It is really an interesting indisputable fact that usually most widely used subculture is cooked up by someone who seeks profit only, and then is fed to 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 exactly what comic market followers are longing for.

Yoshishiro Yonezawa, a novelist, critic and a passionate supporter of popular manga subculture, invented a concept of founding an enterprise, market which is open for all the non-professional manga artists who form their particular circles called doujinshis to generate manga mimic artwork and magazines (that are called doujinshis, too). The concept became extremely popular as Comiket, the largest comic market on earth, is held in Japan every six months for several days in a row every time in winter plus summer. There are many than 35 thousand circles taking part as well as over fifty percent a thousand attendees.

It’s a space where freedom of expression is preached on the major, and organizers never wanted so large a hit of their creation. Before Comiket, young people who studied in senior high school or university, took part in comic markets as amateurs, and ceased to join after graduation. But also in mid-seventies this changed drastically. It came to be not simply a hobby, however a lifetime passion, as numerous artists got appreciation and followers because of a growing interest in doujinshi phenomenon. There are far more than two thousand doujinshi markets taking place in Japan every year, and Comiket is definitely the most famous one.

The idea have spread beyond Japan as comic markets opened in Taiwan, Korea, Hong Kong, China and also U . s .. The amount of doujinshi circles mushroomed as markets provided great opportunities to get a many amateur artists and mangakas (manga artists).

At the outset the predominant part of doujinshis creators were women, about eighty per cent. Inside the 1980s more males became interested, and after this the ratio appears to be favor female artists only slightly.
We conclude that doujinshi is a visual cultural phenomenon that is certainly shaped mostly by youth, yet its meaning and consequences are of global importance.

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