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89-641: Gamest arose from the bimonthly fanzine VG2 newsletter ( ＶＧ２ Japanese : 会報 , VG2 kaihō ) which was also called VG2 Union magazine ( ＶＧ２ Japanese : 連合誌 , VG 2 rengō-shi ) edited by Uemura Bankita ( Japanese : 植村伴北 , Uemura Tomokita ) . On the cover of the first issue of read " Game book Gamest - High score magazine for fans of games " ( Japanese : ゲ一メス 卜 Gamest Japanese : ゲームファンのためのハイスコアマガジン , Gēmesu boku Gamest Gēmufan no tame no haisukoamagajin ) . Initially it covered arcade games with an emphasis on 2D Shoot 'em ups . From issue 6 on, it appeared monthly and from issue 116 (1994)

178-602: 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

267-521: 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. As with comics zines, horror film fanzines grew from related interest within science fiction fan publications. Trumpet, edited by Tom Reamy ,

356-516: A darker, more legible image. Spirit duplicated images were usually tinted a light purple or lavender, which gradually became lighter over the course of some dozens of copies. Mimeography was often considered "the next step up" in quality, capable of producing hundreds of copies. Print runs beyond that level were usually produced by professional printers or, as the technology became available, xerographic copiers . Mimeographed images generally have much better durability than spirit-duplicated images, since

445-438: A dead entry, but shows the A.B. Dick Company of Chicago as the owner of the name. Over time, the term became generic and is now an example of a genericized trademark . ( Roneograph , also Roneo machine , was another trademark used for mimeograph machines, the name being a contraction of Rotary Neostyle .) In 1891, David Gestetner patented his Automatic Cyclostyle. This was one of the first rotary machines that retained

534-405: A distinctive and heavy scent. One uses a regular typewriter, with a stencil setting, to create a stencil. The operator loads a stencil assemblage into the typewriter like paper and uses a switch on the typewriter to put it in stencil mode. In this mode, the part of the mechanism which lifts the ribbon between the type element and the paper is disabled so that the bare, sharp type element strikes

623-437: A document, as in office work, classroom materials, and church bulletins. For even smaller quantities, up to about five, a typist would use carbon paper . Early fanzines were printed by mimeograph because the machines and supplies were widely available and inexpensive. Beginning in the late 1960s and continuing into the 1970s, photocopying gradually displaced mimeographs, spirit duplicators, and hectographs. Use of stencils

712-467: A duplicate on the second sheet. The process was commercialized and Zuccato applied for a patent in 1895 having stencils prepared by typewriting. Thomas Edison received US patent 180,857 for Autographic Printing on August 8, 1876. The patent covered the electric pen, used for making the stencil, and the flatbed duplicating press. In 1880, Edison obtained a further patent, US 224,665: "Method of Preparing Autographic Stencils for Printing," which covered

801-476: 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. Australia In 1977, Bruce Milne and Clinton Walker fused their respective punk zines Plastered Press and Suicide Alley to launch Pulp ; Milne later went on to invent

890-416: A four-page pamphlet about Superman , and James Vincent Taurasi, Sr. issued the short-lived Fantasy Comics . In 1953, Bhob Stewart published The EC Fan Bulletin , 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,

979-445: 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

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1068-410: A mimeograph, called a digital duplicator , or copyprinter , contains a scanner , a thermal head for stencil cutting, and a large roll of stencil material entirely inside the unit. The stencil material consists of a very thin polymer film laminated to a long-fiber non-woven tissue. It makes the stencils and mounts and unmounts them from the print drum automatically, making it almost as easy to operate as

1157-464: 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

1246-519: 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

1335-508: 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 the term 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

1424-474: A photocopier. The Risograph is the best known of these machines. Although mimeographs remain more economical and energy-efficient in mid-range quantities, easier-to-use photocopying and offset printing have replaced mimeography almost entirely in developed countries . Mimeography continues to be used in some developing countries because it is a simple, cheap, and robust technology. Many mimeographs can be hand-cranked, requiring no electricity. Mimeographs and

1513-440: A precursor to ASCII art . Because changing ink color in a mimeograph could be a laborious process, involving extensively cleaning the machine or, on newer models, replacing the drum or rollers, and then running the paper through the machine a second time, some fanzine publishers experimented with techniques for painting several colors on the pad. In addition, mimeographs were used by many resistance groups during World War Two as

