A fanzine (blend of fan and magazine or -zine) 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 1940 science fiction fanzine by Russ Chauvenet and first popularized within science fiction fandom, and from there it was adopted by other communities.

Typically, publishers, editors, writers and other contributors of articles or illustrations 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 publications for (rather than by) fans.



The origins of amateur fanac "fan" publications are obscure, but can be traced at least back to 19th century literary groups in the United States which formed amateur press associations to publish collections of amateur fiction, poetry and commentary, such as H.P. Lovecraft's United Amateur. These publications were produced first on small tabletop printing presses, often by students.

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., the spirit duplicator or even the hectograph). Only a very small number of copies could be made at a time, so circulation was extremely limited. The use of mimeograph machines enabled greater press runs, and the photocopier increased the speed and ease of publishing once more. Today, thanks to the advent of desktop publishing and self-publication, there is often little difference between the appearance of a fanzine and a professional magazine.


Science fiction

When Hugo Gernsback published the first science 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. Science fiction fanzines had their beginnings in Serious & Constructive (later shortened to sercon) correspondence. Fans finding themselves writing the same letter to several correspondents sought to save themselves a lot of typing by duplicating their letters.

Early efforts included simple carbon copies but that proved insufficient. The first science fiction fanzine, The Comet, was published in 1930 by the Science Correspondence Club in Chicago and edited by Raymond A. Palmer and Walter Dennis.[1] The term "fanzine" was coined by Russ Chauvenet in the October 1940 edition of his fanzine Detours. "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" or "letterzines".

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. The hectograph, introduced around 1876, was so named because it could produce (in theory) up to a hundred copies. Hecto used an aniline 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 (technically indigo). The next small but significant technological step after hecto is the spirit duplicator, essentially the hectography process using a drum instead of the gelatin. Introduced by Ditto 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.

The mimeograph 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. The electronic 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 and much faster, and the World Wide Web has made publishing a fanzine as simple as coding a web page.

The printing technology affected the style of writing. For example, there were alphanumeric contractions which are actually precursors to "leet-speak". (A well-known example is the "initials" used by Forrest J. Ackerman in his fanzines from the 30s, and 40s, namely "4sj". 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.[2] When the typist comes to the end of a paragraph, they simply moved the platen down one line.

Never commercial enterprises, most science fiction fanzines were (and many still are) available for "the usual," meaning that 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. 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 internet newsgroups and mailing 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's friends 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 formed amateur press associations (APAs); the members contribute to a collective assemblage or bundle that contains contributions from all of them, called apazines and often containing mailing comments.[3] Some APAs are still active, and some are published as virtual "e-zines," distributed on the Internet.[4] Specific Hugo Awards are given for fanzines, fan writing and fanart.


Media fanzines were originally merely a subgenre of SF fanzines, written by science fiction fans already familiar with apazines. The first media fanzine was a Star Trek fan publication called Spockanalia, published in September 1967[5]:1[6] by members of the Lunarians.[7] They hoped that fanzines such as Spockanalia would be recognized by the broader science-fiction fan community in traditional ways, such as a Hugo Award for Best Fanzine.[5]:6 All five of its issues were published while the show was still on the air, and included letters from D. C. Fontana, Gene Roddenberry, and most of the cast members, and an article by future Hugo and Nebula winner Lois McMaster Bujold.[5]:1,2,83

Many other Star Trek 'zines followed, then slowly zines appeared for other media sources, such as Starsky and Hutch, Man from U.N.C.L.E. and Blake's 7. By the mid-1970s, there were enough media zines being published that adzines existed just to advertise all of the other zines available. Although Spockanalia had a mix of stories and essays, most zines were all fiction. Like SF fanzines, these media zines spanned the gamut of publishing quality from digest-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."[8] Women published most media fanzines, which by contrast also included fan 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."[7] 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 (first Kirk/Spock, then later Starsky/Hutch, Napoleon/Illya, and many others) started to appear in zines. This became known as slash from the '/' mark used in adzines 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 became their own sub-subgenre; in many fandoms you rarely saw slash and non-slash stories appear in the same zines. By 2000, when web publishing of stories became more popular than zine publishing, thousands of media fanzines had been published;[9] over 500 of them were k/s zines.[9]

Another popular franchise for fanzines was the "Star Wars" saga. By the time the film "The Empire Strikes Back" was released in 1980 Star Wars fanzines had surpassed Star Trek zines in sales. An unfortunate episode in fanzine history occurred in 1981 when Star Wars director George Lucas threatened to sue fanzine publishers who distributed zines featuring the Star Wars characters in sexually explicit stories or art.


