Korean TV series have dominated viewing preferences across large parts of Asia for the last decade. But it has taken a high concept survival drama "Squid Game" to become the first K-drama to rate as Netflix's top show in the U.S.The nine-part Netflix original involves a group of people from all walks of life who sign up for a series of simple, but utterly lethal games, organized by myste rious hosts in masks and red overalls. What spurs on the contestants are their own dire straits and the lure of a more than $40 million cash prize. Released on Sept. 17, the show entered the Top 10 on Sept. 19 at No. 8, climbed to No. 2 the next day, and was at No. 1 by its fourth day of availability on Sept. 21. In its home market of South Korea, "Squid Game" debuted in second place and reached the top spot a day later.
The show's writer-direc- tor Hwang Dong-hyuk is naturally pleased with the show's success. But making "Squid Game" was a long and stressful process and not something he is plan ning to repeat - or, at least, not quite yet.
"I'm not great at team- work." Hwang told Variety. though he says he is trying to change his ways. Hwang's track record sug- gests that his solitary methods to date have served him well.
He wrote and directed
2011 sexual abuse film "Si- lenced," adapted and directed historical actioner "The Fortress" in 2017. Both were major hits. And, in between, Hwang was called in as the final screenwriter and director of nostalgic musical comedy "Miss Granny." It is not only one of the most suc- cessful Korean films of all times, but has also been lo- calized and remade in seven other countries, including China and Japan.
So, Hwang is quietly peeved to find himself ac- cused of borrowing too much from other survival genre films "Hunger Games," "Battle Royale" and, in particular, 2014- Japanese film "As the Gods Will" by shock-meister Miike Takashi.But Hwang brushes off the criticism by referring to his notes for the project, originally conceived as a feature film, in 2008. "I freely admit that I've had great inspiration from Japa-nese comics and animation over the years," he said. "When I started, I was in financial straits myself and spent much time in cafes. reading comics including 'Battle Royale' and 'Liar Game.' I came to wonder how I'd feel if I took part in the games myself. But I found the games too com plex, and for my own work focused instead on using kids' games."
simplicity and easily re-latable characters are two of the elements that Hwang believes have helped "Squid Game" succeed abroad.
"I wanted to write a story that was an allegory or fable about modern capitalist so ciety, something that depicts an extreme competition, somewhat like the extreme competition of life. But I wanted it to use the kind of characters we've all met in real life." Hwang said. "As a survival game it is enter- tainment and human drama. The games portrayed are extremely simple and easy to understand. That allows viewers to focus on the characters, rather than being distracted by trying to inter pret the rules.
"In my earlier days, I'd drink half a bottle of soju (Korean liquor) to get the creative juices flowing. I can't do that any more, Hwang said. "Writing ('Squid Game') was harder than normal for me as it was a series, not a film. It took me six months to write and rewrite the first two epi- sodes. Then I consulted verbally with friends, and picked up clues for im- provements through my own pitching and from their responses.
The result is both univer- sal and typically Korean: well-written, well-packaged and purposeful in the time taken to create empathy for the lead character, an unem- ployed man, Gi-hun, who has been fired, failed with his own business and now gambles with money he steals from his mother. The generous backstory is nec- essary as, in typically Korean fashion, he gets put through hell.
Appropriately perhaps, Gi-hun is played by dash- ingly handsome star Lee Jung-jae ("Along With the Gods." "The Face Reader"), who trash. is made to look like.That could be a metaphor for the country's entertain ment industry. where Netflix has committed a nearly $500 million spend this year, but which is al-ways looking over its shoul der. While Korea is tasting unprecedented success in music, TV and film, next. month's Busan film festival will hold a seminar about the sector's impending cri sis.
"Outwardly, Korean en tertainment seems to be doing very well. Think of BTS Parasite, Gangnam Style' or 'Crash Landing on You. But South Korean society is also very competi tive and stressful. We have 50 million people in a small place. And, cut off from the continent of Asia by North Korea, we have developed an island mentality." Hwang explains. "Some of that stress is carried over in the way that we are always pre paring for the next crisis. In some ways it is a motivator. It helps us ask what more should be done. But such competition also has side effects.
Hwang says he may re turn to feature movies before making a "Squid Game" sequel. He is cur rently at work on a draft of a film, tentatively called "KO Club," short for "Kill ing Old Men Club," which he p Bitches as a kind of inter generational war
"I don't have premise. I devel well oped plans for 'Squid Game 2. It is thinking about tiring just it. But I were to do it, I would cer mainly tainly not do it alone. I'd consider using a writers' room and would want mul tiple experienced directors." Variety