1602-475: A producer-director in his own right. Japanese Fantasy Film Journal (JFFJ) (1968–1983) from Greg Shoemaker covered Toho 's Godzilla and his Asian brethren. Japanese Giants (JG) was founded by Stephen Mark Rainey in 1974 and was published for 30 years. In 1993, G-FAN was published, and reached its 100th regularly published issue in Fall 2012. FXRH ( Special effects by Ray Harryhausen ) (1971–1976)

1691-621: 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 . As professional printing technology progressed, so did

1780-593: A science fiction fanzine is science fiction. Rather ... fanzines were the social glue that created a community out of a worldwide scattering of readers." 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." 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

1869-539: A specially formulated correction fluid , and retyping once it has dried. (Obliterine was a popular brand of correction fluid in Australia and the United Kingdom.) Stencils were also made with a thermal process, an infrared method similar to that used by early photocopiers. The common machine was a Thermofax . Another device, called an electrostencil machine, sometimes was used to make mimeo stencils from

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1958-405: 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

2047-403: 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 hectography is the spirit duplicator , essentially the hectography process using a drum instead of

2136-449: A typed or printed original. It worked by scanning the original on a rotating drum with a moving optical head and burning through the blank stencil with an electric spark in the places where the optical head detected ink. It was slow and produced ozone . Text from electrostencils had lower resolution than that from typed stencils, although the process was good for reproducing illustrations. A skilled mimeo operator using an electrostencil and

2225-420: 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

2314-417: A very coarse halftone screen could make acceptable printed copies of a photograph. During the declining years of the mimeograph, some people made stencils with early computers and dot-matrix impact printers . Unlike spirit duplicators (where the only ink available is depleted from the master image), mimeograph technology works by forcing a replenishable supply of ink through the stencil master. In theory,

2403-521: A young Italian studying law in London, who called his device the Papyrograph. Zuccato's system involved writing on a sheet of varnished paper with caustic ink, which ate through the varnish and paper fibers, leaving holes where the writing had been. This sheet – which had now become a stencil – was placed on a blank sheet of paper, and ink rolled over it so that the ink oozed through the holes, creating

2492-430: Is an ancient art, but – through chemistry, papers, and presses – techniques advanced rapidly in the late nineteenth century: A description of the Papyrograph method of duplication was published by David Owen: A major beneficiary of the invention of synthetic dyes was a document reproduction technique known as stencil duplicating. Its earliest form was invented in 1874 by Eugenio de Zuccato,

2581-536: Is backed by a sheet of stiff card stock, with the two sheets bound at the top. Once prepared, the stencil is wrapped around the ink-filled drum of the rotary machine. When a blank sheet of paper is drawn between the rotating drum and a pressure roller, ink is forced through the holes on the stencil onto the paper. Early flatbed machines used a kind of squeegee . The ink originally had a lanolin base and later became an oil in water emulsion. This emulsion commonly uses turkey-red oil (sulfated castor oil ) which gives it

2670-427: Is the "initials" used by Forrest J. Ackerman in his fanzines from the 1930s and 1940s, 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. When

2759-603: The Science Correspondence Club in Chicago and edited by Raymond A. Palmer and Walter Dennis. 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". Science fiction fanzines used

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2848-509: 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 as Femslash . By 2000, when web publishing of stories became more popular than zine publishing, thousands of media fanzines had been published; over 500 of them were k/s zines. Another popular franchise for fanzines

2937-573: The 1970s, many fanzines ( Squa Tront , as an example) also became partly distributed through certain comic book distributors . One of the first British comics fanzines was Phil Clarke's KA-POW , launched in 1967. Prominent British comics fanzines of the 1970s and early 1980s included the long-running Fantasy Advertiser , Martin Lock 's BEM , Richard Burton 's Comic Media News , Alan Austin's Comics Unlimited , George Barnett's The Panelologist , and Richard Ashford's Speakaeasy . At times,

3026-529: 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. New technology brought various print style innovations. For example, there were alphanumeric contractions which are actually precursors to " leetspeak' (a well-known example

3115-452: 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,

3204-605: 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 , Metal Mike Saunders and R. Meltzer . Bomp featured cover art by Jay Kinney and Bill Rotsler, both veterans of SF and Comics fandom. Bomp

3293-518: The Los Angeles scene, both debuting in 1977. The San Francisco-based punk fanzine Search and Destroy , which published from 1977 to 1979, eventually became the influential fringe-cultural magazine Re/Search . Damage published 13 issues there from 1979 to 1981. 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

