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Afanzine (blend offan andmagazine orzine) is a non-professional and non-official publication produced by enthusiasts of a particular cultural phenomenon (such as a literary or musical genre) for the pleasure of others who share their interest.
The term was coined in an October 1940science-fiction fanzine byRuss Chauvenet and first popularized withinscience fiction fandom, and from there the term was adopted by other communities.
Typically, publishers, editors, writers and other contributors ofarticles orillustrations to fanzines are not paid. Fanzines are traditionally circulated free of charge, or for a nominal cost to defray postage or production expenses. Copies are often offered in exchange for similar publications, or for contributions of art, articles, or letters of comment (LoCs), which are then published.
Some fanzines are typed and photocopied by amateurs using standard home office equipment. A few fanzines have developed into professional publications (sometimes known as "prozines"), and many professional writers were first published in fanzines; some continue to contribute to them after establishing a professional reputation. The term fanzine is sometimes confused with "fan magazine", but the latter term most often refers to commercially produced publicationsfor (rather thanby) fans.
The origins of amateurfanac "fan" publications are obscure, but can be traced at least back to 19th century literary groups in the United States which formedamateur press associations to publish collections of amateur fiction, poetry, and commentary, such asH. P. Lovecraft'sUnited Amateur.[1]
As professional printing technology progressed, so did the technology of fanzines. Early fanzines were hand-drafted or typed on a manual typewriter and printed using primitive reproduction techniques (e.g., thespirit duplicator or even thehectograph). Only a very small number of copies could be made at a time, so circulation was extremely limited. The use ofmimeograph machines enabled greater press runs, and the photocopier increased the speed and ease of publishing once more. Today, thanks to the advent ofdesktop publishing andself-publication, there is often little difference between the appearance of a fanzine and a professional magazine.
WhenHugo Gernsback published the firstscience fiction magazine,Amazing Stories in 1926, he allowed for a large letter column which printed reader's addresses. By 1927 readers, often young adults, would write to each other, bypassing the magazine.[2] Science fiction fanzines had their beginnings in Serious & Constructive (later shortened tosercon) correspondence.[3] The fans would start up clubs to ease finding others with their same interests. Gernsback founded the Science Fiction League in 1934, where these clubs could advertise for more users.[4]
The first science fiction fanzine,The Comet, was published in 1930 by theScience Correspondence Club in Chicago and edited byRaymond A. Palmer and Walter Dennis.[5] The term "fanzine" was coined byRuss Chauvenet in the October 1940 edition of his fanzineDetours. "Fanzines" were distinguished from "prozines" (a term Chauvenet also invented), that is, all professional magazines. Prior to that, the fan publications were known as "fanmags".[6]
Science fiction fanzines used a variety of printing methods. Typewriters, school dittos, church mimeos and (if they could afford it) multi-color letterpress or other mid-to-high level printing. Some fans wanted their news spread, others reveled in the artistry and beauty of fine printing.[citation needed] Thehectograph, introduced around 1876, was so named because it could produce (in theory) up to a hundred copies. Hecto used ananiline dye, transferred to a tray of gelatin, and paper would be placed on the gel, one sheet at a time, for transfer. Messy and smelly, the process could create vibrant colors for the few copies produced, the easiest aniline dye to make being purple (technicallyindigo). The next small but significant technological step after hectography is thespirit duplicator, essentially the hectography process using a drum instead of the gelatin. Introduced byDitto Corporation in 1923, these machines were known for the next six decades as Ditto Machines and used by fans because they were cheap to use and could (with a little effort) print in color.
Themimeograph machine, which forced ink through a wax paper stencil cut by the keys of a typewriter, was the standard for many decades. A second-hand mimeo could print hundreds of copies and (with more than a little effort) print in color. Theelectronic stencil cutter (shortened to "electrostencil" by most) could add photographs and illustrations to a mimeo stencil. A mimeo'd zine could look terrible or look beautiful, depending more on the skill of the mimeo operator than the quality of the equipment. Only a few fans could afford more professional printers, or the time it took them to print, until photocopying became cheap and ubiquitous in the 1970s. With the advent of computer printers and desktop publishing in the 1980s, fanzines began to look far more professional. The rise of the internet made correspondence cheaper andmuch faster, and theWorld Wide Web has made publishing a fanzine as simple as coding a web page.
