It becomes an interesting indisputable fact that usually most widely used subculture is cooked up by somebody that seeks profit only, then is fed to some hungry young crowd of fans. It’s not always true in Japan, though. The art is for the art’s sake ‘s what comic market followers are longing for.

Yoshishiro Yonezawa, a novelist, critic along with a passionate supporter of popular manga subculture, created an idea of founding a business, a market which is to be open for all the non-professional manga artists who form their particular circles called doujinshis to generate manga mimic artwork and magazines (which might be called doujinshis, too). The theory became very well liked as Comiket, the most important comic market on the planet, is held in Japan twice yearly for 3 days in a row every time in the winter months as well as in summer. There are more than 35 thousand circles collaborating and also more than half a thousand attendees.

It is just a space where freedom of expression is preached with a large, and organizers never wanted so large successful with their creation. Before Comiket, teenagers who studied in secondary school or university, taken part in comic markets as amateurs, and ceased to participate after graduation. But also in mid-seventies this changed drastically. It was not only a hobby, however a lifetime passion, as many artists got appreciation and followers because of growing interest in doujinshi phenomenon. There are far more than two thousand doujinshi markets taking place in Japan each year, and Comiket is definitely the most used one.

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

At the outset the predominant a part of doujinshis creators were women, about 80 percent. In the 1980s more males became interested, and after this the ratio appears to be 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 are of global importance.

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