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Latin American dreaming for Korean game publishers SEOUL, October 26 (AJP) - Long before K-pop reached Latin American stadiums, a Korean dance machine had teenagers across the region stomping on flashing arrows. Andamiro's Pump It Up, launched in 1999, packed Mexico's arcades in the early 2000s and spread across Latin America. Korean PC games followed into Brazil’s internet cafes. Gravity's Ragnarok Online began commercial service there in 2005 through local publisher Level Up, which later brought in Nexon's Combat Arms in 2010 and Sudden Attack in 2011. Two decades on, Korean game makers are heading south again, this time with local servers and Portuguese voice actors. The draw is a growing market abroad as gaming participation falls at home. The challenge is turning enthusiasm into spending. Latin America's games market is forecast to grow 7.9 percent to $9.3 billion this year, outpacing North America and Europe, according to Newzoo figures cited by Gamescom Latam. In South Korea, gaming participation fell to 50.2 percent in KOCCA’s 2025 survey, down from 74.4 percent in 2022. The survey covers people aged 10 to 69. "Latin Americans are very friendly toward Korean culture" said Kim Jung-tae, a professor at the School of Game at Dongyang University. "The region is not that different from the US cultural sphere, so what works in the Americas can travel there." Kim said fighting over a limited domestic market would offer Korean companies few answers. But winning Brazilian players does not mean they will accept Korean pricing. NC's Aion 2 launched globally on Oct. 5 after opening early access on Sept. 30, offering South American servers and Brazilian Portuguese support. It topped Steam's sales chart in Brazil during early access, the company said. Some of its most-upvoted Brazilian Portuguese reviews, however, took aim at the price. "This is the first game with reverse regional pricing," one player wrote on Steam on Sept. 30. Reviewers said the monthly membership needed to trade on the in-game market costs about 82 reais, roughly 5 percent of Brazil’s monthly minimum wage. The response is far from uniformly negative. Of the game's 2,786 Brazilian Portuguese-language reviews, 69 percent are positive, compared with 52 percent of its English-language reviews. Even criticism can come from committed players. "The game is good in many ways: combat, graphics, soundtrack," wrote one player with more than 160 hours logged, before calling its monetization "extremely predatory." Pearl Abyss' Crimson Desert has received a warmer reception, with 92 percent of its 2,463 Portuguese-language reviews positive. The company added full Brazilian Portuguese voice-over in an update unveiled in August. "A perfect game for salaried workers, freelancers, family men and pet parents," one reviewer wrote. Brazil's growing visibility also extends to competitive gaming. Its team won Krafton's PUBG Nations Cup in Seoul in June, becoming the tournament's first champion from the Americas. Speculation about a Brazilian base for Krafton has followed, although the company has announced no decision. "Krafton constantly reviews business opportunities in various regions to expand its global business," a company spokesperson said. "Nothing has been confirmed or officially decided regarding Brazil." Brazil is strengthening support for its own games industry. President Luiz Inacio Lula da Silva, who secured a fourth term in Sunday's runoff, signed an Oct. 14 decree implementing the country's 2024 games law. It establishes the Brazilian games sector's eligibility for federal support in culture, technology, research and innovation, subject to each program's rules. Beyond Latin America, Kim sees Africa as another potential growth market, although one requiring more time and adaptation. Africa's games revenue is forecast to rise 11.9 percent to $1.98 billion this year, according to Carry1st and Newzoo — faster than Latin America's growth, but from a much smaller base. "Much of Africa's working population is in its early 20s, which opens even more opportunities for us than Asia," Kim said. "But gaps in technology and culture still limit how far Korean games can go there, and it will take more time." Whether the next hit finds its audience in Sao Paulo or Lagos, Kim said, its Korean origins may matter less than the experience it delivers. "Nationality doesn't matter," he said. "A game just has to be fun." AJP Takeaways - Korean game makers are expanding local servers and language support in Latin America as gaming participation declines at home. - Latin America’s games market is forecast to grow 7.9 percent to $9.3 billion in 2026, but player enthusiasm does not guarantee acceptance of subscription fees and in-game charges. - Krafton has made no decision on a Brazilian base. Africa offers another growth prospect, though infrastructure and cultural differences remain barriers. October 26, 2026 14 -
Pearl Abyss' 'Crimson Desert' and NCSoft's 'Aion 2' Compete for Korean Game Awards This year, Pearl Abyss Crimson Desert and NCSofts Aion 2 are among the nominees for the Korea Game Awards, which recognize outstanding works in the Korean gaming industry. The inclusion of major new titles that have achieved success in the global market has heightened interest in the competition for the top award.On October 26, the Korea Game Industry Association revealed 12 nominees for the Korea Game Awards on its official website.The nominees include: The World of Goblins (Supercat)Lost Idols: Veil of the Witch (Ocean Drive Studio)Mongil: Star Dive (Netmarble Monster)Crimson Desert (Pearl Abyss)Stone Age: Growing Up (Netmarble N2)Eclipse: The Awakening (Npixel)The Seven Deadly Sins: Origin (Netmarble FNC)Imjin War: The Counterattack of Joseon (Red Jinco Games)Zeus: The God of Wrath (Aiverton)Chaos Zero Nightmare (Smilegate)Aion 2 (NCSoft)Mimesis (Rellu Games)In the popular game category, nine titles are nominated, including The World of Goblins, Mongil: STAR DIVE, Crimson Desert, Agatha Growing Up, Eclipse: The Awakening, Imjin War: The Counterattack of Joseon, Zeus: The God of Wrath, Aion 2, and Mimesis.The online voting for the Korea Game Awards will take place from today until November 16 at 5 PM. The results of the public vote will account for 25% of the main award evaluation, 80% of the popular game award, and 50% of the popular voice actor award. Anyone can vote for the nominees on the official Korea Game Awards website.Among the major nominees, Pearl Abyss Crimson Desert stands out with impressive global sales figures. Released in March, the game sold 2 million copies on its launch day and surpassed 5 million copies within a month of its release. It has garnered attention as a successful global console package game developed by a Korean company, making its potential award win a topic of interest.NCSofts MMORPG Aion 2 is also considered a strong contender. It has shown promising performance in the global market, quickly attracting users. According to NCSoft, Aion 2 exceeded 6.3 million character creations within 20 days of its global early access. The total playtime by users has reached 101.8 million hours.Aion 2 achieved a peak concurrent user count of over 400,000 at the start of its official service and ranked first in the Steam weekly global revenue chart during its first week. Observers are keen to see if its user base and revenue performance will translate into award recognition.The online voting for the Korea Game Awards will take place from today until November 16 at 5 PM. The results of the public vote will account for 25% of the main award evaluation, 80% of the popular game award, and 50% of the popular voice actor award. Anyone can vote for the nominees on the official Korea Game Awards website. October 26, 2026 14 -
Despite Rainy Weather, This Year's Hwasun Dolmen Autumn Flower Festival Draws Large Crowds The Dolmen Autumn Flower Festival held in Hwasun County, Gwangju, has gained significant popularity. Running from October 16 to 25, the festival took place over ten days at the Hwasun Dolmen site. This years festival, themed A Thousand-Year Story Along the Flower Path, showcased the historical value of the UNESCO World Heritage Dolmen, vibrant autumn floral displays, and popular cultural content, attracting families and younger visitors despite the inclement weather. To enhance budget efficiency and promote community unity, the traditional opening ceremony was omitted, and a Citizens Day event was held on the festivals first day. Additionally, visitors received a full refund of the 5,000 won admission fee in Hwasun Love gift certificates, encouraging spending within the local economy and amplifying the festivals impact. Notably, the Dolmen Universe (DM·DolMen) content, which highlights the historical identity of the dolmens, attracted attention. In Jjangdol Village, various prehistoric experiences were offered, including Bronze Age costume and game experiences, hunting, jewelry making, dolmen naming, and a soap-making workshop, which were particularly popular among children and students. Chunsik Village, featuring popular Kakao Friends characters, presented a large air balloon photo zone and Chunsik History Road, providing unique attractions and enjoyment that resonated with families and younger generations. In the Dogok Dolmen Grass Plaza, four themed gardens were created, including a dinosaur-themed childrens garden, showcasing a variety of flowers and chrysanthemum sculptures. Alongside a chrysanthemum bonsai exhibition, a hands-on program allowed visitors to plant chrysanthemums. In the Chunyang area, an animal garden and childrens playground were established for family enjoyment. Every weekend, diverse themed DM concerts, abundant food stalls, and comfortable resting areas contributed to a festival atmosphere that appealed to all generations. Although the festival has concluded, Hwasun County plans to keep the five themed gardens open for free until November 15 for continued autumn flower displays. Hwasun County Mayor Lim Ji-rak stated, This year, we modernly reinterpreted the value of the UNESCO World Heritage dolmens and added enriching experiences and attractions, resulting in a large number of visitors. We will continue to develop differentiated festival content that connects Hwasuns unique historical and cultural resources with nature.* This article has been translated by AI. October 26, 2026 13
