Re: Only Korean Sex Clips
Odina Conkright
Apart from YouTube, Uriminzokkiri utilizes Youku, a Chinese video hosting service that is similar to YouTube, to promote its videos. It has uploaded a variety of video clips including news clips, North Korean music videos, and propaganda output.
However, since these are merely a few official channels, critics believe the impact is limited. Other argue such moves only serve to limit an important resource for studying one of the most isolated and secretive countries in the world.
In January 1975, three units of the relabeled Pong machine Computer TV were installed in the Midopa Department Store in Seoul. The newspaper explained it as a "TV game" and said that big companies such as Samsung and Goldstar (now LG) were producing new machines, most of them Pong clones. Until the end of the 1970s, "electronic entertainment rooms" quickly spread around the country, despite fierce opposition by conservative parents, media and the regime. By 1980, only 43 arcade establishments were government-approved, while many hundreds were opened illegally.[6] The Korean video game industry started as mostly an import market, getting machines from Japan and the USA. Since it didn't have any form of localization, the arcade manufacturers would put names in Hangul, making some name changes such as "Donkey Kong" becoming "King Kong".[7][8] Eventually, Korean companies started to develop their own arcade games. One of the first arcade games to be developed by a Korean company is Goindol, released in 1987 by SunA. It was also the first one to be released outside of Korea, with the company Sharp Image Electronics licensing it for North American distribution.[9] Sharp Image licensed three other arcade games from SunA and Philko for release in North America, and also licensed Kaneko's Air Buster for release in North America. In 2001, a company called GameVision licensed six arcade games from Expotato, Andamiro, SemiCom, and Excellent Soft Design for release in North America.[10] GameVision also developed a Game Boy Advance port of Tang Tang, which was released by Take-Two Interactive.
Most of the stores that made unauthorized copies of games started to port them to Zemmix, the most representative publisher being Zemina, the first company to publish a domestic title, Brother Adventure, a Mario Bros. clone. However, the copyright law only covered the code itself, allowing the video game adaptation of foreign games. A group of Japanese companies (including Taito, Konami and Capcom) brought to court cases against Haitai and Young Toys, but failed to win anything because the games in question were released before the enactment of the law. Most of the original Korean games were made by independent teams, such as "Mickey Soft's Kkoedori" and "New Age Team's Legendly Night". The Korean company Topia was one of the first to begin producing action role-playing games, one of which was Pungnyu Hyeopgaek, for MS-DOS, in 1989. It was the first Korean title published for an IBM PC compatible and set in ancient China.[7]
The development of those systems started slow, as the software necessary was not as available as home computers. Most infringing companies found ways to simply convert MSX games to the Gam*Boy, due to their similar architecture. Two companies, Daou Infosys and Open Production, under the Jaem Jaem Club label, were responsible for a steady flow of domestic games for Gam*Boy consoles. Daou was known for its licensed game from the TV animation series Agi Gongnyong Dooly, which had a game released for the MSX. Open Production, on the other hand, was mainly responsible for original games, although most of them were platformers similar to other famous games, however, having completely original sprites, levels and gameplay. Three Open Production games were published in Australia, but only in 1995 when the Master System was already dead in Korea.[7]
During February 24 to 27, 1993, Computer Edutainment and Game Software Festival - the first video game expo in Korea - was held at the electronic store complex in Yongsan, Seoul.[14] The first edition of the festival had high-profile exhibitors such as Hyundai, but on the following years, only small developers would continue to carry it on until its extinction in 1996. On the other hand, the Amuse World expo started as a small event and kept growing steadily, evolving to the nowadays G-Star, the largest game industry event in Korea.[7]
Around January 1993, home consoles in South Korea were estimated to be present in one of every four houses.[15] However, they are not as popular as they used to be. The console downfall started with a photosensitive epileptic seizure mass hysteria successfully spread by the Korean mass media. Although the initial epileptic seizure was proven not to be related to flashing light sensitivity,[16] the newspapers would report new or old cases, connecting them with video games. The media would blame Japanese video games, even stating that the cases happening in the US and Canada were also caused only by video games from Japan. Video game sales were damaged, and Samsung reported a decrease of 71.4% during 1993 and Hyundai, 33%.[17] The industry started to slowly recuperate but was slowed down by the decision of the Ministry of Culture and Sports, on July 1, 1993, to revise the censorship regulation, so that video games on CD-ROM or cartridge have to pass an evaluation by the Korea Public Performance Ethics Committee. The rating system of the committee was considered one of the most strict of the world in the 1990s.[18]