Comics were mentioned and discussed as early as the late 1930s in the fanzines of science fiction fandom. Famously, the first version of Superman (a bald-headed villain) appeared in the third issue of Jerry Siegel and Joe Shuster's 1933 fanzine Science Fiction. In 1936, David Kyle published The Fantasy World , possibly the first comics fanzine.[10][11] Malcolm Willits and Jim Bradley started The Comic Collector's News in October, 1947.[12] By 1952, Ted White had mimeographed a four-page pamphlet about Superman, and James Taurasi issued the short-lived Fantasy Comics. In 1953, Bhob Stewart published The EC Fan Bulletin,[11] which launched EC fandom of imitative EC fanzines. A few months later, Stewart, White and Larry Stark produced Potrzebie, planned as a literary journal of critical commentary about EC by Stark. Among the wave of EC fanzines that followed, the best-known was Ron Parker's Hoo-Hah!. After that came fanzines by the followers of Harvey Kurtzman's Mad, Trump and Humbug. Publishers of these included future underground comics stars like Jay Lynch and Robert Crumb.

In 1960, Richard and Pat Lupoff launched their science fiction and comics fanzine Xero. 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 to costumed heroes,[11] f 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 modern comics fandom: conventions, collecting, etc. Much of this, like comics fandom itself, began as part of standard science 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. During the 1970s, many fanzines (Squa Tront, as example) also became partly distributed through certain comic book distributors.

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 magazine FOOM 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 or ironic twist.

Horror film

Horrors of the Screen 3 fanzine cover 1964
Horrors of the Screen #3, 1964

As with comics zines, horror film fanzines grew from related interest within science fiction fan publications. Trumpet, edited by Tom Reamy, was a 1960s SF zine that branched into horror film coverage. Alex Soma's Horrors of the Screen,[13] Calvin T. Beck's Journal of Frankenstein (later Castle of Frankenstein) and Gary Svehla's Gore Creatures were the first horror fanzines created as more serious alternatives to the popular Forrest J Ackerman 1958 magazine Famous Monsters of Filmland. Gore Creatures began in 1961 and continues today as the prozine (and specialty publisher) Midnight Marquee.[14] Garden Ghouls Gazette – a 1960s horror title under the editorship of Dave Keil, then Gary Collins—was later headed by Frederick S. Clarke and in 1967 became the respected journal Cinefantastique. It later became a prozine under journalist-screenwriter Mark A. Altman and has continued as a webzine.[15]

Mark Frank's Photon—notable for the inclusion of an 8x10 photo in each issue—was another 1960s zine that lasted into the 1970s.[16] Richard Klemensen's Little Shoppe of Horrors,[17] having a particular focus on "Hammer Horrors," began in 1972 and is still publishing as of 2017.

The Baltimore-based Black Oracle (1969–1978) from writer-turned-John Waters repertory member George Stover was a diminutive zine that evolved into the larger-format Cinemacabre. Stover's Black Oracle partner Bill George published his own short-lived zine The Late Show (1974–1976; with co-editor Martin Falck), and later became editor of the Cinefantastique prozine spinoff Femme Fatales. In the mid-1970s, North Carolina teenager Sam Irvin published the horror/science-fiction fanzine Bizarre which included his original interviews with UK actors and filmmakers; Irvin would later become a producer-director in his own right.[18] Japanese Fantasy Film Journal (JFFJ) (1968–1983) from Greg Shoemaker covered Toho's Godzilla and his Asian brethren when no other publications much cared. In 1993, G-FAN picked up where JFFJ left off, and reached its 100th regularly published issue in Fall 2012.[19] FXRH (Special Effects by Ray Harryhausen) (1971–1976) was a specialized zine co-created by future Hollywood FX artist Ernest D. Farino.[20]

Rock & roll

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 and Greg 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) and Who 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, including Lester Bangs, Greil Marcus, Ken Barnes, Ed Ward, Dave Marsh, Mike Saunders and R. 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 of Rolling Stone included an article about the explosion of rock fanzines. Other rock fanzines of this period include denim delinquent 1971, edited by Jymn Parrett, Flash, 1972, edited by Mark Shipper, Eurock Magazine (1973–1993) edited by Archie Patterson and Bam 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 and Miriam Linna's Kicks, Jake Austen's Roctober, Kim Cooper's Scram, P. Edwin Letcher's Garage & Beat, and the UK's Shindig! and Italy's Misty Lane.