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Busanjin District to Host 'Youth e-Festa' on October 31 Featuring Gaming and Cosplay Busanjin District in Busan announced on October 26 that it will host the Busanjin Challenge Youth e-Festa on October 31 at the Busan Esports Arena, combining gaming, cosplay, and comedy performances.This event aims to expand cultural activities and interactions among youth, following Busanjins designation as a youth-friendly city last year. Unlike last years outdoor street festival, this years program focuses on indoor activities centered around eSports, which are popular among young people.The festival will run from 1 PM to 8 PM at the Busan Esports Arena, located on the 15th and 16th floors of the Samjeong Tower in Seomyeon. Young people from across the country, as well as the general public, are welcome to participate.Diverse Activities from Valorant and TFT Tournaments to Cosplay and Comedy ShowsThe centerpiece of the festival will be eSports tournaments, featuring a solo competition for the strategy game TFT (Teamfight Tactics) and a Valorant tournament where four teams that passed online qualifiers will compete for the championship on-site. Participants can register in advance or on a first-come, first-served basis for the TFT competition.A cosplay contest titled LegendON Busanjin will also take place, where participants will showcase costumes, props, and performances. Winners will be selected based on evaluations from professional judges and audience votes.Starting at 7 PM, a stand-up comedy show titled GAME OVER? CONTINUE! featuring local young comedians will entertain the audience. The show will address real-life concerns of young people, such as employment, career paths, and relationships, with opportunities for audience members to submit their stories for inclusion in the performance.Experience booths operated by five youth spaces in Busanjin District will also be available. Programs linked to youth policies, such as a job-type card game and DIY keychain making, will be offered by Youth Flex, Youth Maru, Youth Creative Development Center, Youth Mental Health Center, and Wagle Wagle Platform. Participants who complete the experience missions will receive souvenirs, snacks, and drinks while supplies last.Initially, this festival was planned to coincide with Busanjins Youth Week, which ran from September 19 to October 2. However, scheduling conflicts with the Asian Games in Aichi and Nagoya led to difficulties in securing the venue, resulting in the main event being postponed to October 31. Special programs from the five youth spaces were conducted according to the original Youth Week schedule.A representative from Busanjin District explained that the delay in the main event was due to challenges in securing the venue. This years festival is designed as an indoor event utilizing gaming content preferred by youth, with a maximum capacity of 300 attendees at the venue.Given that the event falls on Halloween, safety measures will be implemented to manage crowd density. Busanjin District has requested the event management company to deploy safety personnel, and district officials will also support event operations and safety management on-site.Busanjin District was designated a youth-friendly city in February 2025, and this festival is part of ongoing initiatives related to that designation.Kim Young-wook, the mayor of Busanjin District, stated, This Youth Week is designed for young people to participate, enjoy, communicate, and gain new experiences through various programs. I hope it will be a joyful time for youth to come together and build new relationships.Participation in the event is free, and details on how to register for specific programs can be found on the official Busanjin Youth e-Festa website.* This article has been translated by AI. October 26, 2026 11
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North Korea Claims Mine Explosion in DMZ is South Korea's 'Staged Act' North Korea has sent a letter to the chair of the United Nations Security Council, claiming that the recent mine explosion in the Demilitarized Zone (DMZ) was a staged act by South Korea. This response follows South Koreas assertion that the incident constituted a violation of the armistice agreement and its demand for an apology from the North.According to the Korean Central News Agency on October 26, the Norths permanent representative to the UN sent a letter to the Security Council chair on October 25, addressing the mine explosion that occurred on September 21.In the letter, North Korea alleged that South Korea manipulated the mine explosion incident. It claimed that South Korea was attempting to disrupt its so-called southern border fortification efforts near the military demarcation line (MDL) by portraying them as military incursions. The North denied responsibility for the incident, asserting that it was a ploy by South Korea to evade accountability for escalating tensions on the Korean Peninsula.North Korea also emphasized the legitimacy of its fortification efforts along the MDL, describing them as self-defense measures to protect its territory from external threats, consistent with its sovereign rights under the UN Charter and international law.The North criticized South Koreas warning shots fired in response to alleged incursions by North Korean forces, arguing that such actions threaten the lives and safety of soldiers involved in the fortification work. It claimed that these warning shots violate Article 2, Paragraph 4 of the UN Charter, which prohibits the use of force and threats.Additionally, North Korea issued a military warning to South Korea, stating that it reserves the right to exercise self-defense under Article 51 of the UN Charter if South Korea commits any direct provocations that infringe upon its territory by even 1 millimeter or endanger the safety and lives of its personnel. The North warned that South Korea would bear responsibility for any consequences arising from violations of its sovereignty and territory.This letter is seen as a counter-response to a previous communication from the South Korean government to the Security Council chair, in which it raised concerns about the DMZ mine explosion and heightened tensions along the MDL.On October 22, South Koreas Ambassador to the UN, Choi Ji-hoon, sent a two-page letter to the Greek ambassador, who holds the Security Council presidency. The South Korean government stated that the mine explosion on September 21 was caused by a mine planted by North Korean forces, clearly constituting a violation of the armistice agreement. The explosion injured three South Korean soldiers, and both the South Korean military and the UN Command concluded that North Korean forces had intentionally planted mines south of the military demarcation line.The South Korean government has demanded an apology from North Korea and called for dialogue aimed at reducing military tensions and restoring trust.The letter from South Korea was circulated to the 15 member states of the Security Council after receiving approval from the chair. North Korea also submitted a separate letter, escalating the blame game over the DMZ mine explosion into the realm of UN diplomacy.* This article has been translated by AI. October 26, 2026 10
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KIA's Kim Do-young Confident Ahead of Playoff Opener KIA Tigers Kim Do-young, 23, shared his thoughts ahead of the first game of the playoffs (best of five) against the Samsung Lions.According to Yonhap News on the 25th, Kim spoke with reporters after the playoff opener, originally scheduled to take place at Daegu Samsung Lions Park, was canceled due to rain.Kim stated, I believe that taking a break resets all my senses. This time, I only took one day off and came out for voluntary training to maintain my feel. I prepared the same way before the playoffs, and it worked well, so I kept my routine.He noted that he is not overly concerned about the home run-friendly characteristics of Samsung Lions Park, saying, If I focus on each at-bat, home runs will come naturally, so I dont specifically think about hitting home runs. However, given the parks nature, I cant let my guard down until the final out in the ninth inning.Kim added, I analyzed the Samsung pitchers the same way I did during the regular season. Instead of adding anything special, I focused on maintaining my feel.He also mentioned, How we handle veteran Choi Hyung-woo will determine the outcome. From our perspective, it might be better if he comes in as a pinch hitter rather than facing him multiple times as a starter.Kim acknowledged that teams coming up from the lower leagues may have disadvantages in terms of stamina, but he expressed confidence in his teams condition, saying, Our players are in good shape, and the team atmosphere is really positive. If we can maintain our hitting feel, we can definitely play well.* This article has been translated by AI. October 26, 2026 07
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An Se-young Wins French Open for Third Consecutive Year, Achieves 10th Victory of the Season World No. 1 badminton player An Se-young (Samsung Life) secured her third consecutive victory at the French Open, marking her 10th title of the season. Since her defeat in the All England Open final in March, she has achieved 50 consecutive wins, raising her season win rate to 98.5%.According to Yonhap News on October 25, An defeated world No. 11 Pusarla V. Sindhu of India 2-1 (16-21, 21-11, 21-12) in the womens singles final of the Badminton World Federation (BWF) French Open Super 750 held in Tremblay-en-France on October 24.This victory marks Ans third consecutive win at the tournament, following her triumphs in 2024 and 2025. Including her win in 2019, this is her fourth title at the French Open.In 2026, aside from her runner-up finish at the All England Open in March, An has won all 10 individual tournaments she entered, including the Asian Games. Her overall record for the season stands at 67 matches, with 66 wins and just one loss, resulting in a win rate of 98.5%.Notably, after losing to world No. 2 Wang Zhi Yi of China in the All England Open final, An has gone on to win 50 consecutive matches. She is also closing in on the record for the most titles in a single season, which she set last year with 11 tournament victories.In the final match, An started off by losing the first game 16-21. She fell behind after a series of consecutive points lost at a tied score of 11-11, failing to close the gap thereafter.However, in the second game, she took an early lead and won 21-11. In the final game, after a tie at 9-9, she scored consecutively to finish the match 21-12.With this victory, An improved her head-to-head record against Sindhu to 11 wins without a loss.Her total international singles titles have now reached 48. Last week, she surpassed the previous record of 46 titles held by Susi Susanti of Indonesia at the Denmark Open, and she has now set a new record with this latest win.* This article has been translated by AI. October 25, 2026 20