3382-467: The UK. Mimeograph machine A mimeograph machine (often abbreviated to mimeo , sometimes called a stencil duplicator or stencil machine ) was a low-cost duplicating machine that worked by forcing ink through a stencil onto paper. The process was called mimeography , and a copy made by the process was a mimeograph . Mimeographs, along with spirit duplicators and hectographs , were common technologies for printing small quantities of

3471-399: 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

3560-690: The United States, such as Punk Planet , Left of the Dial , Tail Spins , Sobriquet , Profane Existence and Slug and Lettuce . Some punk fanzines from the 1980s, like No Class and Ugly American 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 as Suburban Rebels and Razorcake , 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

3649-402: The advent of desktop publishing and self-publication , there is often little difference between the appearance of a fanzine and a professional magazine. 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

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3738-405: 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

3827-414: The cassette zine with Fast Forward , in 1980. 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

3916-423: The cast members, and an article by future Hugo and Nebula winner Lois McMaster Bujold . 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

4005-532: The closely related but distinctly different spirit duplicator process were both used extensively in schools to copy homework assignments and tests. They were also commonly used for low-budget amateur publishing , including club newsletters and church bulletins. They were especially popular with science fiction fans, who used them extensively in the production of fanzines in the middle 20th century, before photocopying became inexpensive. Letters and typographical symbols were sometimes used to create illustrations, in

4094-422: 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

4183-566: 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 , 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 , Cool Notes and Fumes . Of these, Tony Fletcher's Jamming

4272-400: The flatbed, which passed back and forth under inked rollers. This invention provided for more automated, faster reproductions since the pages were produced and moved by rollers instead of pressing one single sheet at a time. By 1900, two primary types of mimeographs had come into use: a single-drum machine and a dual-drum machine. The single-drum machine used a single drum for ink transfer to

4361-433: 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

4450-543: The inclusion of an 8x10 photo in each issue—was another 1960s zine that lasted into the 1970s. Richard Klemensen's Little Shoppe of Horrors , having a particular focus on " Hammer Horrors ", began in 1972 and is still publishing as of 2024. 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. The Baltimore -based Black Oracle (1969–1978) from writer-turned- John Waters repertory member George Stover

4539-544: 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 included Alter Ego , The Comic Reader , and Rocket's Blast Comicollector , all started by Jerry Bails . During

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4628-560: The inks are more resistant to ultraviolet light . The primary preservation challenge is the low-quality paper often used, which would yellow and degrade due to residual acid in the treated pulp from which the paper was made. In the worst case, old copies can crumble into small particles when handled. Mimeographed copies have moderate durability when acid-free paper is used. Gestetner , Risograph , and other companies still make and sell highly automated mimeograph-like machines that are externally similar to photocopiers. The modern version of

4717-444: 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. Malcolm Willits and Jim Bradley started The Comic Collector's News in October 1947. By 1952, Ted White had mimeographed

4806-407: The late 1970s and early 1980s, such as Capitol Crisis , Vintage Violence , Thrillseeker , If This Goes On , and Descenes . As punk and alternative culture grew more popular throughout the 1980s and 1990s—evidenced by the success of punk and alternative rock bands like Sonic Youth , Nirvana , Fugazi , Bikini Kill , Green Day and The Offspring —thousands of other punk fanzines appeared in

4895-528: The magazine was published twice a month. In the mid-90s, the magazine covered mainly the then booming versus fighting game genre. In 1999, the magazine was discontinued without a final issue due to the sudden bankruptcy of the publisher Shinseisha . Thereafter, much of the Gamest staff transferred to the publisher ASCII (currently Enterbrain ) who launched the arcade game magazine Monthly Arcadia ( Japanese : 月刊アルカディア , Gekkan arukadia ) . Gamest

4984-529: The magazine. Science fiction fanzines had their beginnings in Serious & Constructive (later shortened to sercon ) correspondence. 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. The first science fiction fanzine, The Comet , was published in 1930 by

5073-700: 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) 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). 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,

5162-474: The making of stencils using a file plate, a grooved metal plate on which the stencil was placed which perforated the stencil when written on with a blunt metal stylus. The word mimeograph was first used by Albert Blake Dick when he licensed Edison's patents in 1887. Dick received Trademark Registration no. 0356815 for the term mimeograph in the US Patent Office. It is currently listed as

