It’s an interesting fact that usually most widely used subculture is cooked up by somebody that seeks profit only, then is fed with a hungry young crowd of fans. This isn’t always the case in Japan, though. The art is perfect for the art’s sake is the thing that comic market followers are yearning for.

Yoshishiro Yonezawa, a novelist, critic plus a passionate supporter of popular manga subculture, invented an idea of founding an enterprise, a market which is open for all the non-professional manga artists who form their own circles called doujinshis to produce manga mimic artwork and magazines (which can be called doujinshis, too). The concept became very well liked as Comiket, the largest comic market in the world, takes place in Japan every six months for several days back to back each and every time in winter as well as in summer. There are more than 35 thousand circles taking part as well as over fifty percent a million attendees.

This is a space where freedom of expression is preached on a massive, and organizers never thought of so large profitable with their creation. Before Comiket, young people who studied in senior high school or university, took part in comic markets as amateurs, and ceased to sign up after graduation. But in mid-seventies this changed drastically. It had become not just a hobby, however a lifetime passion, numerous artists got appreciation and followers because of a growing popularity of doujinshi phenomenon. There are many than two thousand doujinshi markets happening in Japan every year, and Comiket is certainly the most popular one.

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

First the predominant a part of doujinshis creators were women, about eighty per cent. From the 1980s more males became interested, now the ratio appears to be 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 have global importance.

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