www.comiket.co.jp

A presentation by
the Comic Market Committee
January, 2008
Updated January, 2014
Copyright 2007ｰ2015 COMIKET

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Table of Contents

Chapter 2: Comic Market Today

Chapter 3: History of Comic Market

2Chapter 1: What is Comic Market?
What are doujinshis?

Chapter 4: The Ideals of Comic Market
and its Present Status
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Chapter One
What is Comic Market?
What are Doujinshis?

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What are Doujinshis?
What are Doujinshi Marketplaces?
What are Doujinshis?
- Doujinshis are defined in Japanese dictionaries as "magazines published as a cooperative effort by agroup of individuals who share a common ideology or goals with the aim of establishing a medium
through which their works can be presented." Originating from the world of literature, fine arts, andacademia, doujinshis experienced unprecedented growth in Japan as a medium of self-expression forvarious subcultures centered around manga.
- At present, books edited and published by individuals with the aim of presenting their own material arealso considered doujinshis.
- As a norm, doujinshis are not included in the commercial publishing distribution system.
> The primary goal of doujinshi publishing is that of self-expression of one's own works--Ordinarily
commercial gain is not the primary rationale behind engaging in the production of doujinshis.
> Their distribution is limited in scope.

What are Doujinshi Marketplaces?
- Social functions centered around the display and distribution of doujinshis.
- Their scale and function can vary from anywhere between small gatherings taking place in regularconference spaces where only a few dozen circles (doujinshi publishing groups) attend but can be big as
the Comic Market where over 35,000 circles congregate.
- Outside of Japan, similar forums are usually attached to various manga and anime related publicgatherings. In Japan, doujinshi marketplaces are almost always independent public events where thefocus is on the individuals and groups that publish the doujinshis.

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What is Comic Market?
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Main attraction: Exhibition and sales of self-published publications(doujinshis) centered around manga, anime, video games, and other related
genres.
Organized and operated by the Comic Market Committee.
Commercial industry booths housing over 130 corporations accommodated ina separate wing of the exhibition complex.
The entire Tokyo Big Site (an international exhibition complex in Ariake)occupied for three days in both summer and winter.
Often abbreviated as the Comiket and Comike.
Excluding private industry showcases such as the Tokyo Motor Show, Comic
Market is Japan's largest indoor public gathering operated by a single
private non-governmental group.

Comic Market 84 (C84) August 10th ~ 12th, 2013.
Approx. 35,000 circles (publishing groups) participating, selected from over 51,000 applying.
Total combined attendance over three days: Approx. Approx. 590,000.
Total combined number of cosplay participants over three days: Approx. 19,000.
Total staff: Approx. 3150.
Total books (according to info submitted by circles): 8,700,000 sold of 11,400,000 carried in.
- Comic Market 85 (C85) December 29th ~ 31st, 2013.
Approx. 35,000 circles (publishing groups) participating, selected from over 51,000 applying.
Total combined attendance over three days: Approx. Approx. 520,000.
Total combined number of cosplay participants over three days: Approx. 25,000.
Total staff: Approx. 3250.
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Copyright 2007-2015 COMIKETThe 2011 East Japan Earthquake caused attendance todecrease slightly.
 C87 (2014) exceeded winter
Comiket's largest attendance record, as did C84(2013) for summer Comiket's
record.
 Comiket changed attendance number estimation
methods in C85 (2013)
which has resulted in slightly
more modest number that
before.
www.comiket.co.jp

Chapter Two
Comic Market Today

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The Tokyo Big Sight~ The Backdrop to Comic Market ~The Tokyo Big Sight isJapan’s largest
convention center
opened in 1996.
Comiket employed theprevious facility as well.

East Exhibition
Wing
Conference Tower

West Exhibition
Wing

Diagram of Big Sight Facilities

Doujinshi circles (publishing groups)-- Housed in East Halls 1 ~ 6
and West Halls 1 ~ 2.
Cosplay and Corporate Booths-- Housed in the 4th Floor of the West
Wing.
Hours of Operation:-- Doujinshi circles floor area open 10:00~ 16:00-- Corporate Booths open 10:00 ~ 17:00(except for last day of CM.)

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Comic Market Catalog
–What is the Comic Market Catalog?

–

It is a thorough guidebook on Comic Market, listing every
participating circles. A spot illo accompanied by name of thecircle, their location and date.
The catalog is provided in the following three mediums.

Comic Market Catalog （Printed Edition）

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Sold at bookstores, specialty stores, Comic Market direct
retail outlet as well as by mail order.
Format: B5-size (18.5cm x 26cm,) square bound, and approx.
1400 pages. Around 100,000 copies are printed.

Comic Market Catalog （DVD-ROM Edition）–

Packaged software package for Windows. (Mac support ended
with C87.)
Sold at bookstores, specialty stores, Comic Market direct
retail outlet as well as by mail order.
Approx. 40,000 copies printed.

Comiket Web Catalog

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An online application.
Beta testing started from C83, paid service started from C84.
Listing of every accepted circle posted upon release of list of
circles accepted for Comiket participation.
Participating circles can edit information about themselves
before, during and after the Comic Market session takes place.
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A View Inside Comic Market - Part 1

A bird's eye view of the East Halls 1 ~ 3.

