When I was a child, people often described me as a 'good kid.' I did whatever my mom told me, which was mostly related to studying. Once I started something, I'd stick to it as if it were second nature. Most of the time, that meant finishing my weekly workbook (๋๋์ด ์ํ) or watching EBS English classes at the scheduled time. I also remember briefly taking home-visit English lessons (์ค์ ์ ์์ด๊ต์ค). For a kid like me, the animated TV series that aired on public TV around 5 or 6 PM couldn’t be a top priority—but they still brought a small, sweet joy I didn’t want to miss.
์ด๋ฆฐ ์์  ๋๋ ์ฐฉํ ์์ด์๋ค. ์ํค๋ ๊ฒ์ ๊ทธ๋๋ก ํ๊ณ , ์ผ๋จ ํ ๋ฒ ์์ํ ๊ฒ์ ์ต๊ด์ด ๋์ด ๋ค์์๋ ๋๊ฐ ์ํค์ง ์์๋ ์์์ ์ ํ๋ ์์ด์๋ค. ์๋ง๊ฐ ์ํค๋ ๊ฒ์ ๋๋ถ๋ถ ๊ณต๋ถ ๊ด๋ จ๋ ๊ฒ์ด์ด์ ์ฃผ๊ฐ ํ์ต ๊ต์ฌ (๋๋์ด ์ํ)๋ฅผ ํ๊ฑฐ๋ ์ ํด์ง ์๊ฐ์ EBS ์์ด ๊ฐ์ ๋ฐฉ์ก์ ๋ณด๋ ๊ฒ์ด์๋ค. ์ ์น์์ด๋ ์ด๋ฑํ๊ต ์ ํ๋
 ์ฆ์์๋ ์ค์ ์ ์์ด ๊ต์ค์ ์ ๊น ํ๋ ๊ฒ ๊ฐ๋ค.
Yet I always felt a twinge of guilt whenever I tried to watch animated TV series without finishing my worksheets first. Even if I was home alone, I couldn't watch comfortably. I kept switching between doing my homework and sneaking glances at the animated TV series—turning the TV on, feeling uneasy, then turning it off again.
๊ทธ๋ฐ ๋์๊ฒ ์คํ 5-6์์ฏค ๊ณต์คํ TV์์ ๋ฐฉ์ํ๋ ๋งํ์ํ ์๊ฐ์ ์ผํ ๋ณด๊ธฐ์ ํฌ๊ฒ ์ค์ํ์ง ์์ ์๊ฐ์ด์๋ค. ๊ทธ ์๊ฐ์ ์ ํํ ์ง์ผ์ TV์์ผ๋ก ๊ฐ์ง๋ ์์๊ณ , ํฌ๋ฏธํ๊ฒ ๊ธฐ์ตํ๊ธฐ์๋ ํ๊ณ  ์๋ ํ์ต์ง๋ฅผ ๋ค ๋๋ด์ง ์๊ณ  ๋งํ์ํ๋ฅผ ๋ณด๋ฉด ๋ญ๋๊น ์ฝ๊ฐ์ ์ฃ์ฑ
๊ฐ์ ๋๊ผ๋ ๊ฒ ๊ฐ๋ค. ์ง์ ํผ์ ์์์ ๋์กฐ์ฐจ ํ์ต์ง๋ฅผ ํ๋ค๊ฐ TV๋ฅผ ์ผฐ๋ค๊ฐ, ๋ญ๊ฐ ๊ป๋ฆ์นํ ๋๋์ด ๋ค์ด TV๋ฅผ ๋ค์ ๋๊ณ  ํ์ต์ง๋ฅผ ํธ๋ ํ๋์ ๋ฐ๋ณตํ ๊ธฐ์ต์ด ์๋ค.