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Seoul Becomes Battlefield in Controversial North Korea-Inspired Game Release A new game depicting a fictional scenario where North Korea invades Seoul has sparked controversy in South Korea. The game enhances user immersion by realistically portraying everyday scenes in Korea, while its war scenarios have been utilized to criticize the current governments North Korea and security policies.According to the gaming distribution platform Steam, Activisions first-person shooter (FPS) Call of Duty: Modern Warfare 4, developed by Infinity Ward, has reached the top of the popularity rankings. Officially released on October 23, the game centers on a full-scale invasion by North Korea, leading to war on the Korean Peninsula, with South Korean soldiers battling against overwhelming odds.One of the games standout features is its detailed representation of Korean cities and lifestyles. Early in the game, a scene inside a fighter jet includes the name SOUTH KOREA, while urban landscapes reminiscent of real locations like Daerim and Hongdae serve as battlefields. The game incorporates elements of Korean culture, such as the popular chimaek (chicken and beer) tradition and convenience store promotions, enhancing its realism. It goes beyond merely using Korea as a war backdrop by integrating specific local lifestyles into the gameplay.Online reactions highlight the games authenticity and immersive experience. Some users noted that the conversations and combat scenarios among soldiers reminded them of their own military service. The transformation of familiar streets and shops into combat zones has elicited mixed feelings, with some finding it both strange and realistic.However, the game has drawn political attention even before its official release, becoming a topic of security debate. On October 20, An Cheol-soo, a member of the People Power Party, criticized President Lee Jae-myungs remarks on North Koreas nuclear threats, suggesting, If you dont understand the risks of North Korean provocations, you should try playing the game Call of Duty: Modern Warfare 4. He emphasized the need for awareness regarding the threats posed by North Korea.On the same day as the games release, independent lawmaker Han Dong-hoon acknowledged the controversy, stating, Of course, its a fictional story, but questioned, If that day comes again, are we prepared? He indicated that this question was directed at the security policies of the Lee Jae-myung administration, interpreting the game as a critique of the governments North Korea policy.User reactions remain divided. Some argue that the game, being a fictional portrayal of war, should be evaluated based on its entertainment value and quality. Others believe it serves as an opportunity to reflect on the real security tensions on the Korean Peninsula.* This article has been translated by AI. October 25, 2026 17
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Rapper Yang Hong-won Faces Infidelity Allegations Just Days After Wedding Rapper Yang Hong-won has found himself embroiled in infidelity allegations just five days after his wedding. The controversy escalated as claims of financial demands from the accuser and additional clarifications from the accompanying woman surfaced.The incident began on October 23 when an individual claiming to be a friend of Yang posted allegations on social media. This person, referred to as A, asserted that Yang entered a motel with another woman three to four weeks before his wedding. A shared recorded phone calls, videos presumed to be from past encounters, and messages sent to Yangs wife, Won Hyun-joo.In the released call, A asked Yang if he remembered the events in Suwon and requested a loan of 300,000 won. Yang responded by advising against any wrongdoing.A continued the revelations during a live broadcast on social media, stating that the allegations were made for attention and financial gain, expressing satisfaction with the increase in followers.Another individual claiming to have been present at the scene also emerged, alleging that A manipulated the situation for financial gain and claimed to have been extorted out of 5 million won by A.Agency Denies Infidelity AllegationsAs the controversy spread, Yangs agency, AP Alchemy, issued an official statement on October 23 denying the infidelity claims. According to the agency, Yang had been drinking at As home after a performance and later went to a motel with another woman at As insistence.The agency stated that Yang was heavily intoxicated and fell asleep shortly after entering the motel room. The accompanying woman attempted to wake him but felt uncomfortable with physical contact and sought help from A, eventually returning home with A.While the agency acknowledged that both individuals went to the motel together, it emphasized that no inappropriate behavior occurred inside the room. They further claimed that A maliciously edited conversations and demanded money.Yang and the accompanying woman have filed complaints against A for extortion, violations of stalking laws, and defamation due to false statements.Accompanying Woman Speaks OutOn October 24, the woman who accompanied Yang to the motel released her own statement. She claimed that she did not know Yang prior to that night and that A repeatedly urged her to go to the motel with Yang.Once inside the motel room, she stated that Yang slept on the bed while she slept on the floor, asserting that there was no inappropriate physical contact. She also denied As claims that they engaged in a game involving physical contact prior to going to the motel, stating that such a game did not occur.The woman shared direct messages exchanged with A, revealing that A appeared intent on extracting money and suggested that she could delete personal information for 500,000 won. She claimed to have been used in a scheme for financial extortion and expressed concern for her family due to the public exposure of her identity.However, the full context and authenticity of the released messages, as well as whether the financial demands constitute criminal extortion, will need to be verified through investigations.Allegations Emerge Days After WeddingThe controversy has also drawn attention to the social media accounts of Yang and his wife. Reports indicate that the couple does not follow each other on Instagram, raising questions about their relationship. However, it appears they have not deleted photos taken together, and the timing and reasons for their unfollowing remain unclear.The YouTube channel featuring both Yang and Won, titled Yang Hong-wons Parenting Diary, has temporarily restricted comments, with the production team stating this is a measure to protect the participants while verifying the facts.Yang and Won were married on October 18 after dating for about eight years. They registered their marriage in 2023 and welcomed a daughter in November 2024.* This article has been translated by AI. October 25, 2026 10
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Netflix Celebrates 10th Anniversary in Korea with Fan Festival Netflix concluded the first day of its offline fan festival, Netflix Korea 10th Anniversary Crazy Fest! with enthusiastic responses from attendees. According to Netflix, the event held on October 24 at the Sangam Cultural Park in Mapo-gu, Seoul, was organized to thank Korean fans for their support of K-content over the past decade. The festival featured various interactive experiences and performances, with online live broadcasts on YouTube, TikTok, and Chijijik accumulating a total of 3.58 million views, demonstrating its popularity.The event kicked off with a powerful opening performance by singer Bada. Hosted by broadcaster Lee Jae-yul, the festival included engaging programs such as Strongest Physique and Sports Day with Kim Dong-hyun and Amoti, and Find Netflixs Best Brain featuring cast members from the show Devils Plan, including Kweon Do-hyun, Lee Se-dol, and Lee Hye-seung. Celebratory performances by singers Choi Baek-ho and Kyuhyun, along with a special live segment titled We Came to Celebrate featuring Yoo Byung-jae, Jonathan, Chimchakman, Lee Chang-ho, Park Hae-soo, and Yoon Kyung-ho, added to the lively atmosphere.In the Netflix 10 Years, Crazy Fest! segment, key figures from major productions that have highlighted Netflix over the past decade took the stage. Under the hosting of broadcaster Kim Shin-young, stars from shows like D.P. (Jung Hae-in, Koo Kyo-hwan), Squid Game (Lee Jung-jae, Lee Byung-hun, Park Hae-soo), Hellbound (Kim Hyun-joo, Kim Sung-cheol, Kim Shin-rok), Mask Girl (Yum Hye-ran, Lee Han-byul), Black and White Chef: Cooking Class War (Kwon Sung-jun, Hu Deok-juk), and K-Pop Demon Hunters (Ahn Hyo-seop) engaged with fans by reminiscing about memorable scenes.The festivals finale, titled What Next? showcased Netflixs upcoming lineup and featured key figures. Ted Sarandos, co-CEO of Netflix, expressed gratitude, stating, Stories that began in Korea are loved beyond borders and language barriers. The next ten years will show possibilities we cant even imagine. The introduction of new projects included stars from Possible Love (Jeon Do-yeon, Seol Kyung-gu, Jo In-sung, Jo Yeo-jeong), Slowly Intense (Song Hye-kyo, Gong Yoo, Kim Seol-hyun), Grand Galaxy Hotel (Lee Do-hyun, Shin Si-a), Wolf, Girl (Kim Min-ju, Roman, Moon Sang-min), All of Us Are Dead Season 2 (Park Ji-hoo, Yoon Chan-young, Jo Yi-hyun, Roman), and Solo Leveling (Byeon Woo-seok), who all heightened anticipation for their new works. The festival concluded with an energetic performance by singer Zico, wrapping up the first day of festivities.In conjunction with its 10th anniversary, Netflix launched a special website showcasing the achievements and behind-the-scenes stories of its collaborations within the Korean creative ecosystem over the past decade.* This article has been translated by AI. October 25, 2026 10
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Conductor Jin Sol Leads Mahler's Symphony Future in Yokohama On October 9, 2026, Mahlers Symphony No. 2, Resurrection, resonated through the Lotte Concert Hall in Seoul. Conductor Jin Sol marked a significant milestone in her decade-long journey with the completion of her Mahler symphony project, which she began at the age of 29. This achievement was the result of her dream intertwined with the efforts of numerous performers. Jin Sol has been hailed as a small hero of our time, embodying the belief that great art is born not from a moment of genius but from the dedication of individuals who remain true to their dreams over many years.The concert featured a special subtitle: Ewiger Gesang, meaning Eternal Song in German. The message Jin Sol aimed to convey to the audience was clear: while the project of performing all of Mahlers symphonies has concluded, the human song towards music continues eternally. Completion is not an end but a new beginning, and the final note can serve as the first step towards the next musical journey.However, Jin Sols story does not end there. Exactly one month after concluding her journey with Mahlers Resurrection, she will take the podium again in Yokohama, Japan. On November 8, at 6 PM, she will conduct the Takutikaat Orchestras fourth regular concert at the Minatomirai Hall. The concert, titled Mahler 5.0, will feature the world premiere of a new work by Japanese composer Takashi Niigaki, followed by Mahlers Symphony No. 5. The event is organized by Optlinks Co., Ltd., and produced by Takutikaat Co., Ltd. The Japanese side describes this concert as an attempt to introduce a new approach to experiencing classical music.This raises an intriguing question: when a conductor who has spent a decade studying and performing Mahlers symphonies in Korea conducts Mahler again in Japan, is it merely an expansion of her activities abroad? Or does it signify that musicians from two different countries are posing new artistic questions through the lens of Mahler?The key to understanding this Yokohama concert lies in the latter.Mahlers Symphony No. 5 is a familiar piece to classical music enthusiasts. It begins with a funeral march, traverses a vast musical conflict, and culminates in the famous Adagietto of the fourth movement, leading to a dramatic finale. The delicate beauty of the Adagietto, created by strings and harp, is widely cherished within Mahlers music and has been repeatedly featured in films and popular culture.However, familiarity does not equate to true understanding. While we may remember the famous melodies, we often overlook where the music originated and how the composers mindset evolved to reach that point. We may be captivated by a pieces beauty but are often reluctant to explore the lengthy artistic journey that led to its creation.Japanese