Doujinshi As Exceptional Vision Sub-Culture

It is an interesting indisputable fact that usually most popular subculture is cooked up by someone that seeks profit only, after which is fed to some hungry young crowd of fans. This is not forever the situation in Japan, though. The skill is perfect for the art’s sake is the thing that comic market followers are craving for.

Yoshishiro Yonezawa, a novelist, critic plus a passionate supporter of popular manga subculture, came up with a concept of founding an enterprise, an industry which is open for all the non-professional manga artists who form their particular circles called doujinshis to generate manga mimic artwork and magazines (which can be called doujinshis, too). The idea became very popular as Comiket, the biggest comic market on earth, takes place in Japan each for 3 days back to back each and every time during winter and in summer. There are far more than 35 thousand circles taking part along with over half millions of attendees.

This is a space where freedom of expression is preached over a large, and organizers never wanted so large successful with their creation. Before Comiket, young adults who studied in secondary school or university, taken part in comic markets as amateurs, and ceased to participate in after graduation. In mid-seventies this changed drastically. It was not simply a hobby, but a lifetime passion, as numerous artists got appreciation and followers as a result of growing availability of doujinshi phenomenon. There are more than 2,000 doujinshi markets happening in Japan annually, and Comiket is by far the most famous one.

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

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

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