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Despite that, I still ended up watching quite a few shows in bits and pieces, though I never watched any from start to finish. The ones I do remember include ์ ๋นํ ๋ฐ๋ค์ ๋๋์ (ใตใใใฎๆตทใฎใใใฃใข, Nadia: The Secret of Blue Water), ์ํผ ๊ทธ๋์ฃ  (้ญๅ็ใฐใฉใณใพใผใ, Mado King Granzort), ๋ฌ๋ ค๋ผ ๋ถ๋ฉ๋ (็่ตฐๅ
ๅผใฌใใ&ใดใผ!!, Let's & Go!!), ์๊ด์ ๋ ์ด์ (ๆฐไธ็ดGPXใตใคใใผใใฉใผใใฅใฉ, Future GPX Cyber Formula), ์ฌ์์ ๊ฐ์ค๊ฐ์ด๊ฑฐ (ๅ่
็ใฌใชใฌใคใฌใผ, The King of Braves GaoGaiGar), ๋ง๋ฒ์๋
 ๋ฆฌ๋ (ในใฌใคใคใผใบ, Slayers), ์ถ๊ตฌ์ ์๋์ด (ใญใฃใใใณ็ฟผ, Captain Tsubasa), ์ฅ๋ผ๊ธฐ ์๋์ปต (ๆ็ซใตใใซใผ・ใธใฅใฉใทใใฏใฏใผใซใใซใใ, Jurassic World Cup), and ์ฒ๊ณต์ ์์ค์นดํ๋ก๋ค (ๅคฉ็ฉบใฎใจในใซใใญใผใ, The Vision of Escaflowne)—all Japanese animations that aired in Korea a few years after their original run in Japan. I also loved several Korean animations such as ๋ ์๋ผ ์ํผ๋ณด๋ (Flying Superboard), ๋
น์์ ์ฐจ ํด๋ชจ์ (The Green Tank Haemosu), ์ํผ๊ธฐ๋ณ ๋ผ์  ์นด (Lazenca, The Soul Frame), and 2020 ์ฐ์ฃผ์ ์๋ํค๋ (2020 Space Wonder Kiddy).
๊ทธ๋ผ์๋ ๋ถ๊ตฌํ๊ณ  ๋์๋์ ์ค๊ฑฐ๋ฆฌ๋ ๋ค ์ดํดํ์ง ๋ชปํ ์ฑ ๋ง์ ๋งํ ์ํ๋ฅผ ๋ณด์๋ค. ์ ๋นํ ๋ฐ๋ค์ ๋๋์, ์ํผ ๊ทธ๋์ฃ , ๋ฌ๋ ค๋ผ ๋ถ๋ฉ๋, ์๊ด์ ๋ ์ด์ (์ ์ธ๊ธฐ ์ฌ์ด๋ฒ ํฌ๋ฎฌ๋ฌ), ์ฌ์์ ๊ฐ์ค๊ฐ์ด๊ฑฐ, ๋ง๋ฒ์๋
 ๋ฆฌ๋, ์ถ๊ตฌ์ ์๋์ด, ์ฅ๋ผ๊ธฐ ์๋์ปต, ์ฒ๊ณต์ ์์ค์นดํ๋ก๋ค ๋ฑ ๋น์ ์ผ๋ณธ์์ ๋จผ์  ๋ฐฉ์๋์๋ ์ ๋๋ฉ์ด์
์ ๋ช ๋
 ๋ฆ๊ฒ ๊ตญ๋ด์์ ๋ฐฉ์ํ ๊ฒ๋ค์ด์๋ค. ๊ทธ ์ธ์๋ ๊ตญ๋ด ๋งํ ์ํ๋ ๊ฝค๋ ์ข์ํ๋๋ฐ, ๋ ์๋ผ ์ํผ๋ณด๋, ๋
น์์ ์ฐจ ํด๋ชจ์, ์ํผ๊ธฐ๋ณ ๋ผ์  ์นด, 2020 ์ฐ์ฃผ์ ์๋ํค๋ (๋ณธ๋ฐฉ ๋ง๊ณ  ์ฌ๋ฐฉ์ก์ ๋ดค๋ ๊ฒ ๊ฐ๋ค) ๋ฑ์ด ๊ธฐ์ต๋๋ค.
As I was approaching middle school, I gradually lost interest in those shows. But after taking the college entrance exam—and while preparing to retake it—I briefly got back into watching animations, this time online. I remember watching ๊ณต๊ฐ๊ธฐ๋๋ (ๆปๆฎปๆฉๅ้ STAND ALONE COMPLEX, Ghost in the Shell: Stand Alone Complex) and ๊ฐ์ฒ ์ ์ฐ๊ธ์ ์ฌ (้ผใฎ้ฌ้่กๅธซ, Fullmetal Alchemist) on the internet. I also used to rent stacks of manga from a small comic book shop that was having a blowout sale because it was about to close down. I’d pay 500 won to borrow six volumes at a time. It took about an hour to finish them, so it was the perfect way to spend my break. That’s probably when I truly got hooked on sci-fi and fantasy, which felt like the perfect escape from all the studying.