In the 1980s, with the rise of stadium superstars, many home-grown rock fanzines emerged. At the peak of Bruce Springsteen's megastardom following the Born in the U.S.A. album and Born 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's Candy's Room, coming from Liverpool, was the first in 1980, quickly followed by Dan French's Point Blank, Dave Percival's The Fever, Jeff Matthews' Rendezvous, and Paul Limbrick's Jackson 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, notorious fanzines and e-zines flourished about electronic and post-rock music. Crème Brûlée fanzine was one of those that documented post-rock genre and experimental music.


1970s fanzines (21224199545)
British punk fanzines from the 1970s.


The punk subculture in the United Kingdom spearheaded a surge of interest in fanzines as a countercultural alternative to established print media. The first and still best known UK 'punk zine' was Sniffin' Glue, produced by Deptford punk fan Mark Perry. Sniffin' Glue ran for 12 photocopied issues; the first issue was produced by Perry immediately following (and in response to) the London debut of The Ramones on 4 July 1976. Other UK fanzines included Blam!, Bombsite, Wool City Rocker, Burnt Offering, 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 [21] , Cool Notes and Fumes. Of these, Tony Fletcher's Jamming was the most far reaching, becoming a nationally distributed mainstream magazine for several years before its demise.


In the US, Flipside and Slash were important punk zines for the Los Angeles scene, both debuting in 1977. In 1977 in Australia, Bruce Milne and Clinton Walker fused their respective punk zines Plastered Press and Suicide Alley to launch Pulp; Milne later went on to invent the cassette zine with Fast Forward, in 1980.[22][23] Starting earlier, in 1976, Punk was published in New York and played a major part in popularizing punk rock (a term coined a few years earlier in Creem) as the term for the music and the bands being written about.

Among later titles, Maximum RocknRoll is a major punk zine, with over 300 issues published. As a result, in part, of the popular and commercial resurgence of punk in the late 1980s, and after, with the growing popularity of such bands as Sonic Youth, Nirvana, Fugazi, Bikini Kill, Green Day and The Offspring, a number of other punk zines have appeared, such as Punk Planet, Razorcake, Tail Spins, Sobriquet, Profane Existence and Slug and Lettuce. The early American punkzine Search and Destroy eventually became the influential fringe-cultural magazine Re/Search.

Some punk fanzines from the 80s, like No Class fanzine,[24] and Ugly American [25] are experiencing a second life by placing all past content online for free and adding new content. For the past 6 years, Suburban Rebels in Northern California has been leading the Punk zine way.

Many of the punk zines were printed in small quantities and promoted the local scene. 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.

After the year 2000

In the UK Fracture and Reason To Believe were significant fanzines in the early 2000s, but both ended in late 2003. Rancid News filled the gap left by these two zines for a short while. On its tenth issue Rancid News changed its name to Last Hours with 7 issues published under this title before going on hiatus. Last Hours still operates as a webzine though with more focus on the anti-authoritarian movement than its original title. Artcore Fanzine (established in 1986) continues to this day, recently publishing a number of 30 year anniversary issues. There are many smaller fanzines in existence throughout the UK that focus on punk.

Mark Wilkins, the promotion director for 1982 onwards US punk/thrash label Mystic Records, had over 450 US fanzines and 150 foreign fanzines he promoted to regularly. He and Mystic Records owner Doug Moody edited The Mystic News Newsletter which was published quarterly and went into every promo package to fanzines. Wilkins also published the highly successful Los Angeles punk humor zine Wild Times and when he ran out of funding for the zine syndicated some of the humorous material to over 100 US fanzines under the name of Mystic Mark.


In Perugia, Italy, Mazquerade ran from 1979 to 1981.[26]

In Basilicata, Italy, Raw Art Fanzine ran from 1995 to 2000.[27]


In the United Kingdom, the 1979 Mod revival, which was inspired by the 1960s Mod subculture, brought with it a burst of fresh creativity from fanzines, and for the next decade, the youth subculture inspired the production of dozens of independent publications. The most successful of the first wave was Maximum Speed, which successfully captured the frenetic world of a mod revival scene that was propelling bands like Secret Affair, Purple Hearts and The 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 were Extraordinary Sensations, produced by future radio DJ Eddie Piller, and Shadows & Reflections, published by future national magazine editor Chris Hunt. The latter in particular pushed back the boundaries of fanzine production, producing glossy, professionally written and printed publications at a time (1983–86) when most fanzines were produced via photocopier and letraset.

