[Weekender] Subculture festival in Seoul transcends gaming

“Tech otakus save the world” is a motto from Hoyoverse, the Chinese game giant behind the global subculture gaming phenomenon Genshin Impact. While it might seem exaggerated, the sentiment isn’t entirely off the mark. Subculture gaming, once considered niche, has exploded into a mainstream cultural force -- as is especially evident in South Korea.

Subculture games -- games that originally targeted small, dedicated communities with specific cultural interests often rooted in anime aesthetics -- have gradually grown out of their niche origins. Today, they appeal to a broader audience, attracting not just hardcore gamers and anime enthusiasts but also casual fans who appreciate the art, storytelling and community these games foster.

This inclusive and rapidly growing fandom was on full display on Sunday, Aug. 25, at the Seoul Trade Exhibition & Convention in Gangnam-gu, Seoul. Despite temperatures peaking at 33 degrees Celsius, fans flocked to Illustar Fes, Korea’s largest subculture gathering event organized by the Korean gaming company Starlike. The event was a celebration of the multi-faceted world of subculture, bringing together fans of games, anime, and more in a single space.

Throughout the two days of the weekend event, more than 20,000 attendees filled SETEC. To manage the massive turnout and prevent overcrowding, ticket sales and admissions were tightly regulated. Even so, the queue of fans stretched over hundreds of meters, with many waiting patiently for a chance to purchase additional tickets.

The festival, already in its fifth edition since last year, featured over 1,000 booths, where individual creators sold handmade art, merchandise, and other subculture-inspired goods. By the afternoon, some of the most popular stalls, such as those of Nexon's Blue Archive, were already displaying “sold out” signs.

Among those in attendance was Yoo Da-young, a veteran subculture vocal artist in Korea’s subculture scene who performs under the stage name Danya. While she’s typically seen on stage, this time, she was there as a participant, mingling with fellow fans.

Yoo explained how subculture events like Illustar Fes have evolved into multi-entertainment hubs, offering something for everyone. “Comprehensive subculture events like Illustar Fes in Korea have grown to encompass various forms of entertainment -- not just games and anime, but also the creation and sale of unique goods, cosplay, musical performances and even appearances by underground, or chika idols,” she said, referring to independent pop artists operating outside of Japan’s mainstream music industry. One could come here as a fan of chika idols and leave with a newfound interest in a Korean subculture game, she said.

Yoo, who started as a singer and had little interest in gaming initially, acknowledged how these diverse elements of subculture -- music, games, merchandise and cosplay -- are intertwined. “As time passed, playing subculture games became a natural part of my experience. Everything from music to cosplay is connected in this world,” she added. Yoo’s voice, for instance, was featured in a chapter of the Korean subculture game Ragnarok Online.

One of the most notable aspects of Illustar Fes was the sheer number of cosplayers. The convention center was teeming with fans dressed as their favorite characters from manga, anime and games. Unlike professional cosplayers who are often hired to promote specific booths, these were everyday fans -- students, office workers and hobbyists -- who crafted or purchased their costumes simply for the love of it. They reveled in the attention, happily posing for photos with fellow attendees.

“The overwhelming majority of subculture enthusiasts are regular people with day jobs or school commitments. Yet, they’re more willing to spend on their hobbies than fans in many other sectors. At events like Illustar Fes, they indulge in their passions, often spending considerable amounts on their favorite characters and related products,” noted one of the event’s organizers.

A large portion of the cosplay at the event was inspired by popular subculture games, particularly Genshin Impact, Goddess of Victory: Nikke, and Blue Archive. The latter, a mobile role-playing game from Korean developer Nexon, has garnered a significant following, not only in Korea but also in Japan, which accounts for over 74 percent of the game’s market share. In fact, Korean subculture game merchandise is now a common sight in Akihabara, Tokyo’s mecca for anime and gaming culture.

During the event, the Korea Herald reporter encountered a trio of teenage cosplayers with their detailed Blue Archive costumes. The group, who preferred to be known by their online aliases -- Yujin, Hehe, and Nini -- had dressed as the game’s characters Umika, Kikyou, and Azusa, respectively.

Blue Archive offers a mix of tactical gameplay and narrative depth, where players assume the role of a teacher guiding superpowered students through various missions in the fictional city of Kivotos. The game’s appeal lies not just in its strategic gameplay but also in its richly developed characters, each with a unique backstory that unfolds through visual novel-style interactions.

“The game’s anime-style aesthetics and narrative complexity are what really draw me in,” Nini said. “The characters are more than just combat units -- they have personalities and stories that make the game feel alive.”

Yujin and Hehe, both male, were dressed as female characters from the game. Yujin reflected on the changes he’s seen in the community. “Five years ago, I attended these events without cosplay. Now, not only has the number of participants grown, but there’s also been a noticeable increase in interest in subculture games.”

Hehe pointed out a humorous observation. “Some of the Blue Archive cosplayers I’ve seen might not even play the game. For instance, I’m wearing glowing headbands, which in the game indicate a character’s health. But I’ve noticed some cosplayers without them -- it’s like they’re walking around as zombies,” he joked.

“But it’s all good. Even if they don’t play the game, they might just love the story or the characters, which means more attention for all of us.”