์ ์ฐจ ๋์ด๋ฅผ ๋จน๊ณ  ์คํ๊ต์ ๊ฐ ๋์ด๊ฐ ๋์ด๊ฐ๋ฉด์๋ ์์ฐ์ค๋  ๋งํ์ ํฅ๋ฏธ๋ฅผ ์์ด๊ฐ๋ค. ํ์ง๋ง ์๋ฅ์ ๋ณธ ์งํ์ ์ฌ์ํ๋ ๋์ ์ ์ ๋งํ๋ฅผ ๋ดค์๋ค. ๋น์์๋ ๊ณต๊ฐ๊ธฐ๋๋, ๊ฐ์ฒ ์ ์ฐ๊ธ์ ์ฌ ๋ฑ์ ์ธํฐ๋ท์ผ๋ก ๋ดค์๊ณ , ๋๋ค ๋งํด๊ฐ๋ ๋งํ์ฑ
๋ฐฉ์์ ์ธ์ผํด์ 6๊ถ์ 500์์ฉ ๋น๋ ค์ค ๋ ์๋ง์ ๋งํ์ฑ
์ ์ญ๋ ตํ์๋ค. 6๊ถ์ด๋ฉด 1์๊ฐ์ด๋ฉด ๋ค ์ฝ์ด์ ์ฌ๋์๊ฐ์๋ง ๋ณด์๋ค. ์๋ง ๋๋ ์ด ๋๋ถํฐ SF, ํํ์ง ์ฅ๋ฅด๋ฅผ ์ข์ํ๋ ๊ฒ ๊ฐ๋ค. ์์์ ๋๋๋ฅผ ๊ฐ์ ์ ์ผ๋ก ํผ์น  ์ ์๊ณ , ๋ฐฉ๊ตฌ์์์ ๊ณต๋ถ๋ง ํ๋ ๋์๊ฒ ์ ์๋๋ง ํด๋ฐฉ๊ฐ์ ๋๋ ์ ์๊ฒ ํด์ฃผ์๋ ๋งค๊ฐ์ฒด๊ฐ ์๋์์๊น ์๊ฐํด๋ณธ๋ค.
During that time, I also started listening to the soundtracks of anime I remembered from childhood, almost as if I were trying to reconnect with my younger self. In particular, I played The Vision of Escaflowne (์ฒ๊ณต์ ์์ค์นดํ๋ก๋ค, ๅคฉ็ฉบใฎใจในใซใใญใผใ) OST on a burned CD so many times, even while preparing for my medical licensing exam. I also made MD and CD copies of the Ghost in the Shell: Stand Alone Complex (๊ณต๊ฐ๊ธฐ๋๋) OST and listened to them endlessly. (I also really enjoyed the OST from Lazenca, The Soul Frame (์ํผ๊ธฐ๋ณ ๋ผ์  ์นด).)
์ด ์ฆ์๋ถํฐ ๋๋ ์ฑ๊ฒจ๋ณด์ง ๋ชปํ ๋งํ์ํ๋ฅผ ์ถ์ตํ๋ ๊ฒ์ธ์ง, ์ด๋ฆฐ ์์ ์ ์ถ์ตํ๋ ๊ฒ์ธ์ง๋ ๋ชจ๋ฅด์ง๋ง ์ด๋ฆด ์  ๋ณธ ๋งํ์ OST๋ฅผ ๊ตฌํด์ ํ๊ตฌํ๋  ๋ฃ๊ธฐ ์์ํ๋ค. ์ฒ๊ณต์ ์์ค์นดํ๋ก๋ค OST๋ฅผ CD๋ก ๊ตฌ์์ ์ผ๋ง๋ ๋ง์ด ๋ค์๋์ง ๋ชจ๋ฅธ๋ค. ์์ฌ๊ณ ์๋ฅผ ์ค๋นํ๋ฉด์๋ ๋ค์๋ค. ์ฌ์์์ ์ ๋ดค๋ ๊ณต๊ฐ๊ธฐ๋๋ OST๋ MD์ CD๋ก ๋ง๋ค์ด ๊ทธ ์ดํ์ ๊ฝค๋ ๋ง์ด ๋ค์๋ค. (๋ผ์  ์นด OST๋ ์ข์ํ๋ค.)
Time flew by as I went through medical school and then clinical training as a resident. Now it’s easier than ever to find and enjoy any anime or music online. I tried revisiting some old shows on streaming platforms, but the low video quality and slow pacing made them hard to get through. In the end, I decided to let them remain fond memories.
๊ทธ๋ ๊ฒ ์๋ฅ์ ๋ณด๊ณ  ์ฌ์๋ฅผ ํ๊ณ  ์๋์ ์งํํ๊ณ  ๋ณธ๊ณผ์์ ์ง๋ ๋ ์ง๋ํธ๋ฅผ ํ๋ ๋์ ์๊ฐ์ ์์ด๊ฐ์ด ๋น ๋ฅด๊ฒ ์ง๋๊ฐ๋ฒ๋ ธ๊ณ , ์ด์ ๋ ์ํ๋ ๋งํ๋, ์์
๋ ์์ฝ๊ฒ ์ฐพ์ ์ฆ๊ธธ ์ ์๋ ์๋๊ฐ ๋์๋ค. ๊ทธ์์ ์ ์ถ์ตํ๋ฉฐ ๋งํ ๋ช ๊ฐ๋ฅผ OTT์์ ๋ดค๋๋ฐ, ํ์ง์ด ๋๋ฌด ๋ณ๋ก๊ณ  ๋ด์ฉ ์ ๊ฐ๋ ๋๋ ค์ ๊ฒฐ๊ตญ ๋ณด์ง ๋ชปํ๊ณ  ์ถ์ต ์์ ๋ฌป์ด๋์๋ค.