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A View Inside Comic Market - Part 2

A bird's eye view of the East Halls 4 ~ 6.

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A View Inside of Comic Market - Part 3
General Attendees awaiting entry.

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Prior to the 10:00 a.m. opening of Comic Market,
tens of thousands of general attendees must beorganized into lines and guided within nearby
parking lots, parks, and other open spaces.
To help cope with the massive influx of people,
nearby mass transit--such as the elevatedYurkamome Line, the Rinkaisen Line, Tokyo
Metropolitan Bus lines--change their operatingschedule and increase service to accommodate thecrowds.
No charge for admission (but purchasing of thecatalog is strongly encouraged.)
Many from overseas come to participate.

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A View Inside of Comic Market - Part 4
Doujinshi Circle Booths- Space allotted to each circle:> Half a desk (90cm wide and 45cm deep -- 36" x 18")
> 2 chairs.
> Space for storing inventory (90cm x 70cm x 150cm –36" x 28" x 60")
- Cost for participating as a doujinshi circle:> 8000 yen (roughly $70) per single space + 1000 yen(roughly $8) for purchasing the application form
package.
- Total number of circles applying for space.
> 51,000 (where by a lottery is conducted and roughly 70%
actually secures a space.)
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A View Inside of Comic Market - Part 5
Sample copy submission

Circles must provide a sample of any title they wish to distribute at Comic
Market to the Comic Market Committee.
The Comic Market Committee has been archiving sample titles from the very
first session of Comic Market.
– Over 2,100,000 titles in storage in a specially built warehouse in Saitama Prefecture.
– The National Diet Library have recognized Comic Market's preservation efforts in"Manga doujinshi preservation and utilization - The Comic Market example."
http://current.ndl.go.jp/ca1672– Since C77, the most recent samples can be viewed at the Meiji University Yoshihiro
Yonezawa Memorial Library.
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http://www.meiji.ac.jp/manga/yonezawa_lib/market.html
Only registered library members may view the titles.

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A View Inside of Comic Market - Part 6
Waiting in lines

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Lines of eager fans may format popular circles keen on
buying the latest titles.
Circles that are expected tohave crowding issues areplaced near the loading bays
so that the lines can extend out
outside.
Some circles may sell over
several thousand copies of
their books at each Comic
Market.

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Corporate Booths – Part 1
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Located on the 4th floor of the West Wing.
Total of 190 booths are available to about 140 corporations.
Only roughly 55% of applications can be accepted due toaccommodation issues.
Most common types of participating corporations:> PC game software manufacturers, animation production
studios, book publishers.
> Music content publishers and producers, TV and radio
stations.
> Retailers specializing in novelty goods and other items.
Common activities at the corporate booth area.
> Handshaking sessions, talk shows, and autograph signings
with celebrities.
> Rock, paper, scissors contests, present giving sessions,lotteries.
> Formerly special live musical acts used to be conducted but
the lack of space now prevents this.

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Corporate Booths – Part 2
Notable exhibitors in the corporate booth area

Publishers
Shogakukan, Kodansha, Kadokawa Shoten, Ascii Media Works, Media Factory, Houbunsha, Asahi
Shinbun Shuppan, Shinchosha, Takeshobo, Hobby Japan, Ichijinsha, Tokuma Shoten, MAG Garden,
Wani Books, Futabasha, Shonen Gahosha, SoftBank Creative, Overlap, Nohonbungeisha, etc.
Animation production companies
Studios and Publishers
Toei Animation, Kyoto Animation, Ufotable,
Toho, Shochiku, Aniplex, King Records, 5pb., PonyStudio Deen, Shaft, Satelight, Prodcution
Canyon, Warner Home Video, Genco, Imagica Image
I.G, AIC, PA Works, Tms Entertainment, etc.
Workds, Geneon Universal, FlyingDog, Marvelous
AQL, Avex, etc.
VariousGames
Nitroplus, Konami, Sega, Red Entertainment,
Animate, Frontier Works, Movic, Marine
Otomate (Idea Factory,) Falcom, Cyber Agent, Notes
Entertainment, Broccoli, Tezuka(Type Moon,) Arc System Works, Cygames, DeNA
Productions, Sariowave, Volks, Bushiroad,(Mobage,) August, Visual Arts, Unison Shift,
Good Smile Company, Niconico, Pixiv,
Aquaplus, Omegavision (Navel,) Alchemist, Kogado
Takara Tomy Arts, Queensland Pop
Studio, Akabei Soft2, F&C, Hawkeye (Minamio Soft,)
Culture Week, Japan and International
Alicesoft, NET, Heiwa, Universal Entertainment, etc.
Motion Picture Copyright Association, Walt
Disney Studio Japan, etc.
Broadcasters
Exhibitors not directly tied to anime & manga
Nihon Television, TBS, Fuji TV, AT-X, Nippon Cultural
Broadcasting, Radion Kansai, Yomiuri Yomiuri Television
Kyoto City, Tottori Prefecture, Suntory,
Enterprise, etc.
Onkyo, Megmilk Snow Brand, earth music &With corporate booths getting
ecology, New Japan Pro-Wrestling, Microsoft,
more known, interest from
Google, GMO Internet, NTT Plala, etc.
businesses are increasing.