music producers have conceived a new concert precisely at this juncture.Before performing Mahlers Symphony No. 5, they propose to present the musical worlds of Symphonies No. 1 through No. 4 as a new work. Instead of listening to the Fifth Symphony in isolation, the audience will experience a condensed journey through Mahlers path leading up to it.The person who transformed this idea into concrete music is composer Takashi Niigaki. Commissioned by Takutikaat, he composed Mahler 5.0, which he describes as a sort of Movement 0 preceding the Fifth Symphony. This does not mean adding a movement to Mahlers existing Symphony No. 5 but rather opening another avenue to experience the Fifth through Niigakis newly composed independent work.This concept carries significance beyond mere arrangement. It respects the independence of the original while opening doors to new interpretations, presenting past music as a living question for todays audience.Reading Niigakis own program notes reveals even more intriguing aspects. Mahler 5.0 does not begin with Symphony No. 1 as one might expect. Instead, it opens with the introduction of the final movement of Symphony No. 2, Resurrection. Following this overwhelming orchestral sound, key scenes from Symphonies No. 1 through No. 4 unfold.However, the piece does not simply conclude there. The music, which seems to be heading towards the end of Symphony No. 4, suddenly shifts direction. Mahlers melodies intertwine with musical memories from other composers, disrupting the order of time. As a low C note sustains, the music spirals into chaos.At the end of this chaos, Niigaki invokes the first chord of the sixth piece from Arnold Schoenbergs Six Piano Pieces, Op. 19. This piece is often interpreted as a reflection of Schoenbergs mourning for Mahlers death. Niigaki explains this musical transition by reinterpreting the low C as its enharmonic equivalent, B♯. The music then comes to a halt, leading into the funeral march of Mahlers Symphony No. 5.This may sound somewhat complex to readers who are not professionally trained in music. However, the core idea is straightforward. Niigaki is not attempting to create a chronological summary of Mahlers music. Instead, he aims to open a new musical space where memory, history, death, and creation collide, using Mahlers melodies as raw material.In this context, the title 5.0 takes on multiple meanings. The number 5 refers to Mahlers Fifth Symphony, while the decimal point followed by 0 signifies a movement number that has yet to begin. It resembles versioning familiar in todays technological world, yet it symbolizes an entrance to experiencing music composed over 120 years ago.Placing a Movement 0 before the Fifth Symphony raises a question before the completed work. We often regard classics as finished products. Beethoven is Beethoven, Bach is Bach, and Mahler is Mahler. While it is essential to respect the authority of the original, the vitality of a classic lies in the continuous questioning posed by new generations.Classics are not merely artifacts preserved behind glass in a museum. They are cultural entities reborn through the hands and breath of living performers and the new questions posed by todays composers.Whether Niigakis work will be successful can only be judged after the actual performance. The attempt to connect Mahlers music to a new work does not always preserve the depth of the original. While stitching together parts of a masterpiece may simplify appreciation, it risks sacrificing the tension and structure that develop over time.This is why the role of the conductor becomes crucial in this performance.Jin Sol is not merely someone who has conducted Mahlers music. Over the past decade, she has studied and experienced the various worlds of Mahlers symphonies. She has confronted the youthful vitality of Symphony No. 1, the themes of death and resurrection in Symphony No. 2, the nature and cosmos in Symphony No. 3, the celestial purity of Symphony No. 4, and the dramatic transitions of Symphony No. 5 as individual works.Now, these musical pieces will connect within a new work. The conductor must understand the musical bridge created by Niigaki while fully grasping the worlds of Mahler on both sides of that bridge.This invitation to perform is particularly significant for Jin Sol. While she explored Mahlers symphonies as vast worlds in Seoul, she must now demonstrate how those worlds relate to one another in Yokohama.Moreover, this performance cannot be explained solely by the fact that a Korean conductor is leading a Japanese orchestra. It highlights the musical trust that has developed into a new collaborative creation.Yuichiro Inagaki, the representative of Takutikaat, detailed the preparation process for this concert in a statement released on October 15. After securing the performance schedule at Yokohamas Minatomirai Hall, he contemplated what program to present. He concluded that repeating regular concerts similar to existing professional orchestras would not adequately showcase Takutikaats unique value.During discussions about Mahlers Fifth Symphony, the idea arose to connect the first four symphonies into a new work. Following this, Niigaki was approached to compose, and upon his acceptance, the Mahler 5.0 project was set in motion.The background for selecting the conductor is also noteworthy.According to Inagaki, Jin Sol has collaborated with Takutikaat for two consecutive years in orchestral concerts for the anime Fafner in the Azure. He recognized her as a conductor who adeptly handles a wide range of music, from classical to game and anime scores. Upon confirming her leadership of the large-scale Mahlerian project in Korea, he decided to invite her for this regular concert.Inagaki praised Jin Sols meticulous and precise conducting, her passionate musical attitude, and her ability to draw out the orchestras strengths. He also noted her proactive engagement in collaborations with various content aligns well with Takutikaats vision.This process illustrates a new way cultural exchange occurs today.In the past, Korea-Japan cultural exchanges often began with official events organized by government agencies or large cultural organizations. While such exchanges are still necessary, todays cultural landscape emphasizes individual artists and producers discovering common interests and creating larger stages through small collaborations.The relationship between Jin Sol and Takutikaat reflects this. They did not initially meet to perform Mahlers Symphony No. 5 together. The two years of anime music performances provided opportunities to confirm each others musical capabilities, leading to the premiere of a traditional symphony and contemporary composition.This also raises questions about the long-standing hierarchy that separates genres.Classical music is often viewed as high art, while anime or game music is considered lighter popular culture. However, the reality of the music world is far more complex. Excellent anime music requires intricate orchestration and sophisticated emotional structures. Conversely, if classical music loses its effort to communicate with audiences, it risks becoming a niche possession, regardless of its great tradition.Takutikaat Orchestra actively traverses these boundaries. Founded in October 2020, this ensemble has promoted concertos, chamber music, solo performances, music education, and various content performances, with a focus on young, talented musicians. This concert is an extension of those activities.Particularly noteworthy is the potential for Japans anime and game culture to create new audiences for classical music. Japan has developed a globally influential popular culture industry, where music serves as a key language for conveying the emotions of the works.What happens when audiences who enjoy anime music visit an orchestra concert and experience the conductors musical prowess, ultimately leading them to listen to Mahlers symphonies? The future of classical music may very well unfold in such new encounters.Inagaki has even encouraged fans of Fafner in the Azure to experience Takutikaats sound. The concert will also feature seats where audience members can voluntarily contribute support. This reflects the producers efforts to invite not only familiar classical audiences but also new ones into the concert hall.Of course, enhancing accessibility must go hand in hand with preserving the depth of art. Introducing Mahlers music in a brief and easy manner should not trivialize its philosophy and structure. New formats that reach the public should serve as starting points for deeper appreciation rather than shortcuts that diminish artistic quality.In this regard, the Korean Mahlerian project and Japans Takutikaat Orchestra share intriguing commonalities.Both organizations originated from the voluntary challenges of young musicians. They are not content with merely inheriting established traditions but are contemplating performance forms that resonate with the times they live in. One has explored Mahlers vast symphonic world over a decade, while the other seeks to engage new audiences by crossing the boundaries between classical and contemporary content.These two musical communities, having walked different paths, converge under the name of Mahler.The fact that this convergence occurs in Yokohama is also symbolic.Yokohama is a significant port city in modern Japanese history. It has served as a space where Japans transformation unfolded through connections with the outside world. Today, the modern urban landscape of the Minatomirai district houses a concert hall that culturally continues the exchange function once performed by the port.If the port was a place for transporting people and goods, the concert hall serves as a venue for the exchange of emotions, ideas, and cultural memories. When a conductor from abroad and young Japanese musicians share the stage, Yokohamas port becomes a cultural crossroads of another kind.Considering Korea-Japan relations, the significance of this scene deepens.Korea and Japan are geographically close yet historically intertwined with complex experiences and memories. While political and diplomatic issues cannot be ignored, it would be naive to claim that culture can automatically resolve these matters. However, acknowledging historical differences while listening to each others art, practicing together, and creating a single piece of music represents a form of trust that both societies must build.Music is often said to be a language that needs no words. Yet, communication in music requires intense effort. The conductors intended breath may differ from the musicians understanding, and interpretations can vary even when reading the same score. Without the process of listening to and adjusting to each others differences, beautiful harmony cannot be achieved.In this sense, an orchestra serves as a small laboratory for international cooperation.When a conductor from another country conducts Mahler with Japanese musicians, it is not a one-sided teaching scenario. It is a process where different experiences and musical sensibilities converge around a single score to create new interpretations.The world premiere of Mahler 5.0 further expands the meaning of this collaboration.Gustav Mahler was a composer active in late 19th and early 20th century Europe. Niigaki is a composer who has restructured that music in 21st century Japan. Jin Sol is a conductor who has