The second edition of "Arkzin" ran for 93 issues, the first of which appeared on April 1st 1992. Initially a monthly, starting from the issue 13, "Arkzin" became a bi-weekly. In the second phase, "Arkzin" changed its format to A3, broadened the editorial board and scope of topics, included professional journalists as contributors (many of them could not publish in mainstream newspapers any more because of tightening censorship efforts by the state at the time). It was printed in newspaper rotation and distributed through a national newspaper stands network. Circulation grew from 2.000 to 10.000 copies. During this period "Arkzin" gradually changed to a hybrid magazine in which politics, culture, theory and art met and inspired one another. Throughout its life as a newspaper, "Arkzin" changed its conceptual self-definition, changing from the “Magazine of the Anti-War Campaign Croatia” (no. 10, February 1994), “Megazine of the Anti-War Campaign Croatia” (no. 12, April 1994) , “Metazine for Civil Society Politics and Culture” (no. 66, 7 June 1996), “Memezine for Civil Society Politics and Culture” (no. 73, 13 September 1996). Starting with the issue no. 82 (January 17, 1997) the cover page masthead no longer said ‘Arkzin’ in the Roman alphabet, but rather in Japanese katakana. In words of Dejan Kršić, graphic designer and one of the editors of "Arkzin": "This development reflects the role that Arkzin plays in the context of the movement for peace, non-violence, human rights, women’s power and ecology on one side, and the efforts of a growing range of people to build a cultural environment, which resists not only the war and its consequences but also the strangling grip of the dominant nationalist forces in Croatia, on the other side. Arkzin has established itself as a major forum of independent, alternative, critical information and debate. Arkzin not only criticises the government policies (e. g. the war in Bosnia and Herzegovina and the evictions of the people from former Yugoslav army housing flats), but also examines the role of the media, of the intellectuals and of various marginalised youth subcultures." (note published on Bibliofil) 