how 'squid game' became a global sensation ||THE APPU WORLD

How ‘Squid Game’ Became a Global Sensation

We know that Squid Game is the biggest player in Netflix history, but do we really know why? Quality alone is not a guarantee of success — especially when audiences are full of new content streams. Each week brings a new thought that criticizes the early cancellation of a cancellation or failure of an art box. That excellent Game Squid television does not explain how it became a great world feeling.

The meteoric rise of the show is a point of admiration for the recent pop culture of Korean media, furthering the gamut from the BTS boys' global domination to the historic Parasite victory at last year's Oscars. These are not isolated cases. They are a mix of creative, mathematical and creative ideas for both archetypal production and accounting systems, which is why Netflix has invested $ 500 million in South Korean programs earlier this year.

With Squid Game creator Hwang Dong-hyuk confirming his return for the second season of the addictive series earlier this month, we wanted to know how the recent expansion of South Korean content is able to keep up with audiences around the world. The simple answer, according to Dafna Zur, an associate professor in the Orient of Languages ​​and Culture in East Asia and director of the East Asian Studies Center at Stanford, is that it is relatively old-fashioned. The simplest answer requires further explanation.

Audience: Hundreds of countries around the world are investing in real content without achieving success like the recent South Korean release. How has the world production system held Hollywood-level quality and what separates these titles from its international competition?

Zur: There is a certain amount of calm involved. South Korea has been able to make money by sharing its content early. While some countries are likely to invest equally in their products, South Korea is an earlier adapter than most. In addition, many fans are praising the “righteousness” of Korean dramas — the absence of sex and violence in the many romantic, sex-oriented, time-consuming dramas — as has allowed Korean programs to enter the home in subtle ways. Yes, the squid game is out that way.

With Squid Game creator Hwang Dong-hyuk confirming his return for the second season of the addictive series earlier this month, we wanted to know how the recent expansion of South Korean content is able to keep up with audiences around the world. The simple answer, according to Dafna Zur, an associate professor in the Orient of Languages   and Culture in East Asia and director of the East Asian Studies Center at Stanford, is that it is relatively old-fashioned. The simplest answer requires further explanation.

Audience: Hundreds of countries around the world are investing in real content without achieving success like the recent South Korean release. How has the world production system held Hollywood-level quality and what separates these titles from its international competition?

Zur: There is a certain amount of calm involved. South Korea has been able to make money by sharing its content early. While some countries are likely to invest equally in their products, South Korea is an earlier adapter than most. In addition, many fans are praising the “righteousness” of Korean dramas — the absence of sex and violence in the many romantic, sex-oriented, time-consuming dramas — as has allowed Korean programs to enter the home in subtle ways. Yes, the squid game is out that way.

He recently spoke of the “guess and emergence” of South Korean dramas and how these stories fit into the common archetypes, but with cultural differences that attract interest from international audiences. Can you add to this and how did Squid Game get into it?

Those familiar with Korean television might see some of the stock 's characters in the Squid Game. Here is what I mean by predicting: the characters' facial expressions, body language, and spoken lines are not surprising, as they have been elsewhere. And because the characters speak, touch, and move in predictable ways, certain narrative patterns can also be expected: you know whether the character will face a change or not, whether the character will eventually be cast out or not, and you can expect something. of interaction between characters.

On the other hand, the origins of the Squid Game are reflected in its use of the playground as a platform for this difficult battle of life and death. Hunger Games style wars are not new; but the use of children's games such as those that determine whether participants will be processed into pieces or will continue to be "complete" to the next level seems very good, as is the case with Squid Game toys with viewers' values.

He also described South Korean dramas as "modern and glitzy." How is this different from Hollywood's high-budget productions and how did the squid Game make better use of this attribute?

The Squid Game drama was created in large part by the amazing diversity set in the narrative. The debt the characters have accumulated is stellar, but at the bottom they are reduced to having a pure natural feeling. Heavy money hangs wonderfully on their heads, but they cannot let it distract them lest they be stabbed in the back. The squid game plays in this mysterious spell on many levels. South Korea's modern glossary makes it even more absurd with the knowledge that only one of these characters will survive to "enjoy" it, with the blood of their comrades on their hands. This is an impossible trap.

With the second season on the way, is it possible to keep that momentum and open the door for other South Korean projects to reach similar levels of thunder?

He also described South Korean dramas as "modern and glitzy." How is this different from Hollywood's high-budget productions and how did the squid Game make better use of this attribute?

The Squid Game drama was created in large part by the amazing diversity set in the narrative. The debt the characters have accumulated is stellar, but at the bottom they are reduced to having a pure natural feeling. Heavy money hangs wonderfully on their heads, but they cannot let it distract them lest they be stabbed in the back. The squid game plays in this mysterious spell on many levels. South Korea's modern glossary makes it even more absurd with the knowledge that only one of these characters will survive to "enjoy" it, with the blood of their comrades on their hands. This is an impossible trap.

With the second season on the way, is it possible to keep that momentum and open the door for other South Korean projects to reach similar levels of thunder?

I'm not sure — we will have to wait and see. Success in the Squid Game scale is an amazing spirit and challenge. It increases interest in content from South Korea, but challenges producers to try to live up to, or surpass, previous success. This is no small feat. I believe that as long as the creators dream up stories about the problems we face as human beings, their stories will affect the audience. That there will be another success like the squid Game is impossible to say.