Local music

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 and Letraset. Examples include Bombsite Fanzine (Liverpool 1977), Wool City Rocker (Bradford 1979 - 1982), City Fun (Manchester), 1984, Spuno (Bath 1980) [21] No Cure (Berkshire) and Town Hall Steps (Bolton) and more recently ''mono'' (fanzine), (Bradford) with many more across the country, such as Premonition Tapes Tapezine on cassette (Sheffield 1987) and Crime Pays (Liverpool 1988).

Role-playing-game fanzines

Another sizable group of fanzines arose in role-playing game (RPG) fandom, where fanzines allowed people to publish their ideas and views on specific games and their role-playing campaigns. In 1975, was released the apazine Alarums and Excursions.[28]

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 zinedom got their start in, or remain part of, science fiction fandom. This is also true of the small but still active board game fandom scene, the most prolific subset of which is centered around play-by-mail Diplomacy.

The UK fanzine Aslan (1988-1991)[29] was responsible for popularization of freeform role-playing games in the UK.[30]

Video gaming

Video game fanzines first emerged during the second generation period when newsletters for computer user groups and stores were not uncommon, though not always well-known. Subscriber-based newsletters included the well-known 8: 16 (UK, all things Atari, 1st issue Nov 1987),The Video Game Update and later Computer Entertainer. The publication, Joystick Jolter was the first actual fanzine.

Later, as desktop publishing tools became more accessible, there was an increase in fanzine production. Fanzines generally emphasized either classic gaming (e.g. 2600 Connection and Classic Systems & Games Monthly), or current gaming (e.g. APE and The Subversive Sprite). However some fanzines covered both topics (e.g. Digital Press and Joystick & Screen). The number of zines grew bigger when video game journalists including Arnie Katz and Chris Bieniek used their columns to publish reviews of fanzines that they had been sent at magazines like Video Games & Computer Entertainment, EGM, and Tips & Tricks. These reviews had the effect of introducing fan editors to each other and creating a fanzine scene.

The video game fanzine diminished greatly in popularity with the rise of the web, though some zines—particularly the classic gaming ones—continued past the mid-90s (e.g. Classic Gamer Magazine and Video Game Collector). The rise of "on demand" publishing has led to a new outlet for print zines, like Jumpbutton and Scroll.

The video game fanzine era was biggest in the US and Canada, but there were/are zines from other countries too. Video game fanzines in UK have included Retrogamer, Pixel Nation, Capcom Fanzine, Mercury, and Super Famicom Mini Mag among others.[31] In France fanzines like Revival we circulated, and Japan has seen the production of lavish doujin works.

More recently, there has been a mini-resurgence in video game fanzines, with the launch of HyperPlay RPG in 2015 and Switch Player in 2017. Based in part on the above-mentioned Super Play with a focus on role-playing games and "any-bit" Nintendo,[32] popular fanzine HyperPlay RPG has been consistently well-reviewed by the mainstream video game media.[33]


Several fanzines exist within the hobby of wargaming. Among them is Charge!, a leading international fanzine exclusively for miniature wargaming enthusiasts for the American Civil War period. Other fanzines support Warhammer and other popular rules sets.


The first association football fanzine is regarded as being Foul, a publication that ran between 1972 and 1976.[34] In the UK, most Premier League or Football League football 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 is The City Gent, produced by supporters of Bradford 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.[35] which was first released in 1989. At the time it was not the first of its kind with Terrace Talk (York City), which was first published in November 1981 and Wanderers Worldwide (Bolton Wanderers) having already been established but since disappeared. In 1985 the emergent When 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 include A Love Supreme (Sunderland), TOOFIF (Fulham), 4,000 Holes (Blackburn Rovers) and War of the Monster Trucks (a Sheffield 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, with Northern Counties East League side Scarborough Athletic FC having a fanzine titled Abandon Chip!, a pun based on both the perilous situation of predecessor club Scarborough FC and that club's sponsors, McCain.

And also away from the world of Football there were a number of established fanzines, for example Rugby league has such notable publications as Who The Hell Was St. George Anyway? Rugby League fanzine, by supporters of Doncaster RLFC and Scarlet Turkey of Salford 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 to The 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 published Blue Line Magazine and currently The Committed Indian, both produced by Chicago Blackhawks fans.[36] In St. Louis there are Game Night Revue and St Louis Game Time for the St. Louis Blues.