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Cosplay – Part 1Participants enjoy dressing up to appear liketheir favorite anime, manga, and/or gamecharacters.
Dedicated dressing rooms for men and womencosplayers. 800 yen (roughly $7) per person forregistration, et al.
Roughly three female cosplayer for every one
male cosplayer.
–

Cosplayer numbers tend to be larger in thewinter than in the summer.
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Male cosplayers increasing lately.

The extreme summer heat makes cosplaying difficult.

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Cosplay – Part 2
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Previously, Comiket was rather restrictive
regarding cosplay.

Example:C80: To widen acceptable range of creativity,
restriction shifted from regulating objects tobehavior.

Was changed to:

C81: Reduction of restrictions encouraged more
cosplayers to attend, resulting in rapid increase.

Prohibition on objects more that30cm long.
Prohibition repealed, but swinging
around long objects prohibited.

Below: Map indicating all cosplay areas.
Upper left: Cosplay registration ID.

C83: “Cosplay Square” become “Cosplay areas”
and their locations and space was increased.
Regulations were further relaxed. (Now focus ison prohibiting impersonating officers, etc. in
uniform and compliance with the swords andfirearms law.)
C84: Use of monopods are allowed in all areas.
Use of Tripods allowed in some areas.
Along with self-expression of circle's
doujin works, Comiket considers
cosplay as "bodily self-expression"that should be pursued and respects
its freedom of expression.

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Profiles of Comiket Participants:
Circles – Part 1Conventional wisdom tends to portray doujinshi as male dominated, but in fact,
women comprise the majority at Comic Market.
–

Men’s attendance recently increasing. Overall age demographic is maturing as well.

Roughly 70% come from the greater Tokyo metropolitan area.
C84 Circle Representative Gender and Average Ages

Women
57%
Genres popular amoung
younger participants.
School manga clubs - 20.4
Touhou Project - 27.2
(average ages)

Men
43%

Average Age
Men： 31.4
Women： 32.5

Genres popular amoung older
participants.
Original (BL/June): 38.3
Original (girl‘s manga): 37.8
(average ages)

C84 Circle Home Address
Hokkaido
Tohoku region
North Kanto region
Saitama
Chiba
Tokyo
Kanagawa
Chubu region
Kinki region
Chugoku region
Shikoku region
Kyushu region

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Men

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Women

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Profiles of Comiket Participants:
Circles – Part 2
Roughly 70% of circles lose money. 15% break even.
Circle's net profit/loss distribution

女

赤字５万円以上 Loss of > 50k yen
赤字５万円未満 Loss of < 50k yen
黒字５万円未満 Profit of < 50k yen
黒字５～２０万円 Profit of 50k ~ 200k
黒字２０万円以上 Profit of > 200k yen

Women

男

Men

0%

20%

40%

60%

80%

100%

「コミケット35周年記念調査」より

Source: Comiket 35 Year Anniversary Research Survey
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Profiles of Comiket Participants:
Circles – Part 3
Manga, anime and video games are the mainstay, but
that's not all at Comiket.
C84 Circle Genre Breakdown

Doujin software 13%
Games
13%

Original
8%

Breakdown of “various”

For Men
19%

Anime
11%

Various
16%

Rail, travel,
miltech 16%

Criticism,studies, how
to, etc. 13%

Tokusatu,
sci-fi,fantasy,etc. 9%Fan clubs of manga titles 20%
Popularity of a manga title tends to increase
following anime adaptation. Anime genre
footprint may actually be larger.

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Original
crafts 8%

Copyright 2007-2015 COMIKET

History,
literature,novels 24%

Music,
celebrities,
sports 30%

Comic Market’sSocial Contribution Efforts – Part 1

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Comic Market cooperated with the Japan Foundation for the 9th International
Architecture Exhibition (part of the 2004 Venice Biennale) and took part in the"Otaku: Persona = Space = City" exhibition included in the Japan Pavilion.
http://www.jpf.go.jp/j/project/culture/exhibit/international/veneziabiennale/otaku/j/index.html
Comic Market continuously works together with numerous governmental
agencies and local government bodies conducting hearings and briefings.
Comiket has played host to many visiting governmental bodies and academic
institutions wishing to observe Comic Market.
– Hearings conducted with: Ministry of Foreign Affairs, Ministry of Economy, Tradeand Industry, Ministry of Land, Infrastructure, Transport and Tourism, Japan
Tourism Agency, Agency for Cultural Affairs, and other agencies.
– Observers from: Ministry of Foreign Affairs, Ministry of Economy, Trade andIndustry, Japan Tourism Agency, Agency for Cultural Affairs, and other agencies.
– Other notable projects:
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Video footage of Comiket as part of overseas PR efforts to promote Japan.
(A Ministry of Foreign Affairs initiative.)
Video footage of Comiket as part of PR efforts aimed at China.
(A Japan Foundation initiative.)

