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Abstract As our planet faces the effects of anthropogenic climate change, people come together in complex networks to address, narrate, and combat this issue and its associated anxieties. One way they do so is through zine-making. Drawing on Radway’s (2011) and Piepmeier’s (2008) ideas that zines are multi-authored, performative, material, and embodied, this article explores zines as political, aesthetic, and rhizomatic texts that reflect the dynamic networks— or zine ecologies—in which they emerge. Focusing on Brussels, Belgium, a city where climate activism, art, politics, and diverse histories converge (i.e., (inter)national-, colonial-, comics-, and literary history), the study examines environmental zines and their interrelationships within the broader context of Brussels. Specifically, it analyses two zine ecologies, Ateliers du TONER and De Zeehond, which coexist within the broader Brussels zine scene and allow for environmental zines to take shape. The article considers seven zines that are physical, aesthetically driven, and anti-establishment, functioning as ‘social objects’ that connect various organisations. Through creating environmental zines of the ‘artistic’, aesthetical kind, zine ecologies constate themselves as such, reflecting upon ongoing climate discourse while keeping a porousness and openness that encourages flexibility, accessibility, inclusivity, and diversity. Keywords: zines, environmental zines, zine ecologies, Brussels, climate activism, literary sociology