There are also a number of fanzines to be found in Ireland of which Shelbourne's Red Inc. is the longest running.

In the United States, sports fanzines are relatively rare. In Boston they are a bit more common. There are two fanzines sold outside Fenway Park including Yawkey Way Report, which is run by a former Marine.[37][38]

Recent developments

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 the webzine (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 200 science fiction fanzines will be found at Bill Burns'[39] eFanzines web site, along with links to other SF fanzine sites. In addition zine festivals are held each year in American cities like Los Angeles,[40] Chicago,[41] and Brooklyn,[42] as well as internationally in cities including Melbourne, Australia,[43] and Glasgow, UK.[44]

See also


  1. ^ Moskowitz, Sam; Sanders, Joe (1994). The Origins of Science Fiction Fandom: A Reconstruction. Westport, CT: Greenwood Press. pp. 17–36.
  2. ^ Cohen, Philip (1975). "Language of Science Fiction Fandom". Word Ways. 8 (1): 5–6.
  3. ^ Southard, Bruce (Spring 1982). "The Language of Science-Fiction Fan Magazines". American Speech. 57 (1): 23. doi:10.2307/455177. JSTOR i219220.
  4. ^ "Amateur Press Associations (APAs) (UPDATED)". That's Not Online. Retrieved 28 December 2016.
  5. ^ a b c Verba, Joan Marie (2003). Boldly Writing: A Trekker Fan & Zine History, 1967-1987 (PDF). Minnetonka MN: FTL Publications. ISBN 0-9653575-4-6.
  6. ^ Grimes, William (September 21, 2008). "Joan Winston, 'Trek' Superfan, Dies at 77". The New York Times. Retrieved April 2, 2010.
  7. ^ a b Bacon-Smith, Camille (2000). Science Fiction Culture. University of Pennsylvania Press. pp. 112–113. ISBN 978-0-8122-1530-4.
  8. ^ Bacon-Smith, Camille (2000). Science fiction culture. Philadelphia: University of Pennsylvania Press. ISBN 978-0-8122-1530-4.
  9. ^ a b "Database over Kirk/Spock Zines published - CyberDreams".
  10. ^ Kyle, David. "Phamous Phantasy Phan". Mimosa no. 24, pp. 25-28.
  11. ^ a b c The Power of Comics: History, Form and Culture, p. 175, at Google Books
  12. ^ Everyday Information: The Evolution of Information Seeking in America, p. 286, at Google Books
  13. ^ "Horrors of the Screen". Archived from the original on 27 October 2009.
  15. ^ "Cinefantastique: The Website with a Sense of Wonder".
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  • Schelly, Bill. The Golden Age of Comic Fandom. Introduction by Roy Thomas. Seattle, WA: Hamster Press, 1995.
  • Lupoff, Dick [Richard A.] and Don Thompson, eds. All in Color for a Dime. New Rochelle, N.Y.: Arlington House, 1970.

External links

Alter Ego (magazine)

Alter Ego is an American magazine devoted to comic books and comic-book creators of the 1930s to late-1960s periods comprising what fans and historians call the Golden Age and Silver Age of Comic Books.

It was founded as a fanzine by Jerry Bails in 1961, and later taken over by Roy Thomas. Ten issues were released through 1969, with issue #11 following nine years later. In 1999, following a five-issue run the previous years as a flip-book with Comic Book Artist, Alter Ego began regular bimonthly publication as a formal magazine with glossy covers. TwoMorrows Publishing is the owner of the magazine and it is headquartered in Raleigh, NC.