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Comic Market’sSocial Contribution Efforts – Part 2

www.comiket.co.jp

Comic Market has given lectures and presentations at numerous academic
institutions with strong interests in manga studies and the creative contents
industry (e.g. University of Tokyo, Waseda University, Meiji University, Kyoto
University of Art & Design) as well at conferences (such as the Japanese
Association of Contents History Studies.)
Comic Market itself has sponsored and hosted symposiums.
Aug. 2009

Symposiums hosted by Comic Market
Comiket 76 ”Comic Market as an Extremely Diverse Market Createdby Users and its Future” Prof. H.Deguchi (Tokyo Inst. of
Tech.,) Assoc. Prof. H.Tanaka (Tokyo Uni.) and others.
http://www.comiket.co.jp/info-a/C76/C76symposium/C76symposium.html

Dec. 2009

Comiket 77 ”Creation of Japanese Contents and How Overseas
Expansion is Advancing Understanding of Japan”
T.Nakagawa (MOFA)、Prof. M.Okamoto (Tokyo Uni. of Arts)
and others.
http://www.comiket.co.jp/info-a/C77/C77symposium/C77symposium.htm

Mar. 201023

ComiketSpecial 6”Contents Business and Local Economy Promotion”
Prof. T.Yokosuka （Tokiwa Univ.）,Assoc. Prof. K.Morikawa(Meiji Uni.,) K.Shimada (Saitama Pref.,) M.Sakai (METI,)
T.Sasaki （JA Ugo) and others
http://cmksp.jp/mito/kikaku2/index.html
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All participants’ positions current
at the time of attendance.

Comic Market’sSocial Contribution Efforts – Part 3

Aware that doujinshi is a culture and hobby that consumes large amounts of paper,
Comic Market has sponsored a woodlands conservation donation drive since 1993.
Since its inception, approx. 60 million yen (roughly half a million US dollars) have been
donated to the public interest incorporated association, The Forest Culture Association.

Since the winter of 1997, Comiket has cooperated with Japanese Red Cross Tokyo
Metropolitan Blood Center to encourage people to give blood at bloodmobiles locatedinside Comiket premises and at the Kokusai Tenjijo Station on the Rinkai Line. At
Comiket 85 (winter 2013,) over 1500 donated blood.
– "Blood drives at Comic Market, one of Japan's largest events“(Japan Red Cross Society official website)
http://www.jrc.or.jp/blood/cross/l4/Vcms4_00004024.html

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Chapter Three
History of Comic Market

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Chronology of Attendance:
General Participants and Participating Circles

Tokyo Big Site 3 Days Operation
Attendee Peak Number: 590,000

Circles(left axis)

Gen. Part.
(right axis)

40,000

1980

1985

1990

1996

2000

2005

2010

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サークル
一般

万

35,00050
30,000The duration of the winter session
fluctuates between 2 and 3 days
depending on the timing of theweekend.

25,000Comiket changed attendance
number estimation methods in
C85 (2013) which has resulted inslightly more modest number that
before.

20,00015,00010,00040

Comic Market 1
Circles Participating - 32
Total Attendees - roughly 700

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20

10

5,000

0

C1
C3
C5
C7
C9
C1
C11
C13
C15
C17
C29
C21
C23
5
C2
C27
C39
C31
C33
C35
C37
C49
C41
C43
C45
C47
C59
C51
C53
C55
C57
9
C6
C61
C63
C65
C67
C79
C71
C73
C75
C77
C89
C81
C83
5

0

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The Early Years of Comic Market- 1975 ~ 1981 (C1 ~ C18)
- Transition in attendance numbers:> Circles: 32 => 500> General participants: 7000 => 10,000- Comic Market was launched to counter prevailing trends in establishedforums over manga, etc.
- Notable trends:

Ota-ku Trade Center> Shōjo manga (young girl's comics) boom: Moto Hagio, Keiko Takemiya and other Year 24 Group authors embraced by women.
> Space Cruiser Yamato boom takes root among both men and women (1977~.)> Mobile Suit Gundam boom among both men and women (1979~.)> Lolicon (comics featuring girls aimed for men) boom: Authors such as Hideo Azuma embraced by men (1980~.)- Congestion begins to become a pressing problem from 1979. Total allotted space for circles
outstripped by demand => lottery system incorporated.
- Internal strife over various incidents lead to fallout within the ranks of the CMC (Comic Market
Committee.)> Preparations committee division leads to new doujinshi marketplaces to come about.

- Prevailing doujinshi format> Offset printing still very expensive. Few printers cater to doujinshi publishing needs. Many books printed with whiteprint
printing machines.
> Membership based doujinshi circles were common. Most doujinshis were original works and parodies were not as numerous.

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The 1st Harumi Era- 1981 ~ 1986 (C19 ~ C30)
- Transition in attendance numbers:> Circles: 600 => 4000
> General participants: 9000 => 35,000- Notable trends:> Lolicon boom continues among men, the boom is particularly pronounced
from 1980 to 1984.
> Rumiko Takahashi boom among men (1982~.)> Captain Tsubasa mega-boom among women (1985~.)