New technology brought various print style innovations. For example, there were alphanumeric contractions which are actually precursors to "leetspeak' (a well-known example is the "initials" used byForrest J. Ackerman in his fanzines from the 1930s and 1940s, namely "4sj".[7] Fans around the world knew Ackerman by three letters "4sj" or even two: "4e" for "Forry").Fanspeak is rich with abbreviations and concatenations. Where teenagers labored to save typing on ditto masters, they now save keystrokes when text messaging. Ackerman invented nonstoparagraphing as a space-saving measure.[8] When the typist comes to the end of a paragraph, they simply moved the platen down one line.
Never commercial enterprises, mostscience fiction fanzines were (and many still are) available for "the usual", a sample issue will be mailed on request. To receive further issues, a reader sends a "letter of comment" (LoC) about the fanzine to the editor.[9] The LoC might be published in the next issue; some fanzines consisted almost exclusively of letter columns, where discussions were conducted in much the same way as they are in internetnewsgroups andmailing lists today, though at a relatively glacial pace. Often fanzine editors ("faneds") would simply swap issues with each other, not worrying too much about matching trade for trade, somewhat like being on one another'sfriends list. Without being closely connected with the rest of fandom, a budding faned could read fanzine reviews in prozines, and fanzines reviewed other fanzines. Recent technology has changed the speed of communication between fans and the technology available, but the basic concepts developed by science fiction fanzines in the 1930s can be seen online today. Blogs—with their threaded comments, personalized illustrations, shorthand in-jokes, wide variety in quality and wider variety of content—follow the structure developed in science fiction fanzines, without (usually) realizing the antecedent.
Since 1937, science fiction fans have formedamateur press associations (APAs); the members contribute to a collective assemblage or bundle that contains contributions from all of them, calledapazines and often containingmailing comments.[10] Some APAs are still active, and some are published as virtual "e-zines", distributed on the Internet.[11] SpecificHugo Awards are given forfanzines,fan writing andfanart.
Media fanzines were originally merely a subgenre of SF fanzines, written by science fiction fans already familiar with apazines. The first media fanzine was aStar Trek fan publication calledSpockanalia, published in September 1967[12]: 1 [13] by members of theLunarians.[14] They hoped that fanzines such asSpockanalia would be recognized by the broader science-fiction fan community in traditional ways, such as aHugo Award for Best Fanzine.[12]: 6 All five of its issues were published while the show was still on the air, and included letters fromD. C. Fontana,Gene Roddenberry, and most of the cast members, and an article by future Hugo and Nebula winnerLois McMaster Bujold.[12]: 1, 2, 83
Many other Star Trek 'zines followed, then slowly zines appeared for other media sources, such asStarsky and Hutch,Man from U.N.C.L.E. andBlake's 7. By the mid-1970s, there were enough media zines being published thatadzines existed just to advertise all of the other zines available. AlthoughSpockanalia had a mix of stories and essays, most zines were all fiction.[citation needed] Like SF fanzines, these media zines spanned the gamut of publishing quality fromdigest-sized mimeos to offset printed masterpieces with four-color covers.
Men wrote and edited most previous science fiction fanzines, which typically published articles reporting on trips to conventions, and reviews of books and other fanzines. Camille Bacon-Smith later stated that "One thing you almost never find in a science fiction fanzine is science fiction. Rather ... fanzines were the social glue that created a community out of a worldwide scattering of readers."[15] Women published most media fanzines, which by contrast also includedfan fiction. By doing so, they "fill the need of a mostly female audience for fictional narratives that expand the boundary of the official source products offered on the television and movie screen."[14] In addition to long and short stories, as well as poetry, many media fanzines included illustrated stories, as well as stand alone art, often featuring portraits of the show or film's principal characters. The art could range from simple sketches, to reproductions of large elaborate works painted in oil or acrylic, though most are created in ink.