Charles N. Brown

Charles Nikki Brown (June 24, 1937 – July 12, 2009) was an American publishing editor, the co-founder and editor of Locus, the long-running news and reviews magazine covering the genres of science fiction and fantasy literature. Brown was born on June 24, 1937 in Brooklyn, New York. He attended City College until 1956, when he joined the military at age 18; Brown served in the United States Navy for three years. Following his discharge from navy service, he went to work as a nuclear engineer but later on changed careers and entered the publishing field; Brown became a full-time science fiction editor with Locus in 1975.Along with Ed Meskys and Dave Vanderwerf, Charles N. Brown founded Locus in 1968 as a news fanzine to promote a bid to host the 1971 World Science Fiction Convention in Boston. Originally intended to run only until the site-selection vote was taken at St. Louiscon, the 1969 Worldcon in St. Louis, Missouri, Brown decided to continue publishing Locus as a general science fiction and fantasy news fanzine. It quickly began to fill the void left when the decades-old news fanzine Science Fiction Times (formerly Fantasy Times, founded 1941) ceased publication in 1970 during the same time period. Locus gradually evolved into the field's professional trade journal and remains so today. In 1970 it was first nominated in the category of Hugo Award for Best Fanzine. The following year at the 29th Worldcon, the first Noreascon that Locus was founded to promote and support, Brown's news fanzine won its first of a record 29 Hugo Awards (as of 2008).Brown died peacefully in his sleep at the age of 72. He previously had been announced as one of the guests of honor at Renovation, the 69th World Science Fiction Convention in Reno, Nevada. In accordance with established Worldcon tradition, he was retained as a guest of honor in memory of his longtime contributions to the science fiction field.

Fantasy fandom

Fantasy fandom is a fandom and commonality of fans of the fantasy genre.It revolves around popular media franchises belonging to the fantasy genre and can include collective fan works of these fantasy franchises and events that celebrate franchises of the genre as well as characters belonging to that genre.Examples of fan clubs devoted to stories and franchises of fantasy and include Disneyana fanclub, and The Tolkien Society in appreciation of works by J. R. R. Tolkien.In more recent times, the development of the Internet has also taken fandom communities online.

File 770

File 770 is a long-running science fiction fanzine, newszine, and blog site published/administered by Mike Glyer. It is named after the legendary room party held in Room 770 at Nolacon, the 9th World Science Fiction Convention in New Orleans, Louisiana, that upstaged the other events at the 1951 Worldcon.Glyer started File 770 in 1978 as a mimeographed print fanzine to report on fan clubs, conventions, fannish projects, fans, fanzines and sf awards, and to publish controversial articles. In the 1990s, Glyer moved production of the fanzine to computer desktop publishing, and on January 15, 2008, he began publishing File 770 as a blog on the internet.File 770 has won the Hugo Award for Best Fanzine seven times, in 1984, 1985, 1989, 2000, 2001, 2008, and 2016. In 1984 and again in 2016 both File 770 and its owner/editor Mike Glyer won Hugo Awards (the latter the Hugo Award for Best Fan Writer).

A print version of File 770 has been produced every year from 1978 to the present. began hosting PDF versions of the paper issues in 2005. While File 770 remains a traditional paper fanzine published once or twice a year, much additional news and expanded content is available daily in its on-line blog site version edited by Glyer.

Flipside (fanzine)

Flipside, originally known as Los Angeles Flip Side, was a punk zine published in Whittier and Pasadena, California from 1977 to 2000. In addition to publication of the magazine, the magazine was associated with its own record label, Flipside Records, releasing vinyl records and compact discs beginning in 1978.

As one of the first and longest running U.S. punk rock fanzines, this publication extensively chronicled the world of independent and underground music during this era. Known for its highly opinionated cast of writers, Flipside evolved from a photocopied fanzine to a magazine produced by web offset printing and featuring glossy covers.

Gary Groth

Gary Groth (born September 18, 1954) is an American comic book editor, publisher and critic. He is editor-in-chief of The Comics Journal and a co-founder of Fantagraphics Books.

Hugo Award for Best Fanzine

The Hugo Awards are given every year by the World Science Fiction Society for the best science fiction or fantasy works and achievements of the previous year. The award is named after Hugo Gernsback, the founder of the pioneering science fiction magazine Amazing Stories, and was once officially known as the Science Fiction Achievement Award. The award has been described as "a fine showcase for speculative fiction" and "the best known literary award for science fiction writing". The Hugo Award for Best Fanzine is given each year for non professionally edited magazines, or "fanzines", related to science fiction or fantasy which has published four or more issues with at least one issue appearing in the previous calendar year. Awards were also once given out for professional magazines in the professional magazine category, and since 1984 have been awarded for semi-professional magazines in the semiprozine category; several magazines that were nominated for or won the fanzine category have gone on to be nominated for or win the semiprozine category since it was established.