Then one day, while listening to J-POP on Spotify—especially city pop—the algorithm suggested songs that instantly took me back to my childhood evenings. I could almost see myself in the living room, the TV casting a soft glow. It felt warm and comforting, yet tinged with a quiet sadness, leaving me with a strange sense of longing. Even though I have the freedom to make my own choices now, it comes with responsibilities that childhood never had. I can't quite tell if I miss that time or if there's some lingering regret. When I’m especially exhausted, I turn off the music because the emotions become too overwhelming. But whenever I find myself longing for that pure, refreshing sense of nostalgia, I end up seeking out those songs again.
๊ทธ๋ฌ๋ค ์ด๋ ๋ ์ Spotify์์ J-POP (citypop)์ ๋ฃ๊ณ  ์๊ณ ๋ฆฌ์ฆ์ ๋ฐ๋ผ ์ถ์ฒ๋ ์ฌ๋ฌ ๋
ธ๋๋ค์ ๋ฃ๋ค๋ณด๋ ๋ญ๋๊น ๋๋ ๋ชจ๋ฅด๊ฒ ์ด๋ฆด๋ ์ ๋
 ์๊ฐ์ ๊ฑฐ์ค์์ TV๋ฅผ ๋ณด๋ ๊ธฐ์ต๊ณผ ์์ ์ ์ธ ๊ฐ์ฑ๋ค์ด ๋ญ๊ฒ๋ญ๊ฒ ํผ์ด์ค๋ฅด๋๊ฒ ์๋๊ฐ. ์ข์ง๋ง ์์ ํ ์ข์ง๋ง์ ์์ ์กฐ๊ธ์ ์ฌํ๊ณ  ์ฌ์ด์ด ๋จ๋ ๋ณต์ก ๋ฏธ๋ฌํ ๊ฐ์ ์ด ๋ด๋ด ๋ด ๋ง์์ ์ด์ง๋ฝํ๋ค. ์ด์ ๋ ์ด์ฉ๋ฉด ๋ ์ฌ์ ๊ฐ ์๋ ์ถ์ผ์ง์ธ๋ฐ, ์ด๋ฆด ์  ๋ด๊ฐ ๊ทธ๋ฆฌ์ด ํ์ธ์ง ๊ทธ ์ด๋ค ํํ์ด ์๋ ๊ฒ์ธ์ง ์ ์๊ฐ ์๋ค. ์ฌ์ ์ด ํผ๊ณคํ  ๋์๋ ๊ทธ ๊ฐ์ ์ด ๋ฒ๊ฑฐ์ ์ด๋ด ๋ฃ๋ค๊ฐ ๊บผ ๋ฒ๋ ธ๊ณ , ๊ทธ์  ์ฒญ๋ํจ๊ณผ ๊ทธ ์ด๋ค ์์ํจ๊ณผ ์์ ์ ์ธ ๊ฐ์ ์ด ํ์ํ  ๋๋ ๋ ์ฐพ์ ๋ฃ๊ณ ๋ ํ๋ค.
I sometimes wonder if others experience this too—a surge of complicated nostalgia triggered by the cartoons they watched as kids, the soundtracks they grew up with, or even a random song that stirs an old memory. For me, at least, these recollections remain a gentle—if sometimes bittersweet—source of comfort.
๊ฐ๋์ ๋ค๋ฅธ ์ด์ด๋ค๋ ๋น์ทํ ๊ฐ์ ์ ๊ฒช๋์ง ๊ถ๊ธํ๋ค—์ด๋ฆด ๋ ๋ดค๋ ๋งํ, ๋ค์ผ๋ฉด์ ์๋ OST, ํน์ ์ฐ์ฐํ ๋ค๋ฆฐ ๋
ธ๋ ํ ๊ณก์ด ์ค๋๋ ๊ธฐ์ต์ ๋ถ๋ฌ์ผ์ผํค๋ฉด์ ๋ณต์กํ ํฅ์๊ฐ ๋ฐ๋ ค์ค๋ ๊ทธ ์๊ฐ ๋ง์ด๋ค. ์ ์ด๋ ๋ด๊ฒ ์ด๋ฐ ๊ธฐ์ต๋ค์ ๋ค์ ํ ์๋ก๊ฐ ๋์ด์ค๋ค. ๊ฐ๋์ ์์ธํ๊ธฐ๋ ํ์ง๋ง.


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