The secrets behind The Squid Game and the colossus doll

the squid game

The Squid Game, the new South Korean Netflix series, has been trending since the day it premiered on September 17. Millions of viewers grabbed attention on social media, highlighting the engrossing story that is tense from the first chapter.

You may be interested in: The phone number for ‘The Squid Game’ exists and that’s what happens when you call it).

The series revolves around a mysterious assortment of 456 contestants who want to get their financial lives in order because they are up to their necks in debt or simply social renegades who have had no motivation in their lives.

Whoever wins the game will receive a stratospheric sum of money with which to settle their problems. Without lockdown, it all starts to get scary when competitors die after losing challenges.

Some questions from netizens were commissioned from the digital media questioning some details seen in the chapter space that weren’t entirely clear as the story progressed.

For example, the colored doors and the “labyrinthine” arrangement of rooms and stairs in the environment are not yet clearly defined for Internet users.

We tell you the origin of some secrets of Hwang Dong-hyuk’s production.


We play, we pass the green light… 🤖 #ElJuegoDelSquid #LoCuentoEnTikTok #NetflixSeries

♬ New sound – LE TIME The doll

The first test of the competition, considered the most benign, ended up becoming one of the most significant scenes of the series as it aroused the interest of opportunists disclosed to the cruelty with which people were “eliminated “.

“Red Light and Green Light”, as the first round of the competition was fiery, had as its protagonist a horrible doll guilty of certain deadly crimes.

The assortment of lights is, more suitably, to not move as the puppet spins the individual and has a full presence of the competitors landscape. Anyone who moves when she sees him will be executed.
It could be considered the South Korean translation for “frozen”.

As the director himself has repeatedly mentioned, the doll already existed and was a decorative bedroom in the boys’ section of a South Korean museum. From the series, they asked to use their image to make it one of the most iconic characters.

It can be seen in the car complex in Meta Chungcheong province.

Another bizarre reference is that the doll is called Mugunghwa, a compliment that is part of South Korea’s Francoist heritage.

assortment of calamari

This is a pimp of a traditional oriental assortment for children in which three figures are placed on the ground: a square, a triangle or a circle. The union of these three shapes should resemble the silhouette of an octopus.

The fact is that the players in the “defensive” circle cannot let the attacking players succeed the “individual” animal. If the attacker overcomes the defenses and reaches the top (square), he is declared the winner.

For this reason, the Caretaker masks in the assortment have these three shapes, with the square (individual) representing the highest rank in taking command of soldiers in red suits.

The Squid Game was written and directed by Hwang Dong-hyuk.



squid game

Matching squid is one of the most popular children’s games in South Korea.



squid game

The plot of The Articulation of the Squid began to be written in 2008.



start in 2008

Hwang Dong-hyuk started writing the line in 2008, but couldn’t finish it until more than ten years later.

“I read a lot of comics and finished the line in 2009. At that time it seemed very unfamiliar and violent. There were crowds who thought it was too complicated and uncommercial. I couldn’t not editing enough and casting was difficult. I had been at it for about a year, but at that time I had to take a break,” Hwang said in the software release.

On Netflix, he found the creative autonomy he needed to bring his ideas to life on camera.

(You can interpret: Uninvited: How to join ‘The Squid Game’).

symbolism and embellishment

The series focuses on symbolizing the competitive life in which contemporary society is immersed. The labyrinthine spaces reflect some of the approaches that Hwang wanted to show: a difficult and tumultuous life in adulthood with a unique coloring of children’s games.

Without blocking, some games initially considered harmless turned into a nightmare for 456 competitors.

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