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These mainstream reviews had the effect of introducing fan editors to each other and of creating a fanzine scene. The popularity of video game fanzines diminished greatly with the rise of the internet, however some zines—particularly the classic gaming ones (e.g. Classic Gamer Magazine and Video Game Collector)—continued beyond the mid-90s.
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The concept of the video magazine began in the 1980s with low-budget titles such as Flipside Video Fanzine, an adjoining video supplement to the punk fanzine Flipside. [1] By the beginning of the 1990s, the concept had fully cohered and a number of titles were produced by major media organizations in both the United States and Britain.
A fan magazine is a commercially written and published magazine intended for the amusement of fans of the popular culture subject matter that it covers. It is distinguished from a scholarly, literary or trade magazine on the one hand, by the target audience of its contents, and from a fanzine on the other, by the commercial and for-profit nature of its production and distribution.
Damage - officially Damage: An Inventory - was a punk fanzine from San Francisco, California. There were 13 issues, from July 1979 to June 1981, appearing roughly every two months. It was printed on 11-1/2 x 17-3/4″ newsprint. Issues were generally 36 to 48 pages long. Its editor was Brad Lapin.
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").
Flipside, known as Los Angeles Flipside Fanzine, was a punk zine published in Whittier and Pasadena, California, from 1977 to 2002.The magazine was associated with its own record label, Flipside Records, releasing vinyl records and compact discs beginning in 1978.
The title of the fanzine was taken from a Bad Brains song. The first issue was a one-pager, printed front and back, photocopied and given out for free at local punk shows. Stein left the fanzine to Rabid after one issue and Rabid has remained the dominant creative force behind the magazine since.