In the late 1970s, fiction that included a sexual relationship between two of the male characters of the media source (firstKirk/Spock, then later Starsky/Hutch, Napoleon/Illya, and many others) started to appear in zines. These became known asslash fiction from the '/' mark used in adzines. The slash help to differentiate a K&S story (which would have been a Kirk and Spock friendship story) from a K/S story, which would have been one with a romantic or sexual bent between the characters. Slash zines eventually had their own subgenres, such asFemslash. By 2000, when web publishing of stories became more popular than zine publishing, thousands of media fanzines had been published;[16] over 500 of them were k/s zines.[16]
Another popular franchise for fanzines was the "Star Wars" saga. By the time the filmThe Empire Strikes Back was released in 1980, Star Wars fanzines had surpassed Star Trek zines in sales.[17] An unfortunate episode in fanzine history occurred in 1981 when Star Wars directorGeorge Lucas threatened to sue fanzine publishers who distributed zines featuring the Star Wars characters in sexually explicit stories or art.[18]
Comics were mentioned and discussed as early as the late 1930s in thefanzines ofscience fiction fandom. Famously, the first version ofSuperman (a bald-headed villain) appeared in the third issue ofJerry Siegel andJoe Shuster's 1933 fanzineScience Fiction. In 1936,David Kyle published The Fantasy World, possibly the first comics fanzine.[19][20] Malcolm Willits and Jim Bradley startedThe Comic Collector's News in October 1947.[21] By 1952,Ted White had mimeographed a four-page pamphlet aboutSuperman, andJames Vincent Taurasi, Sr. issued the short-livedFantasy Comics. In 1953,Bhob Stewart publishedThe EC Fan Bulletin,[20] which launchedEC fandom of imitative EC fanzines. A few months later, Stewart, White, andLarry Stark producedPotrzebie, planned as a literary journal of critical commentary about EC by Stark. Among the wave of EC fanzines that followed, the best-known wasRon Parker'sHoo-Hah!. After that came fanzines by the followers ofHarvey Kurtzman'sMad,Trump andHumbug. Publishers of these included futureunderground comics stars likeJay Lynch andRobert Crumb.
In 1960,Richard andPat Lupoff launched their science fiction and comics fanzineXero. In the second issue, "The Spawn of M.C. Gaines'" by Ted White was the first in a series of nostalgic, analytical articles about comics by Lupoff,Don Thompson,Bill Blackbeard,Jim Harmon and others under the heading,All in Color for a Dime. In 1961,Jerry Bails'Alter Ego, devoted tocostumed heroes,[20] became a focal point for superhero comics fandom and is thus sometimes mistakenly cited as the first comics fanzine.
Contacts through these magazines were instrumental in creating the culture of moderncomics fandom: conventions, collecting, etc. Much of this, like comics fandom itself, began as part of standardscience fiction conventions, but comics fans have developed their own traditions. Comics fanzines often include fan artwork based on existing characters as well as discussion of the history of comics. Through the 1960s, and 1970s, comic fanzines followed some general formats, such as the industry news and information magazine (The Comic Reader was one example), interview, history, and review-based fanzines, and the fanzines which basically represented independent comic book-format exercises. While perceived quality varied widely, the energy and enthusiasm involved tended to be communicated clearly to the readership, many of whom were also fanzine contributors. Prominent comics zines of this period includedAlter Ego,The Comic Reader, andRocket's Blast Comicollector, all started byJerry Bails. During the 1970s, many fanzines (Squa Tront, as an example) also became partly distributed through certaincomic book distributors.[citation needed]
One of the first British comics fanzines was Phil Clarke'sKA-POW, launched in 1967.[22] Prominent British comics fanzines of the 1970s and early 1980s included the long-runningFantasy Advertiser,Martin Lock'sBEM,Richard Burton'sComic Media News, Alan Austin'sComics Unlimited, George Barnett'sThe Panelologist,[23] and Richard Ashford'sSpeakaeasy.