Fans enjoying a game of Hana Ichi Monme, a traditionalchildren's game

- CMC scrambles to keep up with rapid expansion.
> Moving to Harumi brings new operational challenges (police, fire department, security guards, clean-up concerns, etc.)> The publication of the catalog begins (from C21.)> Shift from three times a year to two times a year scheduling.
> The establishment of a public legal entity to support CMC operations (1985.)- Prevailing doujinshi format> Migration from membership doujinshi circles to small group style doujinshi circles.
> Offset printing becomes more affordable. The number of printers catering to doujinshi publishing interests increases.
> The popularity of Captain Tsubasa contributes to a lowering of the median age of the doujinshi creator.
> Increasing sophistication of books (more pronounced use of color and increasing print runs,) especially among womenpublishers.

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The TRC, 2nd Harumi, and Makuhari Era- 1986 ~ 1990 (C31 ~ C39)
- Consecutive venue changes : Tokyo Ryutsu Center => Harumi => Makuhari Messe

Tokyo Ryūtsū Center> The Japanese Bubble economy of the late 80's contributes to ever increasing number of trade shows andcorporate exhibitions => Securing a venue for Comic Market becomes increasingly difficult.

- Transition in attendance numbers:> Circles: 4400 => 13,000> General participants: 40,000 => 250,000- Notable trends:> Saint Seiya boom among women (1987~.)> Samurai Troopers mega-boom among women (1989~.)> Bishōjo (infatuation over cute girls) boom re-ignited among men (1990~.)- The 1989 Serial Killer Miyazaki Incident instigates bashing against Otakus and the Hazardous Comics
Controversy of 1990 highlight obscenity debate.
> These incidents contribute toward increasing public exposure of Comic Market.
- Explosive growth in the size and scale of Comic Market constantly challenges the CMC to adapt.
> In C32, the general attendees entrance line grows to 2km in length, extends onto public roadways.
> Comic Market itself is extended to become a two day event, starting from C32.
> The two day setup becomes entrenched following C34 even after returning to Harumi.
> Massive influx of applications by circles makes paperwork a nightmare.
> PCs and office automation involving databases incorporated from C31 onwards..
> The categorization of doujinshi circles begins--Genre codes are established from C31 onwards.
- Prevailing doujinshi format> Increasing transition from small group organization based to single author based doujinshi circles.
> Doujinshi printers begin carrying-in printed stock directly into Comiket.
Shutting down at Makuhari Messe> The advent of medium sized doujinshi marketplaces: Comic City, Comic Live, Comic Revolution, etc.
> The increasing size of the doujinshi marketplace makes it possible for authors to make a living off doujinshi
publishing alone.

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The 3rd Harumi Era- 1991 ~ 1995 (C40 ~ C49) held at the Harumi Tokyo International Exhibition Center> Police raid bookstores selling doujinshis, obscenity charges filed March, 1991.
> Hazardous Comic Controversy continues to rage.
> Comiket venue change forced by Chiba Prefecture's intervention caused by hostile tip against Comic Market.
> Makuhari Messe refuses to house Comic Market.
> Harumi allows Comiket on condition of all books to go through contents verification checking. Bird's eye view of Harumi Convention facilities.

- Transition in attendance numbers:> Circles: 11,000 => 22,000> General participants: 200,000 => 250,000- Notable trends:> YūYū Hakusho boom among women (1993~.)> Slam Dunk boom among women (1994~.)> Gundam W boom among women (1995~.)> Sailor Moon boom (1992~) notable as a work supported by both sexes after a long hiatus.
> Men's erotic fiction genres experiences its 3rd boom: Evangelion, Tokimeki Memorial, and other works take center stage.

- CMC struggles on accommodating overgrown Comike inside Harumi.
> Major issues: Long lines of people attached to access of 2nd Floor of Shinkan, Overnighters (unsanctioned camping out before an event takes place,)
plus maintaining orderly general attendee lines.
> Massive expansion in the CMC staff ranks.
> At C48, Comike is held three days for the first time.

- Trends within the doujinshi community.
> Mid-sized doujinshi marketplaces propagates throughout Japan: Comic City begins holding venues in numerous locations in Japan starting roughlyaround 1994.
> Doujinshi related peripheral industries begin to take root and expand starting 1994.
* Masquerading related activities support -- Cosplay clothing stores, cosplay dance parties organized by corporations beginning around 1994.
* Doujinshi bookstores selling doujinshis on consignment begin (1994~.)* Used bookstores specializing in selling used doujinshis take off (1995~.)> Communication utilizing local dial-up BBS networks surges.

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The 1st Ariake Era- 1996 ~ 1999 (C50 ~ C57) moves to the new Tokyo
International Exhibition Center--the Tokyo Big Sight.
- Transition in attendance numbers:> Circles: 18,000 => 35,000> General participants: 350,000 => 400,000- Notable trends:> Doujinshis for women lose steam somewhat.
> Galgames (video games featuring girls aimed for men) mega-boom
takes root among men (1997~.)
Examples include: Sakura Taisen, Shizuku, Kizuato, Pia Carrot,
To Heart, etc.

