After 17 years of success online, leading independent music publication Pitchfork just put out its inaugural print edition. In the introductory letter, The Pitchfork Review sets forth the desire to stand the test of time and proposes that readers can one day pass the issue on to their children “as a time capsule of sorts.”

“Since so much of enjoying music has to do with real, physical interactions—from going to shows to playing records—why not read about music culture in the same way?” The Pitchfork Review wonders. It’s not a new concept, but the question is one that many online publishers and brands are asking today: Why not provide a more lasting, focused experience for readers who are weary from the online deluge?

The new wave of print providing this experience is niche and small-run and set on superb design. Pitchfork produced only 10,000 copies of the winter edition of its magazine, with a newsstand price of $19.96 an issue. Newsweek—which gave up print in 2012 but announced a relaunch this March—is distributing 70,000 copies, a drastic drop from its peak circulation of 3.3 million. Adweek speculates that Newsweek “is going after the long tail of die-hard readers that are willing to pay for it.”

With a marked-up newsstand price, Newsweek has only a small number of advertising pages; the first issue featured just six advertisers. The Pitchfork Review, on the other hand, sold all its ad space to Converse, whose front and back page spreads blend well with the magazine as a whole. David Hepworth writes in The Guardian that “advertisers still appear to believe in the charisma of paper,” but that belief doesn’t necessarily mean adherence to an old system.

Some former advertisers have spearheaded their own publications. “Why spend €40,000 a page to advertise in Vogue when, for the same amount of money, you can publish an entire magazine?” Alice Litscher, a professor in fashion communication at the Institut Français de la Mode in Paris, asked The New York Times. Luxury e-tailer Net-a-Porter recently produced a high-fashion glossy to rival Vogue, while Swedish brand Acne Studios created the W-esque magazine Acne Paper.

As companies continue to participate in print, whether they’re buying ad pages or producing publications, they allow print to evolve past a “traditional medium.” But as technology changes—especially with the Internet of Things—the code to crack will be that of real-time integration. How can print experiences serve as both sentimental time capsules and (should the reader choose) animated adventures? Is there a seamless way for print and digital to come together? QR codes are a clunky beginning, and iPad editions bring the aesthetic of print to digital devices, but we have yet to create something that is both pleasantly paper and interactive by the standards of the Internet age. The first content marketer to arrive at that conclusion will win print’s ongoing “hackathon,” and the advertising attention that comes with it.