Print magazines that don't use AI win over Japanese consumers.

Despite the wave of technology reshaping how people create and access information, handcrafted, self-published magazines—or "zines"—are quietly winning over Japanese readers.

Photographer Kazuma Obara holds a magazine at the Kyoto Shimbun factory in Kumiyama, Kyoto Prefecture - Photo: AFP

This trend not only reflects the enduring love of the Japanese people for paper and ink, but also opens up hope for finding a new readership for the publishing industry, which is struggling in the age of artificial intelligence (AI).

Appealing through touch.

According to The Guardian , a zine is a type of DIY publication that emerged in the 1930s among science fiction enthusiasts in the United States.

Unlike commercial magazines, zines are typically designed, printed, and distributed by the creators themselves in limited quantities. The content of zines ranges from personal reflections, poetry, and photography to niche topics rarely seen in mainstream media.

In Japan in recent years, this type of event has gradually moved beyond its narrow confines to become a notable cultural phenomenon. In 2020, Nakanishi Tsutomu, head of the Book Culture Club, initiated the first Zine-fest event.

In just five years, this activity has grown from a neighborhood-scale fair into a network of festivals spanning the entire country of Japan.

According to Unseen Japan, Japanese readers can now easily find picture books created by children, stories about motherhood from parents, or love poems by elderly couples appearing on the shelves of major bookstore chains or even being featured on television.

The appeal of a zine lies not only in its content, but also in the tactile experience that digital products can hardly replicate.

For example, the story of two creatives, Kazuma Obara and Akihico Mori, as recounted by AFP: Amidst the whirring of machines and the pungent smell of ink at a printing press in Kyoto, they intently watched as each page of their large-format photojournalism took shape.

As the newspapers rolled off the production line, technicians quickly flipped through each page to check for quality.

Speaking to AFP with his hands still stained with ink, creator Kazuma Obara said that paper is a medium that can awaken all five senses – something that social media cannot do.

He described mobile phones as "closed" devices, whereas "print media is extremely open" because people "can give it to others and read it together."

AI cannot copy.

The rise of the zine is taking place against the backdrop of a prolonged decline in Japan's traditional publishing industry.

According to The Straits Times , revenue from books and magazines is now only about 40% of the peak of 2.6 trillion yen reached in 1996.

The Japan Association of Newspaper Publishers and Editors stated that newspaper circulation in 2025 has already fallen by more than half compared to its peak in the late 1990s.

Not only in Japan, but the global publishing industry is also facing new challenges from AI and social media. A 2025 survey in the UK found that half of the novelists surveyed believe that AI could replace their jobs in the future.

It is in this context that zines emerged as a response to the homogenization trend of the digital world . For many, especially young Japanese people, zines are a way to define and preserve personal identity, a product created with care by the creator and delivered directly to the reader.

According to data from a private research firm cited by NHK, Japan's self-publishing market is estimated to reach approximately 150 billion yen in the fiscal year ending March 2026, nearly double the size of four years prior – indicating a growing demand for products offering unique personal touches and reading experiences.

Harumi Kikuchi, 22, a visitor at a zine fair in Tokyo, shared: "AI and social media operate on algorithms, constantly providing us with things they think we want to see or that suit us. But the fact that there are so many zine creators here proves that there are countless different ways to see the world."

Masato Sugiura, a representative of the Sanseido bookstore chain, noted that today's readers are not only looking for information but also for empathy. "Everyone is looking for something that truly resonates with them. Perhaps readers are drawn to zines because they are niche publications that reflect a wide range of topics and perspectives," he said.

Meanwhile, author Watashi Kishino acknowledges that AI can create many things, but asserts that "there is still a special appeal to holding something tangible in your hands."

This creator is optimistic that printed books and magazines will continue to exist despite the digital age: "There's a warmth that only paper can provide. There are certainly still people looking for that."

Sharing the same view, writer Mori (44 years old) believes that readers can "feel the passion of the creator when holding the work in their hands." "I think that's what makes zines so appealing, and AI simply can't replicate it," he said.

Zine chooses to stay out of AI.

According to the Japan Times , the zine-making community has strongly criticized the use of AI in artistic creation. They assert that the appeal of this art form lies in its handcrafted nature and personal touch, which technology can hardly replicate.

Rachel Goldfinger, a video editor and illustrator based in Philadelphia, said: "Of all the art forms I know, using AI for zines is the most illogical thing because they are handcrafted and spontaneous."

The trend of valuing human creativity is also gradually shaping the market balance. According to AI Certs News , the renowned British magazine MagCulture has recorded a 15% increase in sales for books labeled "No AI." At many zine fairs, signs bearing this phrase are appearing more and more frequently.

HEART AND YANG

Source: https://tuoitre.vn/tap-chi-giay-khong-dung-ai-chinh-phuc-nguoi-nhat-20260602101740018.htm