explored Mahlers symphonies for a decade in Korea. Takutikaat is a musical community seeking to redefine the role of orchestras in todays Japan.The Austrian musical heritage, contemporary Japanese creation, the interpretation of a Korean conductor, and the collective expression of Japanese musicians converge on one stage. Culture gains new life by transcending time and space in this manner.We should particularly note the background of composer Niigaki. Born in Tokyo in 1970, he studied composition at the Toho Gakuen University and gained significant public attention during the 2014 ghostwriting controversy. He has continued his activities in composition and performance across various fields, including symphonies, concertos, film, games, and stage music.The life of an artist is not solely composed of smooth success stories. Social controversies, failures, criticism, and the process of rebirth also shape an artists life. While evaluations of these processes should be conducted rigorously and separately from the works, it is undoubtedly intriguing that he is reinterpreting the music of a monumental composer like Mahler in his own language.Notably, Niigaki poses the question in his program notes: Is the symphony still the natural center of orchestral music in the 21st century? While presenting Mahlers Fifth Symphony as a representative work of the symphonic genre, he simultaneously acknowledges that the piece itself is a unique entity that deviates from traditional symphonic frameworks.This is not a contradiction but rather a productive tension inherent in modern art.Respecting tradition without absolutizing it. Inheriting forms without being confined by them. While performing great works from the past, questioning what those works mean in todays world.This attitude is not only necessary for music but also for education, journalism, business, and social systems. While old principles must be upheld, the ways in which those principles are implemented should evolve with the times.Here, we reconsider culture and art in the age of artificial intelligence.Today, AI is utilized to analyze vast scores, compare composers styles, and create new music. The task of selecting key sections from Mahlers Symphonies No. 1 through No. 4 to connect with the Fifth Symphony could technically be assisted by computers in this era.So, why do we need human composers like Niigaki and human conductors like Jin Sol?It lies not merely in the ability to combine musical materials. It involves making choices about what to include and what to discard, how to resurrect musical memories, and what questions to pose to todays audience through past works.Niigakis decision to start the piece with the final movement of Resurrection and transition through Schoenbergs chord to the funeral march of Symphony No. 5 is an interpretive choice. Whether that choice holds artistic credibility must be judged through the actual music, but at the very least, it reflects the composers historical awareness and aesthetic judgment.Jin Sols role is similarly crucial. She must not merely reproduce the sounds written on the score. She needs to read the tension between Niigakis intentions and Mahlers original work, ensuring that tension is conveyed as a living experience to the audience.As technology expands the ability to handle musical materials, artists must be able to explain why they chose those materials. As technology accelerates, human judgment must deepen.The reason I described Jin Sols decade as internal strength in the first part is because this strength is not mere skill. It is the ability to discern what is important through long experience and to maintain deeper purposes beyond immediate achievements.In this sense, the Yokohama concert serves as a new testing ground for Jin Sol.In the Mahlerian project, she was at the center of a community she planned and led. However, in Japan, she is invited to work with other musicians within an organization that has its own established musical character and production philosophy.Leading her own ensemble requires different leadership skills than drawing out the strengths of another countrys orchestra. She must respect others musical experiences while maintaining her convictions. A thorough understanding of the score and flexible communication in the field are both necessary.Here, the conductors baton should symbolize harmony rather than power.Confucius taught that a gentleman achieves harmony without demanding uniformity. This is the spirit of wa-i-bu-dō (和而不同). Creating beautiful order while maintaining differences among diverse individuals is the ideal of an orchestra.If Korean conductors and Japanese musicians can create a single Mahler while respecting each others differences, that stage can become a space for practicing harmony through music.Of course, as the performance approaches, we cannot pre-determine the outcome. The effectiveness of the world premiere in resonating with the audience, how Mahlers Fifth Symphony will be interpreted, and what artistic achievements will arise from the collaboration of musicians from both countries will be evaluated after the stage concludes on November 8.However, regardless of the performances success or failure, one noteworthy fact already exists. A conductor from Korea, who has built musical integrity over many years, has been recognized by a Japanese producer, leading to a proposal for a new concert based on the trust formed through previous collaborations. This proposal has evolved into a joint project connecting a new work by a Japanese composer with a large-scale symphony.This is the practical significance of international activity for artists.Internationalization is not merely about increasing the number of overseas performances. It involves forming relationships where foreign musicians and producers understand ones artistic philosophy and wish to create new works together.More important than stepping onto a famous stage once is becoming someone with whom to create the next stage.In this sense, Jin Sols Yokohama performance is not a mere byproduct following the conclusion of the Mahlerian project. It is a case where a decade of accumulation has enabled new collaboration.We look forward to Jin Sol advancing into a broader musical world through these experiences. However, that path does not necessarily have to lead to greater fame or more renowned ensembles.What matters is not losing her own musical questions.Why is Mahlers music still necessary for us today? How can classical music meet new generations? What role should artists play between different cultures and genres? And how can music express human suffering and hope?These questions do not conclude with a single performance. Rather, they will deepen as performances continue.Jin Sol conducted Mahlers Resurrection in Seoul on October 9. She is set to conduct Mahler 5.0 and Symphony No. 5 in Yokohama on November 8.Interestingly, both performances share a common theme of death and new beginnings. Resurrection sings of hope after death, while the Fifth Symphony begins with a funeral march, traversing musical conflict and change to reach its final movement. Niigakis Mahler 5.0 connects the memories of previous symphonies to the starting point of the Fifth.Ends become new beginnings, and the past is reborn within the present music.Isnt human life similar? Achieving one goal does not complete life. New questions arise at the end of old dreams, propelling us forward.For Jin Sol, October 9 in Seoul marked the completion of an era. November 8 in Yokohama will be the first scene of another path that begins after that completion.On that path, we anticipate the new sounds that Korean and Japanese musicians will create together while respecting each others differences. We also look forward to lowering the walls between classical and animation, past and present, tradition and creation, and humanity and technology through music.Above all, we want to reaffirm the power of music to connect people across borders.Mahler lived during the Austro-Hungarian Empire, Niigaki creates in modern Japan, and Jin Sol has walked with Mahler for ten years in Korea. Their eras and cultures differ. Yet, music allows them to meet on one stage without erasing those differences.This is why we view art through the lens of humanity, culture, and nature. At the heart of art lies humanity, the history and culture created by those humans, and the nature and world that encompass all lives.Jin Sols baton now departs from Seoul and heads to Yokohama.The music that will resonate there is still a sound of the future. We cannot predict what emotions it will evoke. However, one thing is clear: a Korean conductor who has walked towards Mahler for a decade is now posing new questions about Mahlers music alongside young musicians in Japan.The great tradition of art does not survive through mere preservation. It continues to thrive when those who love that tradition ask new questions, perform anew, and create again in the language of a new era.The spirit of Ewiger Gesang, the eternal song left by Jin Sol and the Mahlerians at the Lotte Concert Hall in Seoul, lies here. The decade-long project has concluded, but the musical passion and questions they nurtured, along with the song they created together, will not vanish with the end of a single performance. That song will meet new performers, reach audiences in other countries, and become a starting point for further creation.While the final note of Resurrection that echoed in Seoul has faded, its resonance seeks to connect with the first note of new music in Yokohama.Mahlers ten years have ended. However, Jin Sols Mahler has not.Ewiger Gesang — the song is eternal.And the new chapter of that eternal song begins now in Yokohama, Japan.* This article has been translated by AI. October 24, 2026 10
