Park Chan-kyong, one of the most acclaimed media artists in Korea, recently coined the term Asian Gothic to describe the rise of grotesque ancient imageries in a contemporary media culture. As he claims, this return of gothic sentiments symbolizes a trauma resulting from the "false modernity" in colonial Asia. Park's film Manshin: Ten Thousand Spirits (2014) and the exhibition he curated, "Ghost, Spy, Grandmother" (2014), illustrate the gothic vision, clarifying its remedial and contemporary value in local contexts. But while the gothic sentiment has been embraced in Asian cultures, it remains questionable whether the Asian Gothic can be a cultural paradigm which will cure local traumas. The malaise of modern projects in Asia continues and the gothic art seems to provide not a remedy but the illusion of one. This article will explore this illusory, spectral, and thus symptomatic aspect of the Asian Gothic through Slavoj Žižek's notion of "the most sublime hysteria" that returns in fantasy.