Doujinshi As Exceptional Visual Subculture

It’s an interesting proven fact that usually most widely used subculture is cooked up by someone that seeks profit only, then is fed to a hungry young crowd of fans. This is simply not always true in Japan, though. The skill is perfect for the art’s sake is exactly what comic market followers are craving for.

Yoshishiro Yonezawa, a novelist, critic as well as a passionate supporter of popular manga subculture, invented a perception of founding a business, an industry which will be open for the non-professional manga artists who form their particular circles called doujinshis to produce manga mimic artwork and magazines (which are called doujinshis, too). The theory became extremely popular as Comiket, the greatest comic market on earth, is held in Japan twice yearly for 3 days consecutively each time during winter and in summer. There are many than 35 thousand circles taking part as well as sudden expenses a million attendees.

It is just a space where freedom of expression is preached with a large scale, and organizers never wanted so large a hit with their creation. Before Comiket, young people who studied in high school graduation 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 simply a hobby, however a lifetime passion, numerous artists got appreciation and followers due to a growing interest in doujinshi phenomenon. There are other than 2000 doujinshi markets happening in Japan each year, and Comiket is in no way the most famous one.

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

First the predominant a part of doujinshis creators were women, about 80 %. From the 1980s more males became interested, and today the ratio seems to favor female artists only slightly.
We conclude that doujinshi is really a visual cultural phenomenon which is shaped mostly by youth, yet its meaning and consequences are of global importance.

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