Bird's eye view of Ariake Convention (Tokyo Big Sight) facilities.

- Efforts to adapt to the new exhibition facilities include:> Major re-organization of CMC departments.
> 3 day setup of summer session of Comiket becomes entrenched from C52.
> C57 marks first time winter session of Comiket being held for 3 days.
> Firebomb incident takes place with C54, threatening letters against Comiket are repeatedly sent.

- Trends within the doujinshi community.
> Tax collectors begin investigating popular doujinshi circles (most of which sell books through consignment
shops.)> Tokimeki Memorial Video Incident of 1998, Pokemon Doujinshi Incident of 1999 underscores intellectual property
issues.
> DTP and full digital authoring of doujinshi manuscripts becomes increasingly prevalent among male publishers
starting from around 1997.

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The 2nd Ariake Era- 2000 ~ 2006 (C58~C71) held at the Tokyo Big Sight (Tokyo International Exhibition Center)- Transition in attendance numbers:> Circles: 35,000 => 35,000> General participants: 430,000 => 510,000- Notable trends:> The rise of Shōnen Jump related titles: Naruto, One Piece, The Prince of Tennis, Reborn, etc
popular among women (2000~.)> Gundam Seed boom starts from 2003, Fullmetal Alchemist boom starts 2003 both titles
popular among women.
> The Moe (infatuation over cute girls) boom starts from 2000 among men.
Examples include: Di Gi Charat, Key, Type Moon titles, Maria-sama ga Miteru , Lyrical
Nanoha, The Melancholy of Haruhi Suzumiya, etc.

- A period marked by stability overall, however-> Development around Ariake constantly forces changes in CMC plans.
> The corporate booths section of Comiket becomes increasingly congested from 2001.
> Increasing demands compels even the winter session of Comike to run for 3 days.
> C71 marks first time Comike taking place on New Year's Eve.

Comic Market in action--A shot of East Halls 4 ~ 6.

- Trends within the doujinshi community.
> Increasing scope of the doujinshi consignment shops, i.e. Tora no Ana and Melon Books.
> The Otaku boom in the general Japanese society leads to influx in general attendees.
> Increasing numbers of general attendees act like "customers at a store" within Comiket, expectations and shared values shifting and eroding.
> A surge in number of single themed doujinshi marketplaces starting from 2000.
> Further entrenchment of DTP and full digital production of books. Both men and women increasingly become dependent of PCs for authoring bothcolor covers and their b/w contents.
> Increasing number of doujinshi activities intertwined with web based interaction, the rise of SNS such as Mixi related to doujinshis.

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The 3rd Ariake Era- 2007 ~ Now (C72~) held at the Tokyo Big Sight (Tokyo International Exhibition Center)- Transition in attendance numbers:> Circles: 35,000 => 35,000> General participants: 510,000 => 590,000- Notable trends:> Titles such as Reborn!, Hetalia, Sengoku Basara popular from 2007, while Nintama and Inazuma 11 gained a foothold among women from 2008.
> Popularity of Tiger & Bunny, Uta no Prince-sama expands among women in 2011, Kuroko’s Basketball from 2012 and Attack on Titan from 2013.
> Touhou Project popularity goes through the roof, Hatsune Miku is a hit, light novel titles enthusiastically embraced by men, along with Kantai
Collection from 2013.

- Yoshihiro Yonezawa passes away (Oct. 2010,) leadership changed to co-representative systemfrom C71.
> “Otaku fad” contributes to increasing number of participants. Use of facilities of Big Sight re-evaluation starts from C72.
> Threats via the 2channel electronic bulletin board compels mandatory luggage inspection for general participants at C74.
> Sample books collected at previous Comiket available for viewing at Yoshihiro Yonezawa Memorial Library from 2010.
> Re-evaluation of cosplay begins (cosplay areas expanded, regulations relaxed.) Dramatic increase in cosplayers registering at Comiket.

- Trends within the doujinshi community.
> Niconico douga and Pixiv begin to impact fads taking hold at Comiket from 2007.
> Twitter becomes a major player in intercommunication between participants from 2010.
> The pace at which a title or a fad surges in popularity and then declines noticeably accelerates.
> Women’s doujinshi marketplaces sponsored by individuals decreases.
> The Revision of Tokyo Metropolitan Ordinance Regarding the Healthy Development of Youths (Bill 156) takes center stage in 2010 and issues of
how to restrict minor’s access arise.
> The 2011 East Japan Earthquake caused some doujinshi marketplaces to be cancelled or delayed in 2011.
> Threats regarding Kuroko’s Basketball caused some doujinshi marketplaces to be cancelled while others were forced to ask fans of Kuroko’s
Basketball to not attend their events. (2012~2013)

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Chapter FourThe Ideals of Comic
Marketand Its Present Status
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Comic Market Committee Organization

Co-representatives
Departments that are
active indoors.
Departments that are
active outdoors.

