market followers are probing for.

Yoshishiro Yonezawa, a novelist, critic as well as a passionate supporter of popular manga subculture, invented a concept of founding a business, a niche which will be open for all your non-professional manga artists who form their own circles called doujinshis to produce manga mimic artwork and magazines (which are called doujinshis, too). The thought became extremely popular as Comiket, the greatest comic market on earth, is held in Japan twice yearly for 3 days consecutively each and every time during winter and in summer. There are many than 35 thousand circles engaging along with over fifty percent one million attendees.

This is a space where freedom of expression is preached with a large scale, and organizers never dreamed of so large a success of their creation. Before Comiket, teenagers who studied in high school graduation or university, took part in comic markets as amateurs, and ceased to join after graduation. In mid-seventies this changed drastically. It was not simply a hobby, however a lifetime passion, as much artists got appreciation and followers because of growing availability of doujinshi phenomenon. There are many than 2000 doujinshi markets going on in Japan each and every year, and Comiket is by far the most used one.

Currently the idea have spread beyond Japan as comic markets opened in Taiwan, Korea, Hong Kong, China as well as Usa. The quantity of doujinshi circles mushroomed as markets provided great opportunities for the large number of amateur artists and mangakas (manga artists).

First the predominant a part of doujinshis creators were women, about 80 percent. In the 1980s more males became interested, now 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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