As the digital age continues to evolve, a fascinating clash is unfolding in the world of independent publishing. Zine creators, known for their handmade, grassroots approach to self-expression, are rallying against the encroachment of artificial intelligence in their art form. This spirited resistance is exemplified by Rachel Goldfinger’s newly minted counter-AI zine, *I Should Be Allowed to Think*, which serves as a rallying cry for artists and writers alike.
The Heart of Zine Culture
Zines have long been a vital medium for cultural movements, from queer activism to Black feminism, and their scrappy, DIY nature has made them a beloved staple in underground publishing. Historically, these self-published booklets have been a canvas for personal expression, often featuring hand-illustrated designs and limited print runs. However, the rise of AI technology is prompting a seismic shift that has left many creators feeling uneasy.
Rachel Goldfinger, a Philadelphia-based video editor and illustrator, encapsulates this sentiment, declaring, “Of all art forms that I partake in, I feel like zines are the ones that make the least amount of sense to use AI for. They’re supposed to be handmade and scrappy.” This perspective echoes throughout the zine community, where the essence of creativity is often rooted in the tactile and personal nature of the craft.
AI’s Intrusion into Zine Territory
Despite the pushback, some artists are experimenting with AI tools, sparking a debate about their role in zine creation. Jeremy Leslie, founder of the magazine retailer MagCulture, has noted the emergence of AI-assisted zines. “The zines using AI that I’m aware of have used the technology knowingly, as an experiment and often to make a point about its inability to match human creativity,” he comments.
Online-only zines are particularly prone to this trend, utilising AI for layout design and artwork generation, which proponents argue can make the creative process more efficient. For instance, product designer Jesse Pimenta and writer Cheyce Batchelor crafted a 97-page zine inspired by the 90s using Figma’s AI tools, highlighting the convenience of reordering content with minimal mental effort.
Steve Simkins, an IT engineer, also ventured into AI territory while developing an online photo zine. He relied on AI to generate HTML code for the website but insisted that the content was purely his own. “I asked ChatGPT to help create an online zine with HTML and I provided the image links. It would give me some HTML, I would open it in my browser, then ask ChatGPT to adjust bits and pieces until I had something I liked,” he explained. Initially, he viewed AI as a tool that could democratise artistry for those lacking technical prowess.
A Creative Rebellion Against AI
However, many zinemakers are staunchly opposed to the idea of incorporating AI into their work. Maddie Marshall, a Melbourne-based video editor and illustrator, took a year to craft her anti-AI zine, which she now sells on Etsy. The pressure to use AI in her professional life fueled her desire to encourage others to question the rapid adoption of such technologies. “I felt the urge to spread the word about my opinions on it and get people to question why these technologies are being pushed on us so heavily,” she stated.
Goldfinger’s zine is emblematic of this creative rebellion, as she argues that AI is hindering artists’ job prospects. “I don’t respect it on any level,” she asserts. “I don’t want to expedite the process. That ruins the point for me.”
The Future of Zines in an AI World
Ione Gamble, founder of the feminist zine *Polyester*, echoes these sentiments, asserting that her publication does not endorse AI use in any form, whether for writing or image generation. “We run all of our submitted articles through an AI checker now to ensure that we’re not publishing AI writing,” she revealed. Meanwhile, Zoe Thompson, founder of *Sweet-Thang*, a zine celebrating Black creatives, expressed her belief that the essence of creativity lies in the slow, deliberate process of making art. “It kind of feels like you’re experimenting with a tool but there’s no artistry there, which is kind of sad,” she lamented.
As zine culture grapples with the implications of AI, the question remains: can these two realms coexist? Gamble acknowledges that while AI is here to stay, the grassroots nature of zine-making offers a low barrier to entry that may ultimately preserve its authentic spirit.
Steve Simkins, reflecting on his own journey with AI, suggests that the conversation should evolve. “In the realm of zines, I think it [AI] can be used as a tool to produce,” he notes, while maintaining that art is fundamentally “made by people and for people.”
Leslie from MagCulture remains open-minded about the future of zines, stating, “We’re not interested in whether or not a zine has been produced using AI. We want to see interesting, innovative, and engaging zines. If one has been created using AI and is intriguing in its own right, then great, we will support it.”
Why it Matters
The battle between traditional zine culture and the allure of AI represents a broader conversation about authenticity and creativity in the digital age. As artists and writers push back against the ease of technology, they are not just defending their craft; they are championing the intrinsic value of human creativity. This movement serves as a reminder that while technology can enhance our capabilities, the heart of artistic expression lies in the human experience, a sentiment that resonates fiercely in the vibrant world of zines.