Due to a failure of establishing a clear definition of online video game addiction, there are complications measuring and identifying those affected by video game addiction. There is no actual percentage regarding individuals that are addicted to video games. Researchers have conducted a questionnaire for Korean High school students to better understand video game addiction. The researchers found only a 2.7% addiction rate when it was distinguished from another peripheral criterion. The results suggest that video game addiction may not have been a prevalent issue as previously believed in South Korea[35]
Modern K-pop "idol" culture began in the 1990s, as K-pop idol music grew into a subculture that amassed enormous fandoms of teenagers and young adults.[7][8] After a slump in early idol music, from 2003, TVXQ and BoA started a new generation of K-pop idols that broke the music genre into the neighboring Japanese market and continue to popularize K-pop internationally today.[9][10] With the advent of online social networking services and South Korean TV shows, the current spread of K-pop and South Korean entertainment, known as the Korean Wave, is seen not only in East Asia and Southeast Asia, but also in Pakistan, Bangladesh, India, Latin America, North Africa, Southern Africa and East Africa, the Middle East, and throughout the Western world, gaining an international audience.
Modern K-pop is marked by its use of English phrases. Jin Dal Yong of Popular Music and Society wrote that the usage may be influenced by "Korean-Americans and/or Koreans who studied in the U.S. [who] take full advantage of their English fluency and cultural resources that are not found commonly among those who were raised and educated in Korea."[24] Korean pop music from singers or groups who are Korean-American such as Fly to the Sky, g.o.d, Rich, Yoo Seung-jun, and Drunken Tiger has both American style and English lyrics. These Korean-American singers' music has a different style from common Korean music, which attracts the interest of young people.[24] Increasingly, foreign songwriters and producers are employed to work on songs for K-pop idols, such as will.i.am and Sean Garrett.[25] Foreign musicians, including rappers such as Akon, Kanye West, Ludacris, and Snoop Dogg, have also featured on K-pop songs.[26][27]
The 1990s saw a reactionary movement against mainstream popular culture with the rise of illegal underground music clubs and punk rock bands such as Crying Nut.[92] The 1997 Asian financial crisis not only prompted South Korean entertainers to look for new markets, with H.O.T. releasing a Mandarin-language album[92] and Diva releasing an English-language album in Taiwan,[95] but also prompted South Korea's leaders to focus on building the nation's cultural influence through music.[100] The government poured millions into building infrastructure, technology, and a specific department within its Ministry of Culture for K-pop. Regulations were passed on karaoke bars, for example, to protect the interests of idols.[100]
In October 2016, BTS's album Wings becomes the first Korean album to chart in the UK Albums Chart, reaching #62,[142] and the highest-charting and best selling K-pop album in the Billboard 200.[143] In February 2017, BTS landed their fourth album You Never Walk Alone at #61 on the Billboard 200.[144] In September 2017, BTS landed at #14 on the UK Album Charts with their new album, Love Yourself: Her.[145] Love Yourself: Tear debuted at number one on the US Billboard 200 with 135,000 album-equivalent units (including 100,000 pure album sales), becoming BTS' highest-charting and first number one album in the US, the first K-pop album to top the US albums chart, and the highest-charting album by an Asian act.[146] "Fake Love" peaked at number ten on the Billboard Hot 100 that same week, becoming the band's highest reaching song on the chart as well as their first in the top ten. Overall, only twenty non-English songs have reached the top ten, with "Fake Love" being the first for a K-Pop group. The single also debuted at number seven on Billboard's Streaming Songs chart with 27.4 million streams earned in the week ending May 24, giving BTS its first top ten on the chart and making "Fake Love" the first K-pop song to land on top ten since Psy's "Hangover" feat. Snoop Dogg in 2014. In August 2020, their song "Dynamite" topped the Billboard Hot 100 in its opening week, becoming the group's first number-one single in the US and their fourth top-10 entry. BTS became the first K-pop act in Hot 100 history to debut at number one.[147]
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