At times, the professional comics publishers have made overtures to fandom via 'prozines', in this case fanzine-like magazines put out by the major publishers.The Amazing World of DC Comics and the Marvel magazineFOOM began and ceased publication in the 1970s. Priced significantly higher than standard comics of the period (AWODCC was $1.50,FOOM was 75 cents), each house-organ magazine lasted a brief period of years. Since 2001 in Britain, there have been created a number of fanzines pastiching children's comics of the 1970s, and 1980s (e.g.Solar Wind,Pony School, etc.). These adopt a style of storytelling rather than specific characters from their sources, usually with a knowing orironic twist.
As with comics zines, horror film fanzines grew from related interest within science fiction fan publications.Trumpet, edited byTom Reamy, was a 1960s SF zine that branched into horror film coverage. Alex Soma'sHorrors of the Screen,[24]Calvin T. Beck'sJournal of Frankenstein (laterCastle of Frankenstein) and Gary Svehla'sGore Creatures were the first horror fanzines created as more serious alternatives to the popularForrest J Ackerman 1958 magazineFamous Monsters of Filmland.Gore Creatures began in 1961 and continues today as the prozine (and specialty publisher)Midnight Marquee.[25]Garden Ghouls Gazette—a 1960s horror title under the editorship of Dave Keil, then Gary Collins—was eventually headed by the lateFrederick S. Clarke (1949–2000) and in 1967 became the respected journalCinefantastique. It later became a prozine under journalist-screenwriterMark A. Altman and has continued as a webzine.[26]
Mark Frank'sPhoton—notable for the inclusion of an 8x10photo in each issue—was another 1960s zine that lasted into the 1970s.[27] Richard Klemensen'sLittle Shoppe of Horrors,[28] having a particular focus on "Hammer Horrors", began in 1972 and is still publishing as of 2025.The Animation Journal (1964-1966) edited by Indiana natives Steve Towsley and Bill Shrock was perhaps the first fanzine devoted to the makers of stop-motion animated monsters.[29]
TheBaltimore-basedBlack Oracle (1969–1978) from writer-turned-John Waters repertory memberGeorge Stover was a diminutive zine that evolved into the larger-formatCinemacabre. Stover'sBlack Oracle partner Bill George published his own short-lived zineThe Late Show (1974–1976; with co-editor Martin Falck), and later became editor of theCinefantastique prozine spinoffFemme Fatales. In the mid-1970s,North Carolina teenagerSam Irvin published the horror/science-fiction fanzineBizarre, which included his original interviews with UK actors and filmmakers; Irvin would later become a producer-director in his own right.[30]Japanese Fantasy Film Journal (JFFJ) (1968–1983) from Greg Shoemaker coveredToho'sGodzilla and his Asian brethren.Japanese Giants (JG) was founded by Stephen Mark Rainey in 1974 and was published for 30 years.[31] In 1993,G-FAN was published, and reached its 100th regularly published issue in Fall 2012.[32]FXRH (Special effects byRay Harryhausen) (1971–1976) was a specialized zine co-created by futureHollywoodFX artistErnest D. Farino.[33]
The 2024 filmConclave directed byEdward Berger gained a significant following online. A fanzine for the film was published which co-founder Susan Bin described as "a snapshot of thefandom".[34] By February 2025, the zine “has already raised an estimated $45,000 for charities including the Intersex Human Rights Fund.”[35][36]
By the mid-1960s, several fans active in science fiction and comics fandom recognized a shared interest in rock music, and the rock fanzine was born.Paul Williams andGreg Shaw were two such SF-fans turned rock zine editors. Williams'Crawdaddy! (1966) and Shaw's two California-based zines,Mojo Navigator (full title, "Mojo-Navigator Rock and Roll News") (1966) andWho Put the Bomp, (1970), are among the most important early rock fanzines.
