The 3rd Analogue Game Jam

The Center for Art Convergence at Korea National University of Arts held the 3rd Analog Game Jam together with the game research group “Mental Victory Laboratory” to think about the significance of “play” and “nori (play)” in terms of media’s interactivity. This event was held as a game jam in which a paper board game prototype was made, and test play was performed with the team formed on the spot.

• Keynote Lecture: Youngjin Oh (Culture Critic, Professor in charge of <Machine Criticism> at Hanyang University, Erica Campus)

• Moderator/Cooperation: Mental Victory Laboratory

• Participants: students from Korea National University of Arts and the general public who want to exchange ideas with various people through analog game production (30 in total, based on selection)

• Date: 2019. 9. 28. (Sat) 10:00 - 20:00

• Venue: Seokgwan Campus Main Building Gallery in Korea National University of Arts

• Program Details

10:00 ~ 10:30 Participant registration

10:30 ~ 11:00 Topic presentation and lecture (Lecturer: Youngjin Oh)

11:00 ~ 12:00 Lunch 

13:00 ~ 17:00 eam-building and game development

17:00 ~ 18:00 Finishing up the development and demonstration

18:00 ~ 18:30 Souvenir distribution and prize draw

18:30 ~ 20:00 Dinner and play-testing

New-tro: A Symbol of Past and Experience That Can Be Recalled / Youngjin Oh

※ The following is reconstructed from the lecture of Mr. Youngjin Oh.

Recently, games and food that recall past memories appear everywhere. Due to this trend, the music of “Joonil Yang” and “Wansun Kim” is gaining popularity on YouTube. The popular music chart where Joonil Yang and G-Dragon coexist or where Wansun Kim and Twice coexist somewhat indicates that we are competing with the past. We refer to this contemporary trend as “New-tro (New+Retro).” That said, what is the difference between “Retro” and “New-tro?” 

If “retro” is a recollection of memories of the past, “new-tro” has an innate perception that the past can still be new. “New-tro” is not only a trendy keyword today, but it also reflects the spirit of the times. How does our sense of reality deal with an era in which the past is constantly summoned and we have no choice but to be with what was summoned? In the sense of competing and fighting the past, the expression “New-tro’s Attack” has

emerged. However, this phenomenon is not limited to 2019. Modernism, which chased something new between the 19th and the 20th century, has been replaced in the 21st century, when even the past comes as a shock to us. In other words, the era of “shock of the old” has arrived after long chasing “shock of the new.” If modernist artists did the work of breaking up the connection with the past, in the 21st century, a “re-discovering way” is adopted as in the case of “Joonil Yang.” The essence of “New-tro” is to constantly rediscover and reconstruct achievements made in the past and to be surprised by its power.

However, it is insufficient to understand “new-tro” only as a repetitive competition with the past. Among the various ways of consuming “new-tro,” let’s take a look at some of the old-fashioned items that people are fanatical about. What is it about the retro-inspired glasses or the reappearing Delmont juice bottle that appeals to the contemporary public? And what are we consuming in this?

Drink itself does not change, but there is more value than a mere object called “sentiment,” which is virtual but not fake. In other words, what we truly consume through “new-tro” is to infer the traces of experience hidden within the symbols. And even those who do not have memories of that object would have a vague feeling to share with others. Therefore, a brand with a history of experience is much more attractive than a new brand that does not have the accumulation of memorable symbols.

Then, why is it a “new-tro” rather than a simple “retro?” It appears naturally in our environment where we are constantly together with the past, and at the same time, it is significant that it is connected with a substantial experience in the void. “Tradition” is always created. However, not all things of the past become “traditions.” It is “traditional” because it is useful in the present. In other words, “tradition” is a thing of the past but has the paradox of being intertwined with the future. And the present is important because it is a projection of the present desire. Tradition is essentially a useful past, and innovation may also be a useful past. We feel the need for a recallable past that is worth more than reminiscences. And apparently it is recalled from the present perspective.

Team 1 (Pleasure): Yoonjung Kim, Hoonkwang Park, Eunha Cho, Yeonhu Kim, Seungcheol Lee (5 members)

Team 2: Kihyeok Ko (1 member)

Team 3: Eunhye Kim, Hansol Lee, Rosa Jung, Yerim Kim, Soyoon Bae (5 members)

Team 4 (Wachakacha Tribe): Yunjeong Kim, Hanjyo Jang, Heejin Cho (3 members)

Team 5: Hyerim Hwang, Jayoung Hong, Jaesik Jung, Donghyun Kang (4 members)

Team 6 (Generations): Yunseok Seo, Seong Choi, Woon Jeon, Donghyeok Choi, Sueok Lee (5 members)

Team 7: Janghun Kim (1 member)