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Conductor Jin Sol Leads Mahler's Symphony in Yokohama After 10-Year Project On October 9, 2026, Mahlers Symphony No. 2, Resurrection, resonated through the Lotte Concert Hall in Seoul. Conductor Jin Sol marked a significant milestone in her decade-long journey with the completion of her Mahler symphony project, which she began at the age of 29. This achievement was the result of her dream intertwined with the efforts of numerous musicians. Jin Sol has been hailed as a small hero of our time, embodying the belief that great art is born not from a moment of genius but from the dedication of individuals who remain true to their dreams over many years.The concert featured a special subtitle: Ewiger Gesang, meaning Eternal Song in German. The message Jin Sol aimed to convey to the audience was clear: while the project of performing all of Mahlers symphonies has concluded, the human song towards music continues eternally. Completion is not an end but a new beginning, and the final note can serve as the first step towards the next musical journey.However, Jin Sols story does not end there. Exactly one month after concluding her journey with Mahlers Resurrection, she will take the podium again in Yokohama, Japan, conducting the Takutika Orchestras fourth regular concert titled Mahler 5.0 on Sunday, November 8, at 6 PM at the Minatomirai Hall. This concert will feature the world premiere of a new work by Japanese composer Takashi Niigaki, along with Mahlers Symphony No. 5. The event is organized by Optlinks Co., Ltd., and produced by Takutika Co., Ltd. The Japanese side has introduced this concert as an attempt to explore new approaches to experiencing classical music.This raises an intriguing question: when a conductor who has spent ten years studying and performing Mahlers symphonies in Korea conducts Mahler again in Japan, is it merely an expansion of her activities abroad? Or does it signify that musicians from two different countries are posing new artistic questions through the lens of Mahler?The key to understanding this Yokohama concert lies in the latter.Mahlers Symphony No. 5 is a familiar piece to classical music enthusiasts. It begins with a funeral march, traverses a vast musical conflict, and culminates in the famous Adagietto before reaching the final Rondo. The delicate beauty of the Adagietto, created by strings and harp, is particularly cherished within Mahlers music and has been repeatedly featured in film and popular culture.However, familiarity does not equate to true understanding. While we may remember the famous melodies, we often overlook where the music originated and how the composer’s mindset evolved to reach that point. We may be captivated by a pieces beauty but are often reluctant to delve into the lengthy artistic journey that led to its creation.Japanese music producers have conceived a new concert precisely at this juncture.The idea is to present the musical worlds of Mahlers First through Fourth Symphonies as a new work before performing the Fifth. Instead of listening to the Fifth in isolation, the audience will experience a condensed journey through Mahlers path leading up to it.This concept was brought to life by Japanese composer Takashi Niigaki, who was commissioned by Takutika to compose Mahler 5.0. He describes this work as a sort of Movement 0 that precedes the Fifth Symphony, creating a new entry point before the existing symphony. This does not mean adding a movement to Mahlers Symphony No. 5; rather, it is a creative endeavor to open another pathway to experiencing the Fifth through Niigakis newly composed independent work.This idea transcends mere arrangement. It seeks to respect the originals independence while opening doors to new interpretations, presenting past music as a living question for todays audience.Reading Niigakis own program notes makes this concept even more intriguing. Mahler 5.0 does not begin with Symphony No. 1 as one might expect. Instead, it opens with the introduction of the final movement of Symphony No. 2, Resurrection. Following this overwhelming orchestral sound, key scenes from Symphonies No. 1 through 4 unfold.However, the piece does not simply conclude there. The music, which seemed to be heading towards the end of Symphony No. 4, suddenly shifts direction. Mahlers melodies intertwine with musical memories from other composers, disrupting the order of time. As a low C note sustains, the music spirals into chaos.At the end of this chaos, Niigaki invokes the first chord of Arnold Schoenbergs sixth piece from his Six Piano Pieces, Op. 19. This piece is often interpreted as a reflection of Schoenbergs mourning for Mahlers death. Niigaki explains this musical transition by reinterpreting the low C as its enharmonic equivalent, B♯. The music then comes to a halt, leading into the funeral march of Mahlers Symphony No. 5.This may sound somewhat complex to readers who are not professionally trained in music. However, the essence is straightforward. Niigaki is not attempting to create a chronological summary of Mahlers music. Instead, he aims to open a new musical space where memory, history, death, and creation collide, using Mahlers melodies as raw material.In this context, the title 5.0 carries multiple meanings. The number 5 refers to Mahlers Fifth Symphony, while the decimal point followed by 0 signifies a movement number that has yet to begin. It resembles versioning familiar in todays technological world, yet it symbolizes an entry point for re-experiencing music composed over 120 years ago.Placing a Movement 0 before the Fifth Symphony raises a question before the completed work. We often regard classics as finished products. Beethoven is Beethoven, Bach is Bach, and Mahler is Mahler. While it is essential to respect the authority of the original, the vitality of a classic lies in the continuous questioning it inspires from new generations.Classics are not merely artifacts preserved behind glass in a museum. They are living cultural entities reborn through the hands and breath of contemporary performers and the new questions posed by todays composers.Whether Niigakis work will be successful can only be judged after the actual performance. The attempt to connect Mahlers music to a new work does not always preserve the depth of the original. While stitching together parts of a masterpiece may simplify appreciation, it risks sacrificing the tension and structure that develop over time.This is why the role of the conductor becomes crucial in this performance.Jin Sol is not merely a conductor who has conducted Mahlers music. She has spent ten years researching and experiencing the various worlds of his symphonies. She has confronted the youthful vitality of Symphony No. 1, the themes of death and resurrection in Symphony No. 2, the nature and cosmos in Symphony No. 3, the celestial purity of Symphony No. 4, and the dramatic transitions of Symphony No. 5 as individual works.Now, these musical pieces will connect within a new work. The conductor must understand the musical bridge created by Niigaki while fully grasping the worlds of Mahler on both sides of that bridge.This invitation to perform is particularly significant for Jin Sol. While she explored Mahlers symphonies as vast individual worlds in Seoul, she must now demonstrate how those worlds relate to one another in Yokohama.Moreover, this concert cannot be explained solely by the fact that a Korean conductor is leading a Japanese orchestra. It is essential to note that the established musical trust has evolved into a collaboration for new creation.Yuichiro Inagaki, the representative of Takutika, detailed the preparation process for this concert in a public statement released on October 15. After securing the performance schedule at Yokohamas Minatomirai Hall, he contemplated what program to present. He concluded that repeating regular concerts similar to existing professional orchestras would not adequately showcase Takutikas unique value.During discussions about Mahlers Fifth Symphony, the idea emerged to connect the First through Fourth Symphonies into a new work. Following this, Niigaki was approached to compose, and upon his acceptance, the Mahler 5.0 project was set in motion.The background for selecting the conductor is also noteworthy.According to Inagaki, Jin Sol has collaborated with Takutika for two consecutive years during the orchestra concert for the anime Fafner in the Azure. He recognized her as a conductor who adeptly handles a wide range of music, from classical to game and anime scores. Upon confirming her leadership of the large-scale Mahlerian project in Korea, he decided to invite her for this regular concert.Inagaki praised Jin Sols meticulous and precise conducting, her passionate musical attitude, and her ability to draw out the orchestras strengths. He also noted her proactive engagement in collaborations with various content aligns well with Takutikas vision.This process illustrates a new way cultural exchange occurs today.In the past, Korea-Japan cultural exchanges often began with official events organized by government agencies or large cultural organizations. While such exchanges are still necessary, the contemporary cultural landscape increasingly emphasizes individual artists and producers discovering common interests and creating larger stages through small collaborations.The relationship between Jin Sol and Takutika reflects this. They did not initially meet to perform Mahlers Fifth Symphony together. The two years of anime music performances provided opportunities to confirm each others musical capabilities, and that trust has led to the world premiere of a traditional symphony and contemporary composition.This also raises questions about the long-standing hierarchy that separates genres.Classical music is often viewed as high art, while anime or game music is considered lighter popular culture. However, the reality of the music world is far more complex. Excellent anime music requires intricate orchestration and sophisticated emotional structures. Conversely, if classical music loses its effort to communicate with audiences, it risks becoming a niche possession, regardless of its great tradition.Takutika Orchestra actively navigates these boundaries. Founded in October 2020, this ensemble has promoted concertos, chamber music, solo performances, music education, and various content performances, and this concert is an extension of those activities.Particularly noteworthy is the potential for Japans anime and game culture to serve as a pathway to create new audiences for classical music. Japan has developed a globally influential popular culture industry, where music plays a central role in conveying the emotions of the works.What happens when audiences who enjoy anime music visit an orchestra concert and experience the conductors musical prowess, ultimately leading them to listen to Mahlers symphonies? The future of classical music may very well unfold in such new encounters.Inagaki has even encouraged fans of Fafner in the Azure to experience Takutikas sound. The concert will also feature seats where audience members can voluntarily contribute support. This reflects the producers efforts to invite not only familiar classical audiences but also new ones into the concert hall.Of course, enhancing accessibility and preserving the depth of art must go hand in hand. Introducing Mahlers music in a brief and easy manner should not trivialize its philosophy and structure. New formats that reach the public should serve as starting points for deeper appreciation rather than shortcuts that lower artistic standards.In this regard, the Korean Mahlerian project and Japans Takutika Orchestra share intriguing commonalities.Both organizations originated from the voluntary challenges of young musicians. They are not content with merely inheriting established traditions but are contemplating performance forms that resonate with the times they live in. One has explored Mahlers vast symphonic world over a decade, while the other seeks to engage new audiences by traversing the boundaries between classical and contemporary content.Two musical communities that have walked different paths now converge under Mahlers name.The fact that this convergence occurs in Yokohama is also symbolic.Yokohama is a significant port city in modern Japanese history, connecting to the outside world and serving as a space for Japans transformation. The modern urban landscape of the Minatomirai district, where the concert hall is located, can be seen as a cultural continuation of the exchange functions once performed by the port.If the port was a place for transporting people and goods, the concert hall serves as a venue for the exchange of emotions, ideas, and cultural memories. When a conductor from abroad and young Japanese musicians share the stage, Yokohamas port becomes a cultural crossroads of another kind.Considering Korea-Japan relations, the significance of this scene deepens.Korea and Japan are geographically close yet historically intertwined with complex