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

Yoshishiro Yonezawa, a novelist, critic and a passionate supporter of popular manga subculture, developed a perception of founding an organization, a niche that is open for all your non-professional manga artists who form their unique circles called doujinshis to make manga mimic artwork and magazines (that are called doujinshis, too). The thought became very well liked as Comiket, the biggest comic market on earth, takes place in Japan twice yearly for several days consecutively each time in the winter months and in summer. There are far more than 35 thousand circles engaging as well as sudden expenses millions of attendees.

It’s a space where freedom of expression is preached with a major, and organizers never imagined so large a success of these creation. Before Comiket, the younger generation who studied in high school graduation or university, taken part in comic markets as amateurs, and ceased to sign up after graduation. But in mid-seventies this changed drastically. It came to be not only a hobby, but a lifetime passion, as much artists got appreciation and followers because of growing availability of doujinshi phenomenon. There are far more than two thousand doujinshi markets going on in Japan each year, and Comiket is by far the most popular one.

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

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

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