Press Management

Broadcasting

Accounting

Handles press and mass media needs.

Handles internal public address system
operations.

Handles accounting work.

Outdoors SalesManagement

Shipping/Unloading
Department

Public Area Management

First Aid Station

Dressing RoomManagement

Corporate Booths
Management

Indoor Reception andSales Management

Indoors management

Record-keeping TeamInternational Desk

General Affairs

First aid for any outdoor injuries / illness
and transport of injured to first aid stations.

Manages the outdoors sales outlet/s of the
Comic Market catalog.

Management of delivery of goods by circles
and printers, and liaison of printers.

Management of participants in the facility's
public areas, crowd control, and safety
management.

First aid for injuries and/or illness andmanagement of any EMS needs.

Handles dressing room ops, crowd control,and safety management.

Manages the corporate booths area andhandles liaison with exhibitors.

Sales of CPC goods (catalog, application
forms, etc.,) information desk, lost andfound.

Handles participants inside the halls, safety
management, circle liaison administrative
affairs.

Collects footage, etc. as part of Comiket
official record-keeping process.

Handles overseas participants and helps
manage overseas media press needs.

Provides supportive functions to eachdepartment.

Headquarter's Office

Outdoors First Aid
Management

Management of participants outside
premises, crowd control, safety, andirregular visitor management.

Handles liaison with all public /governmental agencies, facilities owners
and operators, security service providers,and etc, plus overall coordinating role ofentire Comiket.

Gate Management

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Total staff numbers: Approx. 3,250 (all volunteers.)


Headquarters
related divisions
General Headquarters

www.comiket.co.jp

Comic Market Committee and Comiket Inc.
The Comic Market Committee is a volunteer based organizationand does not maintain a legal entity.
Comiket Inc. was established in order to manage and facilitate
activities that require the presence of a legal entity, such as
negotiating with public agencies, signing contracts,
maintaining an administration offices, etc. Its role is solely tosupport the CMC for activities the CMC cannot conduct on its
own.
– Incorporated in 1985, and changed to its present form in 1996.
– Example: Personal information management
Comiket Inc. is the personal information administrating enterprise.
 Comic Market Committee is a co-user of collected information.
 The CMC co-representatives are the data access control and supervisory
authority.




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Comiket Inc. also operates Comiket Service, a used doujinshi
boostore.
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www.comiket.co.jp

Ideals of Comic Market
Comic Market is a "space" that functions to expand thepossibilities of self expression, where the aim is to accept
creators of doujinshi and all other types of creative endeavors
and maintain continuity.
– Comic Market defines itself as a "space" operated cooperatively throughthe involvement of all participants including circle participants, generalparticipants, Comic Market staff participants, corporate participants and allother parties involved, and it will be Comic Market’s mission to commit
itself toward fulfilling this definition.
– Comic Market's goal is to, without violating any laws and ordinances,
accept the maximum number of participants possible while enforcing aminimum set of rules needed for administrative purposes.
– Comic Market hopes all participants will enjoy partaking in Comic Market
as a "Day of Hare" and will continue Comic Market. The Comic Market
Committee is an organization administered toward maintaining andenhancing creative and doujinshi culture under the previously statedideals. Furthermore, Comiket Ltd., Co. is a legal entity that exists to
support the Comic Market Committee.

* Note to English readers. Hare (sunshine or special moment) is a Japanese cultural concept where people
can transcend the ke (mundane) and celebrate a radiant spirit fit for an extraordinary occasion.
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Comiket’s Achievements
Over the course of 40 years, Comiket has not only left its mark on
many facets of self-creativity embodied in Japanese manga, anime
and the gaming community, but has also influenced numerous
individuals, organizations and even society at large.




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Comiket established a platform in how alternative means of distribution may beavailable for manga, anime and games and writings related to such works,paving the way for how ideas and creative works can be disseminated andshared in methods different from established conventional distribution models.
Comiket is a cultural framework where anyone--both amateurs and professionals-can become broadcasters of creative works and thus give birth to a wide
diversity of self-expression. Therefore, it can be argued that Comiket is one of theorigins of Japanese doujinshi culture.
Comiket has encouraged communication between participants and has played an
important role in enlarging the community network.
Comiket has become a broadcast center for a wide variety of Japanese manga,anime, games and more, thus garnering attention from overseas.
Copyright 2007-2015 COMIKET

Comiket's Will for
Perseverance of the Space

www.comiket.co.jp

Comiket made the proposal that there is value in the fundamental merits of
doujinshi culture--that anyone, amateurs or professionals, can become
producers of creative works, and thereby a wide diversity of self-expression
can come about. Comiket has shared this conviction with others continually.
We feel we played an important role in the development of doujinshi culture-As a space where works are distributed, as a space where mutual interaction
can take place, and as a space where many individuals develop their talents.
Going into the future, Comiket would like remain intimately involved with thedevelopment of doujinshi culture, adapt to changes in the environment
surrounding that culture and aim to perpetually continue its mission.
Regardless of the circumstances, Comiket will continue its mission of pursuing diversity ofcreative works and remain to act as a vessel that aims to protect of freedom of expression.
 Comiket will continue to share the concept of "The Day of Hare (a day of celebration and a
break from the mundane)" with the largest audience possible, for we believe the communal
enjoyment of hare is not something that can be replaced by virtual means.
 Comiket, as one of the sources of doujinshi culture, will spare no effort to remain a proud
symbol of doujinshi culture for a global audience.
 Comiket collects samples of all publications that are offered through its sessions, andsince Comic Market 1 took place in 1975, we have added over 2 million titles to ourcollection. We will not only continue to add to this valuable collection, but we will properly
maintain it, expand it, and also make it available to the public.
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Everybody is a Participant.