experiences and memories. While political and diplomatic issues cannot be ignored, it would be naive to claim that culture can resolve these matters on its own. However, the experience of listening to each others art, practicing together, and creating a single piece of music, while acknowledging historical differences, represents a form of trust that both societies must build.Music is often said to be a language that needs no words. Yet, communication in music is also intense. The conductors intended breath may differ from the musicians understanding, and interpretations can vary even when reading the same score. Without the process of listening to and adjusting to each others differences, beautiful harmony cannot be achieved.In this sense, an orchestra serves as a small laboratory for international cooperation.When a conductor from another country conducts Mahler with Japanese musicians, it is not a one-sided teaching scenario. It is a process where different experiences and musical sensibilities converge around a single score to create new interpretations.The world premiere of Mahler 5.0 further expands the meaning of this collaboration.Gustav Mahler was a composer active in late 19th and early 20th century Europe. Niigaki is a composer who has restructured that music in 21st century Japan. Jin Sol is a conductor who has explored Mahlers symphonies for ten years in Korea. Takutika is a musical community seeking to redefine the role of orchestras in contemporary Japan.The Austrian musical heritage, modern Japanese creation, the interpretation of a Korean conductor, and the collective expression of Japanese musicians converge on one stage. Culture gains new life by traversing time and space in this manner.We particularly note the background of composer Niigaki.Born in Tokyo in 1970, he is a composer and pianist who studied composition at Tohoku Gakuin University. He gained significant public attention during the 2014 ghostwriting controversy and has continued his activities in composition and performance. He has worked in various fields, including symphonies, concertos, film, games, and stage music.The life of an artist is not solely composed of smooth success stories. Social controversies, failures, criticism, and the process of resurgence also shape an individuals artistic life. While evaluations of that process should be made rigorously and separately from the works, it is undoubtedly intriguing that he is reinterpreting the music of a monumental composer like Mahler in his own language.Notably, Niigaki poses the question in his program notes of whether symphonies remain the natural center of orchestral music in the 21st century. While presenting Mahlers Symphony No. 5 as a representative work of the symphonic genre, he simultaneously acknowledges that the piece itself is a unique entity that deviates from traditional symphonic frameworks.This is not a contradiction but rather a productive tension inherent in contemporary art.Respecting tradition without absolutizing it, inheriting forms without being confined by them, and questioning what significance past masterpieces hold in todays world are attitudes that extend beyond music. Education, journalism, business, and social systems must also evolve in their implementation of long-standing principles according to the times.Here, we reconsider culture and the arts in the age of artificial intelligence.Today, AI is utilized to analyze vast scores, compare composers styles, and create new music. The task of selecting key sections from Mahlers Symphonies No. 1 through 4 to connect to the Fifth could technically be aided by computers in this era.So, what is the necessity of human composer Niigaki and human conductor Jin Sol?It lies not merely in the ability to combine musical materials. It involves making choices about what to include and what to discard, how to resurrect musical memories, and what questions to pose to todays audience through past works.Niigakis decision to start the piece with the final movement of Resurrection and transition through Schoenbergs chord to the funeral march of Symphony No. 5 is an interpretive choice. While its artistic persuasiveness must be judged through the actual music, it undoubtedly reflects the composers historical awareness and aesthetic judgment.Jin Sols role is similarly crucial. She must not merely reproduce the sounds written on the score. She needs to read the tension between Niigakis intentions and Mahlers original work, ensuring that this tension is conveyed as a living experience to the audience.As technology expands the ability to handle musical materials, artists must articulate why they choose those materials. As technology accelerates, human judgment must deepen.The reason I described Jin Sols ten years as internal strength in the first part is because this strength is not mere skill. It is the ability to discern what is important through long experience and to maintain deeper purposes beyond immediate achievements.In this sense, the Yokohama concert serves as a new testing ground for Jin Sol.In the Mahlerian project, she was at the center of a community she planned and led. However, in Japan, she is invited to work with other musicians within an organization that has its own established musical character and production philosophy.Leading her own ensemble differs from drawing out the strengths of another countrys ensemble. It requires different leadership skills.She must maintain her convictions while respecting the musical experiences of others. A thorough understanding of the score and flexible communication in the field are both necessary.Here, the conductors baton should symbolize harmony rather than power.Confucius taught in the Analects that a gentleman achieves harmony without demanding uniformity. This is the spirit of harmony without uniformity. Creating beautiful order while maintaining differences among diverse individuals is the ideal of an orchestra.If Korean conductors and Japanese musicians can create a single Mahler while respecting each others differences, that stage can become a space for practicing harmony through music.Of course, as the concert approaches, we cannot pre-determine the outcome. The extent to which the world premiere resonates with the audience, how Mahlers Fifth Symphony will be interpreted, and what artistic achievements will arise from the collaboration of musicians from both countries will be evaluated after the performance on November 8.However, regardless of the concerts success or failure, one noteworthy fact already exists.A Korean conductors long-standing musical integrity has been recognized by a Japanese producer, leading to a proposal for a new concert based on the trust formed through previous collaborations. This proposal has evolved into a joint project connecting a new work by a Japanese composer with a large-scale symphony.This is the practical significance of international activity for artists.Internationalization is not merely about increasing the number of overseas performances. It involves forming relationships where foreign musicians and producers understand each others artistic philosophies and wish to create new works together.More important than stepping onto a famous stage once is becoming someone with whom to create the next stage.In this regard, Jin Sols Yokohama concert is not a mere byproduct of the completion of the Mahlerian project. It is a case where a decade of accumulation has enabled new collaboration.We look forward to Jin Sol advancing into a broader musical world through these experiences. However, that path does not necessarily have to lead to greater fame or more renowned ensembles.What matters is not losing her own musical questions.Why is Mahlers music still necessary for us today? How can classical music meet new generations? What role should artists play between different cultures and genres? And how can music express human suffering and hope?These questions do not conclude with a single performance. Rather, they will deepen as performances continue.Jin Sol conducted Mahlers Resurrection in Seoul on October 9. She is set to conduct Mahler 5.0 and Symphony No. 5 in Yokohama on November 8.Interestingly, both performances share a common theme of death and new beginnings. Resurrection sings of hope after death, while the Fifth Symphony begins with a funeral march, traversing musical conflict and change to reach its final movement. Niigakis Mahler 5.0 connects the memories of previous symphonies to the starting point of the Fifth.Ends become new beginnings, and the past is reborn within the present music.Isnt human life similar? Achieving one goal does not complete life. New questions arise at the end of old dreams, propelling us forward.For Jin Sol, October 9 in Seoul marked the completion of an era. November 8 in Yokohama will be the first scene of another path that begins after that completion.On that path, we anticipate the new sounds that Korean and Japanese musicians will create together while respecting each others differences. We also look forward to the lowering of barriers between classical and anime, past and present, tradition and creation, and humanity and technology through music.Above all, we wish to reaffirm the power of music to connect people across borders.Mahler lived during the Austro-Hungarian Empire, Niigaki creates in modern Japan, and Jin Sol has walked with Mahler for ten years in Korea. Their eras and cultures differ, yet music brings them together on one stage without erasing those differences.This is why we view art through the lens of humanity, culture, and nature. At the heart of art lies humanity, the history and culture created by those humans, and the nature and world that encompass all lives.Jin Sols baton now departs from Seoul and heads to Yokohama.The music that will resonate there is still a sound of the future. We cannot predict what emotions it will evoke. However, one thing is clear: a Korean conductor who has walked towards Mahler for ten years is now posing new questions about Mahlers music alongside young musicians in Japan.The great tradition of art does not survive through mere preservation. It continues to thrive when those who love that tradition ask new questions, perform anew, and create again in the language of a new era.The spirit of Ewiger Gesang, the eternal song left by Jin Sol and the Mahlerians at the Lotte Concert Hall in Seoul, lies here. The decade-long project has concluded, but the musical passion and questions they nurtured, along with the song they created together, do not vanish with the end of a single performance. That song will meet new performers, reach audiences in different countries, and become a starting point for further creation.The final note of Resurrection that echoed in Seoul may have faded, but its resonance seeks to connect to the first note of new music in Yokohama.Mahlers ten years have ended. However, Jin Sols Mahler has not.Ewiger Gesang — the song is eternal.And the new chapter of that eternal song begins now in Yokohama, Japan.* This article has been translated by AI. October 24, 2026 10