Crawdaddy! (1966) quickly moved from its fanzine roots to become one of the first rock music "prozines", with paid advertisers and newsstand distribution.Bomp remained a fanzine, featuring many writers who would later become prominent music journalists, includingLester Bangs,Greil Marcus, Ken Barnes,Ed Ward,Dave Marsh,Metal Mike Saunders andR. Meltzer.Bomp featured cover art by Jay Kinney and Bill Rotsler, both veterans of SF and Comics fandom.Bomp was not alone; an August 1970 issue ofRolling Stone included an article about the explosion of rock fanzines. Other rock fanzines of this period includedenim delinquent 1971, edited by Jymn Parrett,Flash, 1972, edited by Mark Shipper,Eurock Magazine (1973–1993) edited by Archie Patterson andBam Balam, written and published by Brian Hogg in East Lothian, Scotland, beginning in 1974, and in the mid-1970s,Back Door Man.
In the post-punk era, several well-written fanzines emerged that cast an almost academic look at earlier, neglected musical forms, including Mike Stax'Ugly Things, Billy Miller andMiriam Linna'sKicks, Jake Austen'sRoctober, Kim Cooper'sScram, P. Edwin Letcher'sGarage & Beat, and the UK'sShindig! and Italy'sMisty Lane.
In the 1980s, with the rise of stadium superstars, many home-grown rock fanzines emerged. At the peak ofBruce Springsteen's megastardom following theBorn in the U.S.A. album andBorn in the U.S.A. Tour in the mid-1980s, there were no less than five Springsteen fanzines circulating at the same time in the UK alone, and many others elsewhere. Gary Desmond'sCandy's Room, coming from Liverpool, was the first in 1980, quickly followed by Dan French'sPoint Blank, Dave Percival'sThe Fever, Jeff Matthews'Rendezvous, and Paul Limbrick'sJackson Cage. In the US,Backstreets Magazine started in Seattle in 1980 and still continues today as a glossy publication, now in communication with Springsteen's management and official website. In the late 1990s, numerous fanzines and e-zines flourished about electronic andpost-rock music.Crème Brûlée fanzine was one of those that documented post-rock genre and experimental music.
Thepunk subculture in the United Kingdom spearheaded a surge of interest in fanzines as a countercultural alternative to established print media. In his 1985 bookOne Chord Wonders, Dave Laing argues that fanzines, along with self-produced 7" single records, were the essence of 'punk difference'.[37] Matt Worley, inXerox Machine, sees the significance of fanzines in punk as both at the time a response to 'an out-of-touch [mainstream] music press' and retrospectively as a way of 'trac[ing] punk's cultural influence into the backrooms, bedrooms and side streets of Britain'.[38] The first and still best known UK 'punk zine' wasSniffin' Glue, produced byDeptford punk fanMark Perry.Sniffin' Glue ran for 12 photocopied issues; the first issue was produced by Perry immediately following (and in response to) the London debut ofThe Ramones on 4 July 1976. Other UK fanzines includedAblaze!Blam!,Bombsite,Wool City Rocker,Burnt Offering,Sideburns,Chainsaw,New Crimes,Vague,Jamming,Artcore Fanzine,Love and Molotov Cocktails,To Hell With Poverty,New Youth,Peroxide,ENZK,Juniper beri-beri,No Cure,Communication Blur,Rox,Grim Humour,Spuno,[39]Cool Notes andFumes. Of these, Tony Fletcher'sJamming was the most far reaching, becoming a nationally distributed mainstream magazine for several years before its demise.[citation needed]
In the United States,Punk began publication in 1976 out of New York City and played a major part in popularizingpunk rock (a term coined a few years earlier inCreem) as the term for the music and the bands being written about.
Flipside[40] andSlash were important punk fanzines from the Los Angeles scene, both debuting in 1977. The San Francisco-based punk fanzineSearch and Destroy, which published from 1977 to 1979, eventually became the influential fringe-cultural magazineRe/Search.Damage published 13 issues there from 1979 to 1981.[41]Maximum RocknRoll, also from San Francisco, was a major punk fanzine, with over 300 issues published since 1982.