The award was first presented in 1955, and has been given annually since except for in 1958. A "fanzine" is defined for the award as a magazine that does not meet the Hugo award's criteria for a professional or semi-professional magazine. Specifically, it must meet less than two of the five Hugo criteria for consideration as a semiprozine: that the magazine had an average press run of at least one thousand copies per issue, paid its contributors and/or staff in other than copies of the publication, provided at least half the income of any one person, had at least fifteen percent of its total space occupied by advertising, and announced itself to be a semiprozine. This is the oldest long-running Hugo award for fan activity; in 1967 Hugo Awards were added specifically for fan writing and fan art. In addition to the regular Hugo awards, beginning in 1996 Retrospective Hugo Awards, or "Retro Hugos", have been available to be awarded for years 50, 75, or 100 years prior in which no awards were given. To date, Retro Hugo awards have been awarded for 1939, 1941, 1946, 1951, and 1954, and the fanzine category has been included each year.Hugo Award nominees and winners are chosen by supporting or attending members of the annual World Science Fiction Convention (Worldcon), and the presentation evening constitutes its central event. The selection process is defined in the World Science Fiction Society Constitution as instant-runoff voting with six nominees, except in the case of a tie. The works on the ballot are the six most-nominated by members that year, with no limit on the number of works that can be nominated. The 1955 and 1956 awards did not include any recognition of runner-up magazines, but since 1957 all of the candidates were recorded. Initial nominations are made by members in January through March, while voting on the ballot of six nominations is performed roughly in April through July, subject to change depending on when that year's Worldcon is held. Prior to 2017, the final ballot was five works; it was changed that year to six, with each initial nominator limited to five nominations. Worldcons are generally held near the start of September, and are held in a different city around the world each year.During the 69 nomination years, including Retro Hugo years, 128 magazines run by 177 editors have been nominated. Of these, 40 magazines run by 67 editors have won, including ties. Locus has won 8 times out of 13 nominations, the most wins of any magazine. File 770 has won 7 of 31, the most nominations of any magazine. Mimosa has won 6 of 14 nominations, Ansible has won 5 out of 11, and Science Fiction Review has won 4 of 12; they are the only other magazines to win more than twice. Challenger has the most nominations without winning at 12; the next highest is FOSFAX with 7. As editor of Locus Charles N. Brown has won 8 of 13 nominations, though he shared 8 of those awards with Dena Brown. Richard E. Geis has won 6 of 15 nominations for his work on Science Fiction Review, Psychotic, and The Alien Critic; Mike Glyer has won 7 of 31 for editing File 770; David Langford has won 5 of 12 for work on Ansible and Twil-Ddu; and Richard Lynch and Nicki Lynch have both won 6 of 14 nominations for Mimosa. Guy H. Lillian III has the most nominations without winning at 12 for Challenger.

Mike Glicksohn

Michael David Glicksohn, better known as Mike Glicksohn (May 20, 1946 – March 18, 2011) was a Canadian high school math teacher and the co-editor of the science fiction fanzine Energumen with his then-wife Susan Wood (Glicksohn). Energumen won the 1973 Hugo Award for Best Fanzine, after having been nominated the two previous years Glicksohn was nominated for an individual Hugo in 1977.He was born May 20, 1946 in Portsmouth, England, and died March 18, 2011 in Toronto, Ontario. He was a Guest of Honor at Aussiecon 1, the 33rd World Science Fiction Convention, in 1975.

Minicomic Co-ops

Minicomics Co-ops are entities for trading and promoting small press comics and fanzines. The most well-known of these co-ops is the United Fanzine Organization, or UFO, a co-operative of minicomic creators that has existed since about 1968, when it was called Blue Plaque Publications (BPP). Carl Gafford, at that point the publisher of a comics fanzine called Minotaur, created the BPP; among its earliest members were Chuck Robinson II (publisher of Comique), Dwight Decker (True Fan Adventure Theatre), Ed Romero (Realm), and Gordon Matthews (Coffinworm).

Red Issue

Red Issue is a fanzine aimed at Manchester United supporters. The fanzine has been published monthly during the domestic football season since February 1989. The content of the fanzine is satirical - featuring jokes at the expense of Manchester United's own players in addition to their rival clubs.

SF Signal

SF Signal was a science fiction blog and fanzine published from 2003 to 2016.

It focused on topics in the science fiction genre such as literature, film, and artwork, but also addressed topics in other genres such as fantasy, young adult, and horror fiction. The site offered readers several weekly and monthly series such as book reviews, link roundups of author interviews and profiles, round table discussions on various topics (termed "Mind Melds"), links to currently free speculative fiction, contests, and notifications of various events and things that the editors found interesting.

