Needing little more than paper, scissors, a photocopier, and an idea, our strong independent zine community proves that something so inexpensive can be worth so much.
An immersion to power of small press publishing
several reasons zines spine of it all is the form of escapism piece together an untampered creative freedom the mainstream usually deprives they are a refuge for young creatives to aesthetics, and cultural ideologies.
As far as we know, local zine culture the community actually turning a page. A major factor in this growth is a small out into different locations around the enthusiastic collectives like Magpies strive in leaving paper trails of diverse
Adam David; Magpies Press’ Mac Andre our society.
How important do you think self- publishing is to artists and writers? ADAM DAVID:
As important as parks are to a city. The small press is often and political muscles more loosely
A lot of people doing small press right now are those who work on selling ideas more effective sellers are rewarded for using talent and skill fostered in arts how many people share the sponsored
How about to our society? CAMZ DAGAL:
It encourages people ideas and opinions. Whether right or wrong, the contents of zines are personal minorities, and this is a venue where they can make their voices heard. Zines opinions and reading them puts you into
MAC ANDRE ARBOLEDA:
projects makes you more in touch with
important. It encourages artists and writers to create and put their work out there. Creators don’t have to wait for I saw work that was new, strange, and
Zines aren’t necessarily a new people have become drawn to them in the past few years? AD:
I have a feeling it’s a reaction to how more and more of our engagement strictly slick digital. People are ultimately nostalgist and materialist at heart. We in digital social media platforms, more and more people are getting into analog social media platforms like perzines, over Deviantart, stickers over emojis.
In my perspective, zinesters have started to work hard to disseminate information on zinemaking and its functions. People have started organizing events, and made spaces
they like getting to personally know the
changed in the zine scene now? AD:
Becoming more politicized,
I wish to see more comics at comic conventions and less stickers, prints, fan art, and other merchandise. I do get why artists tend to tackle those mediums more often; they’re easier to do and usually sell more compared to comics [laughs]. But I don’t want to see the future with just stickers and not much comics. I
We wish we could see more art criticism. We’d really appreciate it if further is if people actually started seeing thing, we wish the creative scene wasn’t
And artists should really start doing away with the a lone genius. So more engagement with fellow artists, and the community.
Also, we all need to get healthcare way, people can do work that’s not just aimed at just making money.
Where do you see the local zine scene going? MA:
The local zine scene is only going like the more we reach out, and as the have more variety and precision.
with more awareness of the uniqueness of the form. Artists and readers alike are going to gain more understanding that zines aren’t just a trend, that they carry so much more potential for touching issues that are usually just swept under the rug or for content that is not just “cool” or “pretty.” Hopefully, the zine scene continues to interrogate standards in art and literature. “In the age of easy blather in digital social more and more people are getting into analog social media platforms like stickers over emojis.”
Clockwise from opposite page: The Cursed by Dante Perez, published by Saturnino Basilla; Footnotes to Misplaced Items by Joanne Cesario and Michelle Bacabac; Shear Fear by Joanne Cesario and Michelle Bacabac; Tira Tira by Joanne Cesario and Michelle...