The Washington, D.C. punk community generated several fanzines in the late 1970s and early 1980s, such asCapitol Crisis,Vintage Violence,Thrillseeker,If This Goes On, andDescenes.[42]
As punk and alternative culture grew more popular throughout the 1980s and 1990s—evidenced by the success of punk and alternative rock bands likeSonic Youth,Nirvana,Fugazi,Bikini Kill,Green Day andThe Offspring—thousands of other punk fanzines appeared in the United States, such asPunk Planet,Left of the Dial,Tail Spins,Sobriquet,Profane Existence andSlug and Lettuce.
Some punk fanzines from the 1980s, likeNo Class[43] andUgly American[44] experienced a second life by placing all past content online for free and adding new content. Although fewer in number in the 21st century, punk fanzines still exist in the United States, such asSuburban Rebels andRazorcake, both from California.
Most punk fanzines were printed in small quantities and promoted their respective local scenes. They were often cheaply photocopied and many never survived beyond a few issues. Their greatest contribution was in promoting punk music, clothing, and lifestyle in their local communities. Punk bands and independent labels often sent records to the zines for review and many of the people who started the zines became critical connections for punk bands on tour.
In 1977,Bruce Milne andClinton Walker fused their respective punk zinesPlastered Press andSuicide Alley to launchPulp; Milne later went on to invent the cassette zine withFast Forward, in 1980.[45][46]
InPerugia, Italy,Mazquerade ran from 1979 to 1981.[47]
InBasilicata, Italy,Raw Art Fanzine ran from 1995 to 2000.[48]
InMilan, Italy,Gorezilla ran from 1988 to 1991.[49]
The "Riot Grrrl" movement emerged from the punk scene in the US in the early 1990s when women began to produce zines withfeminist themes.[50] The "riot grrrl" wave was influential for "pinkzines" as it called for women to publish and produce content in the male-dominated culture.[51]
Making Waves was a four-issue collective fanzine focused on punk and new wave music and feminism and womanhood created by Camille Lan inParis, France, and Mary Jane Regalado inLos Angeles, first published in 2011, featuring articles and interviews from around the world.[52][53][54]
In the UK,Fracture andReason To Believe were significant fanzines in the early 2000s, but both ended in late 2003.[citation needed]Rancid News filled the gap left by these two zines for a short while. On its tenth issueRancid News changed its name toLast Hours with 7 issues published under this title before going on hiatus.[citation needed]Last Hours still[when?] operates as awebzine, though with more focus on the anti-authoritarian movement than its original title. There are many smaller fanzines in existence throughout the UK that focus on punk.[citation needed]
Artcore Fanzine (established in 1986, relocated to the US in 2018) continues to this day, recently[when?] publishing a number of 30-year anniversary issues.[citation needed]
Mark Wilkins, promotion director for 1982 onwards US punk/thrash labelMystic Records, had over 450 US fanzines and 150 foreign fanzines he promoted to regularly. He and Mystic Records owner Doug Moody editedThe Mystic News Newsletter which was published quarterly and went into every promo package to fanzines. Wilkins also published the Los Angeles punk humor zineWild Times.[citation needed]
In the United Kingdom, the 1979Mod revival, which was inspired by the 1960sMod subculture, brought with it a burst of fresh creativity from fanzines, and for the next decade, the youthsubculture inspired the production of dozens of independent publications. The most successful of the first wave wasMaximum Speed, which successfully captured the frenetic world of amod revival scene that was propelling bands likeSecret Affair,Purple Hearts andThe Chords into the UK charts.