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Hideki Matsui Returns to Yomiuri Giants as New Manager After 24 Years Hideki Matsui, known as Godzilla, has been appointed as the new manager of the Yomiuri Giants, returning to his former team after 24 years. Asahi Shimbun reported on October 23 that Matsui will take over as the new manager of Yomiuri. He is currently serving as a special advisor to the general manager of the New York Yankees in Major League Baseball (MLB). Yomiuris previous manager, Shinnosuke Abe, resigned in May after being arrested on assault charges. Since then, Hideki Hashigami, the teams hitting coach, has been acting as interim manager for the remainder of the season. Abe was later not prosecuted. Yomiuri finished the regular season in second place but was eliminated in the first stage of the Climax Series postseason. Matsui, a native of Ishikawa Prefecture, made a name for himself during his high school years at Seiryo High School, where he participated in the Summer Koshien tournament three consecutive years. In his senior year, he gained attention by reaching base five times on intentional walks in a second-round game against Meitoku Gijuku High School. He was selected first overall by Yomiuri in the 1992 fall draft and played for the team for ten years, winning the batting title once and the home run and RBI titles three times each. He contributed to four league championships and was named Most Valuable Player (MVP) three times. In 2003, Matsui moved to the New York Yankees, making his MLB debut, and was named World Series MVP in 2009. By the time he retired in 2012, he had accumulated 2,643 hits, 507 home runs, and 1,649 RBIs in both MLB and NPB. After his playing career, he received the Peoples Honor Award in 2013 alongside the late Shigeo Nagashima, a former Yomiuri manager, and was inducted into the Japanese Baseball Hall of Fame in 2018.* This article has been translated by AI. October 23, 2026 14
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Korean content reaches four in five Netflix members SEOUL, October 23 (AJP) - Nearly four in five Netflix members have watched Korean content, the company said Friday as it marked 10 years in South Korea. More than 200 Korean titles have entered Netflix's global Top 10 rankings since the company began compiling the list in June 2021. "Squid Game" Season 1 remained in the global Top 10 for 32 consecutive weeks, including nine weeks at No. 1, the longest run for a Korean title, according to Netflix. The company worked with more than 80 production companies to produce or co-produce over 200 Korean titles between 2016 and 2025. Since Netflix began publishing its global Top 10 rankings in 2021, more than 200 Korean titles have appeared on the list. Productions during the decade involved more than 25,000 cast and crew members and were filmed in more than 100 cities and towns across Korea, according to the company. Netflix also said more than 6,500 people completed production and training programs it offered in Korea between 2021 and 2025. The company unveiled a website Friday documenting its 10 years in Korea through production data, creator interviews and localization cases. October 23, 2026 13 -
Samsung vs. KIA: A Fall Baseball Rematch After Two Years The Samsung Lions and KIA Tigers will meet in the postseason for the first time in two years. This matchup comes as both teams prepare for the Korean Series (KS), a best-of-seven format. Experts anticipate a competitive series that could extend to five games, with Game 1 being crucial for determining the series direction.Samsung, finishing the regular season in second place, will face third-place KIA on October 25 at 2 p.m. at Daegu Samsung Lions Park. The second game will also take place in Daegu on October 26, while Games 3 and 4 are scheduled for October 28 and 29 at Gwangju Kia Champions Field. If the series goes to a fifth game, it will be held on October 31 in Daegu. The series winner will advance to face the regular season champion KT Wiz starting November 2.This will be the first postseason meeting between the two teams since the 2024 Korean Series, where KIA defeated Samsung 4-1 to claim their 12th championship title. Historically, KIA has the upper hand in postseason matchups, having defeated Samsung in previous Korean Series in 1986 (4-1), 1987 (4-0), and 1993 (4-2-1). Samsungs only postseason victory against KIA came in the 1990 playoffs (3-0), marking the first playoff encounter between the two teams in 36 years.◆ Samsung, the Regular Season Runner-Up, vs. KIA, the Playoff SweepSamsung secured a direct path to the playoffs by finishing second in the regular season. The team boasts a trio of players with over 100 RBIs for the first time in 11 years: Lewin Diaz (129 RBIs), Choi Hyung-woo (106 RBIs), and Koo Ja-wook (102 RBIs). The bullpen is anchored by Kim Jae-yoon, who leads the league in saves (35), and Lee Seung-min, who is second in holds (23).While Samsung is confident in their strong lineup, they remain cautious of KIAs momentum. Samsung manager Park Jin-man stated on October 20, Kim Do-young has certainly shown superstar potential in the postseason, just as he did in the regular season. We have prepared well and have the capability to respond. If we work hard, we can win.However, KIA holds a slight edge in their head-to-head record this season (9 wins, 7 losses) and is riding high after sweeping the fourth-place LG Twins in the preliminary playoffs (5-1, 6-3, 13-1).Despite their recent success, KIA is not taking anything for granted. Manager Lee Beom-ho remarked after the preliminary playoffs on October 20, Samsung is a stronger team than us, and we are the challengers, so we have nothing to fear. We need to play even more enjoyable and exciting baseball to harness our momentum.Experts predict KIAs advantage but believe the series will be hard-fought. Min Hoon-ki, a commentator for SPOTV, said on October 21, Given their current momentum, I wonder if any team can stop KIA. Their starting pitchers are all performing well, and an upset could happen. However, I believe the series will go to five games, and predicting the winner at that point will be difficult.Kim Sun-woo, a commentator for MBC Sports Plus, also anticipates a lengthy series, stating, I dont think it will end in three games. Ultimately, I expect the decisive game to be Game 5, with both teams giving their all in every match. This will be the biggest matchup of the season.◆ Game 1 as the Deciding FactorIn short series, the outcome of the first matchup often dictates the series direction. Historical data supports this, as 27 of the last 35 teams that won Game 1 of the playoffs advanced to the Korean Series, giving a probability of 77.1%.As they prepare for Game 1, Samsung will rely on their rest, while KIA will leverage their recent competitive experience. Samsung has only participated in practice games since their final regular season game on October 12, while KIA has sharpened their skills through three preliminary playoff games and enjoyed four days of rest.Kim believes Samsung must overcome the pressure of being well-rested. He noted, While Samsung has managed to stay sharp without real games, postseason play brings a different level of pressure. How well they perform in Game 1 will significantly influence the rest of the series.Samsung is expected to start Chris Paddack (7-3, 2.95 ERA) and Ariel Hurado (9-3, 3.54 ERA) in the first game.Kim emphasized the importance of Samsungs starters holding their ground early in the game, stating, KIA has hitters who performed well against Paddack during the regular season. They will enter the batters box with confidence, so Samsungs pitchers need to hold strong until the fifth inning when the hitters find their rhythm.KIA will counter with James Naile and Adam Oller, who both excelled in the preliminary playoffs, allowing just one and two earned runs over seven and six innings, respectively. Yang Hyun-jong, who did not pitch in the preliminary playoffs, is likely to appear in either Game 3 or 4 in Gwangju.Kim noted, KIAs starters only pitched once in the preliminary playoffs, allowing them to conserve energy while gaining postseason experience. Naile and Oller performed well, so they should carry that momentum into the playoffs.Min predicts that the results of the first two games in Daegu will set the tone for the series. He stated, Samsung will have the advantage of playing at home in Game 1, and if they can shake off any nerves from their extended break, they have the strength to push forward. For KIA, maintaining their momentum in the first two games and finishing the series at home in Games 3 and 4 would be the ideal scenario.◆ Key Players: Hitting Champion Koo Ja-wook and Home Run King Kim Do-youngBoth commentators highlighted Samsungs Koo Ja-wook and KIAs Kim Do-young as key players to watch. Koo led the league with a .371 batting average, 15 home runs, and 102 RBIs over 114 games. However, he ended his regular season early due to a left hamstring injury on September 30. After focusing on rehabilitation, he recorded one hit and one walk in three at-bats during a practice game on October 19.Koos health will be a significant factor for Samsungs lineup. In the nine games he missed in October, Samsungs team batting average plummeted to .212, the lowest in the league. Min remarked, While Koo has started hitting drills, he still seems to struggle with running and fielding. Whether he can return to full form will be a crucial variable in this series.Kim Do-young, on the other hand, finished the season as the home run champion with a .308 batting average, 45 home runs, and 118 RBIs. He also excelled in the preliminary playoffs, hitting three home runs and driving in eight runs, earning the series MVP award. Against Samsung this season, he maintained a .306 batting average with nine home runs and 20 RBIs over 16 games.How Samsungs pitching staff handles Kim will be a key point of interest. Kim noted, Do-young displayed an impressive hitting ability in the preliminary playoffs, consistently stepping up in crucial situations. It will be interesting to see how manager Park Jin-man approaches pitching to Do-young when there are runners on base.◆ Supporting Players to WatchMin identified Samsungs Kim Sung-yoon and KIAs Park Jae-hyun as potential game-changers. Kim Sung-yoon posted a .300 batting average with six home runs, 54 RBIs, and 19 stolen bases, serving as a table-setter for Samsung. Meanwhile, second-year player Park Jae-hyun achieved a .293 batting average with 19 home runs, 69 RBIs, and 21 stolen bases, securing the leadoff spot for KIA. In the preliminary playoffs, he recorded a .214 batting average with one RBI, four runs, and two stolen bases.Min stated, Both Kim Sung-yoon and Park Jae-hyun possess speed, base-running skills, and hitting ability. If they can effectively play their supporting roles, it will help their teams perform more smoothly in the games.Samsung is also counting on veteran Choi Hyung-woo, who returned to the team this season and recorded a .301 batting average with 18 home runs and 106 RBIs. However, he struggled against his former team KIA, hitting just .190.Kim noted, Choi Hyung-woo is a different player in big games. As a player who has led his team to multiple championships, his approach to short series and ability to read the game flow will be exceptional.Kim also pointed out KIA catcher Han Jun-soo, who had a .322 batting average in the first half of the season but saw a significant drop in performance in the second half. In the preliminary playoffs, he recorded two hits, one home run, and three RBIs.Kim concluded, If Han can contribute both defensively and offensively, KIAs offensive strength will significantly increase.* This article has been translated by AI. October 23, 2026 00