Near Busan's Kyungsung University, Colin talks with Jeff Liebsch, managing editor and partner at the magazine Busan Haps. They discuss what makes Korean baseball games more fun than baseball games in the West; the Toronto-Detroit sports divide in his hometown of Windsor; why a disproportionate number of the Westerners in Korea seem to have come from Canada; the difficulty of understanding Busan, and of leaving it; the traces of "country people" Busan's population has retained, even as it has supposedly turned international; the funniest Korean-film subtitle he's ever seen; how he learned to speak Korean without studying; how Busan Haps got started, and how he got involved; some of the strategies the magazine has used to attain prominence in the English-language media in Korea and abroad; how he observes people he spots reading the magazine; the importance of "beautiful pictures of food" to their Korean readership; the changing coffee situation in Busan, and what else has evolved since he arrived; the time when bars closed at midnight, and what it illustrated about how Koreans find away to get around everything; the mystery of how Busan once had seven beaches and no outdoor seating anywhere; what happens in Korean when someone gets a good idea for a business; the changes he now observes in the Korean beer scene (in all settings but the baseball stadium); Korean sports teams' ties to corporations, not cities; the reputation of the Lotte fan; his experience in Korea during the 2002 World Cup, when he first saw the Koreans "let loose"; how he felt during the "IMF" economic crisis, and what he thought when he saw Koreans turn in their own personal gold to save the country's economy; the Korean sense of collectivism versus the Western sense of collectivism; why Psyworld couldn't go international, and what its problems represent to him about Korea's "lack of a global vision" in some respects; what happens during the Busan International Film Festival, his favorite time of the year; the push to transform Busan into Korea's film center; the film events that go on in Busan even apart from the BIFF; the way people living in Busan tend to stick to ten percent of the city, and visitors tend not to see the "real" parts of it; how he makes sure to get the feeling of "actually being in a different country"; his experience working in Detroit, and whether it felt like a city with a future or a city without one; how he pronounces "process"; and what he likes about observing North America from a distance.