After the genre had started to go out of fashion with mainstream audiences in 1981, the mod revival scene went underground and successfully reinvented itself through a series of clubs, bands and fanzines that breathed fresh life into the genre, culminating in another burst of creative acceptance in 1985. This success was largely driven by the network of underground fanzines, the most important and far reaching of which wereExtraordinary Sensations, produced by future radio DJEddie Piller, andShadows & Reflections, published by future national magazine editorChris Hunt. The latter in particular pushed back the boundaries of fanzine production, producing glossy, professionally written and printed publications at a time (1983–1986) when most fanzines were produced via photocopier and letraset.
In the UK, there were also fanzines that covered the local music scene in a particular town or city. Mainly prevalent in the 1970s, and 1980s, all music styles were covered, whether the bands were playing rock, punk, metal, futurist, ska or dance. Featured were local gig reviews and articles that were below the radar of the mainstream music press. They were produced using the technology of the time, i.e. typewriter andLetraset. Examples includeBombsite Fanzine (Liverpool 1977), Wool City Rocker (Bradford 1979–1982),City Fun (Manchester), 1984, Spuno (Bath 1980),[39]No Cure (Berkshire) andTown Hall Steps (Bolton) and more recentlymono (fanzine), (Bradford) with many more across the country, such as Premonition Tapes Tapezine on cassette (Sheffield 1987) and Crime Pays (Liverpool 1988).
Another sizable group of fanzines arose inrole-playing game (RPG) fandom, where fanzines allowed people to publish their ideas and views on specific games and theirrole-playing campaigns. In 1975, was released the apazineAlarums and Excursions.[55]
Role-playing fanzines allowed people to communicate in the 1970s, and 1980s with complete editorial control in the hands of the players, as opposed to the game publishers. These early RPG fanzines were generally typed, sold mostly in an A5 format (in the UK) and were usually illustrated with abysmal or indifferent artwork.
A fanzine community developed and was based on sale to a reading public and exchanges by editor/publishers. Many of the pioneers of RPG got their start in, or remain part of,science fiction fandom. This is also true of the small but still activeboard game fandom scene, the most prolific subset of which is centered aroundplay-by-mailDiplomacy.
The UK fanzineAslan (1988–1991)[56] was responsible for popularization offreeform role-playing games in the UK.[57]
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Video game fanzines first emerged during thesecond generation period at a time when gaming stores and newsletters for computeruser groups were beginning to become established but had not yet receive significant recognition by purchasers and gamers. The earliest such publication wasJoystick Jolter.[58] Other subscriber-based newsletters included8:16 (UK, all things Atari, 1st issue Nov 1987),The Video Game Update, later titledComputer Entertainer.
As desktop publishing tools became more accessible, there was an increase in fanzine production. Fanzines generally emphasized either classic gaming (e.g.2600 Connection andClassic Systems & Games Monthly), or current gaming (e.g.APE andThe Subversive Sprite). Less commonly, some fanzines covered both topics (e.g.Digital Press andJoystick & Screen). The number of zines grew with the development ofvideo game journalism as writers likeArnie Katz andChris Bieniek used their columns in mainstream magazines likeVideo Games & Computer Entertainment,EGM, andTips & Tricks, to publish reviews of promising fanzines. These mainstream reviews had the effect of introducing fan editors to each other and of creating a fanzine scene.
The popularity of video game fanzines diminished greatly with the rise of the internet, however some zines—particularly the classic gaming ones (e.g.Classic Gamer Magazine andVideo Game Collector)—continued beyond the mid-90s. The rise of "on demand" publishing has led to a new outlet for print zines, likeJumpbutton andScroll.
The video game fanzine era was biggest in the US and Canada,[citation needed] but zines are also produced in other countries. Prominent video game fanzines produced in the UK includeRetrogamer,Pixel Nation,Capcom Fanzine,Mercury, andSuper Famicom Mini Mag among others.[59] In France fanzines likeRevival were circulated, and Japan has seen the production of lavishdoujin works.
