In Loop Pa Pow, the creative focus is on an inclusive and experiential universe.
In the game’s universe, the audience is encouraged to participate in a series of video games that will teleport them to a psychedelic, mind-bending cyberspace. The player starts from the lowest level of “No Country for Women” (여자를 위한 곳은 없다). Male chauvinists, sexists, anti-feminists, and misogynists are represented as evil monsters which block the protagonist’s path. This universe, or the fictional world of monsters and spirits whose images are inspired by my real-life events, can only manifest in its totality when both the mental realm (on the abstract and the cognitive level) and the tactile realm (on the physical and the material level) are simultaneously activated.
The goal of Loop Pa Pow is to break through all the boundaries restricting the protagonist, jump over the obstacles, smash the enemies to ascend to the highest level, and finally move into another world. Interacting with both inner space (the video game) and outer space (the performance) doubles and activates the space of the performance.
A 30-minute live interactive performance brings to life the video game. Five performers embody characters in the game. The player who activates the game summons the performers. Enlivened by the participation of the player, each performer celebrates its birth and marches out into the world. The rhythm of the performance is determined by how fast or slow the player taps the two controllers.
Video games and performances, rather than being presented as two individual strands of the same universe, are organically intertwined and folded into each other.
To me, this deliberate rejection of boundaries is also an act of rebellion against rigid rules and enslaving social norms. By bringing symbolic and abstract game characters into the physical world, I want to truly materialize the concepts and ideas that these spirits embody.