The website was launched in 2003 by John DeNardo and JP Frantz after they noticed a lack of blogs focusing on science fiction. They decided to launch a blog where they could discuss science fiction and related genre writings, events and ideas that were interesting to them. As the website's popularity grew, they began to incorporate more original content and hired additional staff members as well as brought in new contributors. SF Signal published three podcasts: SF Crossing the Gulf, The Three Hoarsemen, and The SF Signal Podcast.In 2012 SF Signal won the Hugo Award for Best Fanzine. This marked the first time a fanzine won in its first year of contention and the first time an electronic fanzine of this type won the award.In May 2016, DeNardo and Frantz announced the end of SF Signal because of the blog's increasing demands on their time.

Science-fiction fanzine

A science-fiction fanzine is an amateur or semi-professional magazine published by members of science-fiction fandom, from the 1930s to the present day. They were one of the earliest forms of fanzine, within one of which the term "fanzine" was coined, and at one time constituted the primary type of science-fictional fannish activity ("fanac").

Sir Julius Vogel Award

The Sir Julius Vogel Awards are awarded each year at the New Zealand National Science Fiction Convention to recognise achievement in New Zealand science fiction, fantasy, horror, and science fiction fandom. They are commonly referred to as the Vogels.

Steve Stiles

Steve Stiles (born 1943) is an American cartoonist and writer, coming out of the science fiction fanzine tradition. He won the 2016 Hugo Award for Best Fan Artist.

The Big Takeover

The Big Takeover is a bi-annual music magazine published out of New York City since May 1980 by critic Jack Rabid.

The Oatcake

The Oatcake is a fanzine dedicated to the English football team Stoke City F.C..It is named after a local delicacy: the North Staffordshire oatcake. The fanzine is well known for its cartoons featuring stereotypes both from within the city of Stoke-on-Trent and from the footballing world. The Oatcake costs £1.80, and while the front cover shows the red colour of Stoke, it is generally black and white format. Inside there is satirical football humour, letters (of Stoke City fans), as well as match reports, and information about away games (where to park, drink etc.), and so on. It has been running for well over 20 years and is now Stoke City's sole fanzine, after A View to a Kiln stopped publishing. It is edited by Martin Smith.

Trouser Press

Trouser Press was a rock and roll magazine started in New York in 1974 as a mimeographed fanzine by editor/publisher Ira Robbins, fellow Who fan Dave Schulps and Karen Rose under the name "Trans-Oceanic Trouser Press" (a reference to a song by the Bonzo Dog Doo-Dah Band and an acronymic play on the British TV show Top of the Pops). Publication of the magazine ceased in 1984; the unexpired portion of mail subscriptions was completed by Rolling Stone sister publication Record, which itself folded in 1985. Trouser Press has continued to exist in various formats.


Zarjaz is a comics anthology fanzine for the long-running British science fiction comic 2000 AD.


A zine ( ZEEN; short for magazine or fanzine) is a small-circulation self-published work of original or appropriated texts and images, usually reproduced via photocopier. Zines are either the product of a single person, or of a very small group and are popularly photocopied into physical prints for circulation. A fanzine (blend of fan and magazine) 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 1940 science fiction fanzine by Russ Chauvenet and popularized within science fiction fandom, entering the Oxford English Dictionary in 1949.Popularly defined within a circulation of 1,000 or fewer copies, in practice many zines are produced in editions of fewer than 100. Among the various intentions for creation and publication are developing one's identity, sharing a niche-skill or art, or developing a story, as opposed to seeking profit. Zines have served as a significant medium of communication in various subcultures, and frequently draw inspiration from a "do-it-yourself" philosophy that disregard the traditional conventions of professional design and publishing houses proposing an alternative, confident and self-aware contribution. Handwrittenzines, or carbon zines are individually made, emphasizing personal connection between creator and reader, turning imagined communities into embodied ones.Written in a variety of formats from desktop-published text to comics, collages and stories, zines cover broad topics including fanfiction, politics, poetry, art & design, ephemera, personal journals, social theory, intersectional feminism, single-topic obsession, or sexual content far outside the mainstream enough to be prohibitive of inclusion in more traditional media. (An example of the latter is Boyd McDonald's Straight to Hell, which reached a circulation of 20,000.) Although there are a few eras associated with zine-making, this "wave" narrative proposes a limited view of the vast range of topics, styles and environments zines occupied.

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