More recently, there has been a mini-resurgence in video game fanzines, with the launch ofHyperPlay RPG in 2015 andSwitch Player in 2017. Based in part onSuper Play's focus on role-playing games and "any-bit" Nintendo,[clarification needed]HyperPlay RPG[60] received positive reviews by the mainstream video game media.[61]
Several fanzines exist within the hobby ofwargaming. Among them isCharge!, a leading international fanzine exclusively forminiature wargaming enthusiasts for theAmerican Civil War period. Other fanzines supportWarhammer and other popular rules sets.
The first association football fanzine is regarded as beingFoul, a publication that ran between 1972 and 1976.[62] In the UK, mostPremier League orFootball Leaguefootball clubs have one or more fanzines which supplement, oppose and complement the club's official magazine or matchday programme. A reasonably priced zine has a guaranteed audience, as is the culture of passion in being a football fan.
The longest running fanzine isThe City Gent, produced by supporters ofBradford City FC, which first went on sale at Valley Parade in November 1984 and is now in its 26th season. Following close on its heels was Nike, Inc.[63] which was first released in 1989. At the time it was not the first of its kind withTerrace Talk (York City), which was first published in November 1981 andWanderers Worldwide (Bolton Wanderers) having already been established but since disappeared. In 1985 the emergentWhen Saturday Comes (a fanzine without a specific club focus that was subsequently launched as a mainstream magazine) promoted a 'fanzine movement' that gave birth to many more club titles during the late 1980s which was something of a glory period for fanzines.
With the widespread availability of the Internet, much of the energy that was put into football fanzines subsequently went into the development of supporters' websites. Examples of other UK football fanzines includeA Love Supreme (Sunderland),TOOFIF (Fulham),The Square Ball (Leeds United),4,000 Holes (Blackburn Rovers) andWar of the Monster Trucks (aSheffield Wednesday fanzine named after a local TV station elected not to show the final scenes of an unlikely cup victory). The Queen's Park Rangers fanzine 'A Kick up the Rs' was first published in August 1987 and is still issuing an average of 10 issues per season.
Fanzines are not exclusive to the top tiers of football however, withNorthern Counties East League sideScarborough Athletic FC having a fanzine titledAbandon Chip!, a pun based on both the perilous situation of predecessor clubScarborough FC and that club's sponsors,McCain.
And also away from the world of Football there were a number of established fanzines, for exampleRugby league has such notable publications asWho The Hell Was St. George Anyway? Rugby League fanzine, by supporters of Doncaster RLFC andScarlet Turkey ofSalford City Reds.However, due to pressure from the Internet etc. these publications no longer exist in printed form. The title of World's longest running Rugby League fanzine now belongs toThe Aye of the Tigers, by Castleford Tigers supporters. The fanzine movement has even spread to the United States, where ice hockey fans have produced several popular fanzines. In Chicago two examples include the formerly publishedBlue Line Magazine and currentlyThe Committed Indian, both produced byChicago Blackhawks fans.[64] InSt. Louis there areGame Night Revue andSt Louis Game Time for theSt. Louis Blues.
There are also a number of fanzines to be found in Ireland of whichShelbourne'sRed Inc. has been running since 1999, and is the only one still in existence.[65]
In the United States, sports fanzines are relatively rare. InBoston they are a bit more common. There are two fanzines sold outside Fenway Park includingYawkey Way Report, which is run by a former Marine.[66][67]
With the increasing availability of the Internet in the late 20th and the early 21st century, the traditional paper zine has begun to give way to thewebzine (or "e-zine") that is easier to produce and uses the potential of the Internet to reach an ever-larger, possibly global, audience. Nonetheless, printed fanzines are still produced, either out of preference for the format or to reach people who do not have convenient Web access. Online versions of approximately 200science fiction fanzines will be found at Bill Burns' eFanzines web site, along with links to otherSF fanzine sites.[68] In addition, zine festivals are held each year in American cities like Los Angeles,[69] Chicago,[70] and Brooklyn,[71] as well as internationally in cities including Melbourne, Australia,[72] and Glasgow, UK.[73]
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includes an extensive resource of media fanzines including table of contents, awards and covers
digitally restored for free online
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