5251-556: The members contribute to a collective assemblage or bundle that contains contributions from all of them, called apazines and often containing mailing comments . Some APAs are still active, and some are published as virtual "e-zines", distributed on the Internet. 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

5340-455: 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

5429-481: The mimeography process could be continued indefinitely, especially if a durable stencil master were used (e.g. a thin metal foil). In practice, most low-cost mimeo stencils gradually wear out over the course of producing several hundred copies. Typically the stencil deteriorates gradually, producing a characteristic degraded image quality until the stencil tears, abruptly ending the print run. If further copies are desired at this point, another stencil must be made. Often,

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5518-452: 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

5607-428: The prozine (and specialty publisher) Midnight Marquee. Garden Ghouls Gazette —a 1960s horror title under the editorship of Dave Keil, then Gary Collins—was eventually headed by the late Frederick S. Clarke (1949–2000) 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. Mark Frank's Photon —notable for

5696-476: 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

5785-454: 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. These became known as slash fiction from

5874-405: 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'. 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;

5963-494: 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);

6052-401: The stencil directly. The impact of the type element displaces the coating, making the tissue paper permeable to the oil -based ink . This is called "cutting a stencil". A variety of specialized styluses were used on the stencil to render lettering, illustrations, or other artistic features by hand against a textured plastic backing plate. Mistakes were corrected by brushing them out with

6141-582: The stencil material covering the interiors of closed letterforms (e.g. a , b , d , e , g , etc.) would fall away during continued printing, causing ink-filled letters in the copies. The stencil would gradually stretch, starting near the top where the mechanical forces were greatest, causing a characteristic "mid-line sag" in the textual lines of the copies, that would progress until the stencil failed completely. The Gestetner Company (and others) devised various methods to make mimeo stencils more durable. Compared to spirit duplication, mimeography produced

6230-415: The stencil, and the dual-drum machine used two drums and silk-screens to transfer the ink to the stencils. The single drum (example Roneo) machine could be easily used for multi-color work by changing the drum – each of which contained ink of a different color. This was spot color for mastheads. Colors could not be mixed. The mimeograph became popular because it was much cheaper than traditional print – there

6319-452: 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

6408-499: 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", 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

6497-561: Was a Star Trek fan publication called Spockanalia , published in September 1967 by members of the Lunarians . 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 . 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

6586-471: Was a 1960s SF zine that branched into horror film coverage. Alex Soma's Horrors of the Screen, 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

6675-616: 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

6764-481: Was a specialized zine co-created by future Hollywood FX artist Ernest D. Farino . 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

6853-435: 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 active board game fandom scene, the most prolific subset of which is centered around play-by-mail Diplomacy . The UK fanzine Aslan (1988–1991) was responsible for popularization of freeform role-playing games in

6942-416: 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

7031-442: Was neither typesetting nor skilled labor involved. One individual with a typewriter and the necessary equipment became their own printing factory, allowing for greater circulation of printed material. The image transfer medium was originally a stencil made from waxed mulberry paper . Later this became an immersion-coated long-fiber paper, with the coating being a plasticized nitrocellulose . This flexible waxed or coated sheet

7120-471: 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

7209-478: Was one of those that documented post-rock genre and experimental music. The punk subculture in the United Kingdom spearheaded a surge of interest in fanzines as a countercultural alternative to established print media. In his 1985 book One Chord Wonders , Dave Laing argues that fanzines, along with self-produced 7" single records, were the essence of 'punk difference'. Matt Worley, in Xerox Machine , sees

7298-416: 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

7387-486: 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. In Basilicata , Italy, Raw Art Fanzine ran from 1995 to 2000. In Milan , Italy, Gorezilla ran from 1988 to 1991. In

7476-464: Was released the apazine Alarums and Excursions . 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

7565-437: Was subdivided into the following sections: This video game magazine or journal-related article is a stub . You can help Misplaced Pages by expanding it . See tips for writing articles about magazines . Further suggestions might be found on the article's talk page . Fanzine A fanzine ( blend of fan and magazine or - zine ) is a non-professional and non-official publication produced by enthusiasts of

7654-495: 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

7743-577: 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, numerous fanzines and e-zines flourished about electronic and post-rock music. Crème Brûlée fanzine

7832-492: 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 , 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

7921-474: Was the most far reaching, becoming a nationally distributed mainstream magazine for several years before its demise. In the United States, Punk began publication in 1976 out of New York City 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. Flipside and Slash were important punk fanzines from

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