There are no "customers" at Comic Market.
Comic Market, in its entirety, is not only operated by all the participantsin attendance, but everything about it is comprised them as well.
All participants are of equal standing at
Participating
Comic Market.
Circles,
Cosplayers,
In order to remain a space with as much
Corporations
freedom possible, we hope to keep restrictions
to the minimum possible.
Providing Works

Participants are expected to have readand Concepts
the Comic Market Catalog thoroughly,
maintain a good understanding of the
Comiccore concepts of Comiket and the rules
MarketAs An
that govern Comiket, abide by morals
Openand good manners required upon all
Space
Readers &participants, and behave in a way that
supporters ofcreative efforts
reflects mutual respect of others andthe roles they fulfill.
GeneralParticipants

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Providing thespace

Participating Staff

www.comiket.co.jp

Self-expression at Comiket








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As a vessel that embraces all types of self-expressive works prevelent within doujin culture, Comiket
has expanded the centers of self-expression.
The medium of self-expression that is doujinshi culture has grown in diversity and has adapted todifferent mediums are a result of subsequent technological innovations and new inventions by
individuals. The term doujinshi derive from combination of the words doujin ("coterie") and shi("publication"), and as it suggests printed publications were the norm at the start, but now a wide rangeof diverse forms of self-expression--everything from traditional publications, material included onelectronic storage mediums and/or digital content distributed through various networks, and evenmediums that require a physical presence, such as cosplay--coexist within the realm of doujin culture.
As a rule, Comiket considers individuals
engaged in self-expression as a hobby (notcorporate entities) to be the basic building
block for creative endeavors.
However, in our attempt to pursue even morediversity in self-expression, Comiket invites
corporations and public entities that fully
understand doujinshi culture and contributeto its growth and well-being to participate.
Through envisioning a community where awide variety of individuals and numerous
different mediums of expression canintermingle and provide mutual inspiration,
Comiket aims to open up new horizons forcreative self-expression.

Participating
Circles,
Cosplayers,
Corporations

Providing Worksand Concepts

Readers &supporters ofcreative efforts

GeneralParticipa
nts

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Comic
Market
As An
Open
Space

Providingthe space

Participati
ng Staff

www.comiket.co.jp

Comiket as a “Space"
Comiket defines itself as a "space"with great freedom for the
purposes of expanding thepossibilities of self-expression.
Thus Comiket aims toaccommodate anyone who wishes
to participate and accept all forms
of self-expression.

Readers &supporters ofcreative efforts

GeneralParticipants

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Participating
Circles,
Cosplayers,
Corporations

Providing Worksand Concepts

Comic
Market
As An
Open
Space
Providing thespace

Participating Staff

www.comiket.co.jp

Aims of the Comic Market Committee
Comiket will aim to perpetually continue its mission. To this end, the Comic
Market Committee is taking important role in conducting the following actions.
Continually strengthen cooperative relations between multiple doujinshi
marketplaces and other assemblies of fans, and thereby spare no effort
toward protecting an unrestrictive environment for creators.
 Constructing relationships where the manga, anime, games and otherindustries can thrive together with the doujinshi community by linking creators
to audiences and the industry, et al. that seek the works produced by thosecreators.
 Strengthening coordination with governmental, municipal and academic
bodies to further the understanding that doujin culture is an important corebuilding block that ensures diversity in Japan's content producing industries.


By taking these steps in regard to manga, anime, gaming and other cultures,
Comiket aims to improve Japan's industrial and cultural standing in the world,
and thereby Comiket will be able to meet the needs set upon itself by society
at large and contribute back to it.
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Thank you!
The first edition of this document was created in 2008 by incorporatingpresentations that were given at University of Tokyo Interfaculty Initiative inInformation Studies as part of the Industry-Academia Cooperative Education
Program in Content Creation as well as at the 65th World Science Fiction
Convention / 46th Japan Science Fiction Convention “Nippon 2007,” with newmaterial added as well.
This document has been revised to reflect events and changes that haveoccurred in the last 6 years.
Photography：– Associate Professor Kaichiro Morikawa (Meiji University School of Global
Japanese Studies)– Comic Market Committee Record-keeping Team– Kyoshin Insatsu Corp., etc.

English Translation：– Dan KanemitsuSpecial Thanks– Associate Professor Masataka Yoshida （Tohoku University of Art & Design’s
Center for General and Liberal Education）– Tokyo Big Sight

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