Doujinshi As Extraordinary Vision Sub-Culture

It’s an interesting fact that usually most favored subculture is cooked up by somebody who seeks profit only, then is fed to a hungry young crowd of fans. This is not forever the situation in Japan, though. The skill is made for the art’s sake is the thing that comic market followers are longing for.

Yoshishiro Yonezawa, a novelist, critic and a passionate supporter of popular manga subculture, developed a perception of founding a company, a market that is open for all you non-professional manga artists who form their unique circles called doujinshis to generate manga mimic artwork and magazines (which can be called doujinshis, too). The theory became popular as Comiket, the largest comic market on earth, takes place in Japan twice a year for several days consecutively each time during winter as well as in summer. There are far more than 35 thousand circles taking part as well as more than half a million attendees.

It is just a space where freedom of expression is preached on the large scale, and organizers never thought of so large a hit with their creation. Before Comiket, young adults who studied in high school or university, took part in comic markets as amateurs, and ceased to participate after graduation. In mid-seventies this changed drastically. It had become not simply a hobby, but a lifetime passion, as numerous artists got appreciation and followers because of a growing popularity of doujinshi phenomenon. There are other than 2000 doujinshi markets happening in Japan each and every year, and Comiket is by far the most popular one.

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

At the start the predominant section of doujinshis creators were women, about 80 percent. Inside the 1980s more males became interested, and now the ratio generally seems to favor female artists only slightly.
We conclude that doujinshi is often a visual cultural phenomenon that is certainly shaped mostly by youth, yet its meaning and consequences are of global importance.

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