Doujinshi As Extraordinary Graphic Subculture

It is an interesting fact that usually hottest subculture is cooked up by somebody that seeks profit only, and then is fed to some hungry young crowd of fans. It’s not always the case in Japan, though. The art is good for the art’s sake is the thing that comic market followers are longing for.

Yoshishiro Yonezawa, a novelist, critic along with a passionate supporter of popular manga subculture, came up with a solid idea 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 make manga mimic artwork and magazines (which might be called doujinshis, too). The concept became very popular as Comiket, the largest comic market on earth, is held in Japan twice yearly for three days in a row every time during winter as well as in summer. There are more than 35 thousand circles taking part and also sudden expenses a thousand attendees.

It is just a space where freedom of expression is preached over a major, and organizers never wanted so large successful of the creation. Before Comiket, young people who studied in high school or university, took part in comic markets as amateurs, and ceased to sign up after graduation. In mid-seventies this changed drastically. It came into existence not only a hobby, but a lifetime passion, numerous artists got appreciation and followers due to a growing rise in popularity of doujinshi phenomenon. There are far more than 2,000 doujinshi markets taking place in Japan each and every year, and Comiket is definitely typically the most popular one.

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

At the outset the predominant section of doujinshis creators were women, about eighty per cent. Inside the 1980s more males became interested, now the ratio seems to favor female artists only slightly.
We conclude that doujinshi is often a visual cultural phenomenon which is shaped mostly by youth, yet its meaning and consequences have global importance.

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