PRODUCTION SQUID GAME
We sit down with Squid Game’s production designer Chae Kyoung-sun to discuss the colours, sets and references that define the latest season AHEAD OF THE GAME
WORDS KATIE KASPERSON IMAGES NETFLIX
T he Korean-language series that broke Netflix records, Squid Game tells a frightening tale of power and greed while reminding us that teamwork can indeed make the dream work. Created by Hwang Dong-hyuk and now in its second season, the dystopian thriller draws its visual inspiration largely from the South Korean school experience, with nostalgic childhood games turned into life-or-death scenarios for all who volunteer to compete in them. Squid Game operates in a world of its own, and production designer Chae Kyoung-sun was integral in bringing this alternate reality to life. Having established the look and feel of Season 1, which was ripe with pastels, robotic dolls and labyrinthine locations, Chae was tempted to reinvent the wheel for the new season. “Preparing for Season 2 came with a lot of pressure,” she admits. “Since Season 1 was so well received, I wanted to make Season 2 even better. Instead of leading
to positive results, that ambition ended up creating designs that felt awkward and excessive.” Season 2 goes back to basics, picking up right where Season 1 left us. “The dormitory had to remain the same. Seong Gi-hun needed to wake up in the same outfit, in the same space, on the same bed with the same bedding. We kept the same blueprint,” she continues, though adds that she slightly expanded the set to ‘accommodate the OX voting system, making it easier to film’. Though it recycles certain sets, Season 2 also adds fresh games, colours and characters, widening the Squid Game world without making it feel unfamiliar. “I knew that introducing new games would be one of the most exciting elements for the audience. This season features games that highlight different aspects of human nature – some that require teamwork, others where players have to abandon or forcibly bring someone
along with them,” Chae explains. “We went through many design drafts, but in the end we stayed true to the core concept: to maximise the essence of the childhood games while creating spaces where emotions could be intensified.” DOWN TO THE FINAL DETAIL Production design requires attention to every last detail – especially colour. Pink and green defined Squid Game Season 1, while Season 2 ‘features a wider range’, according to Chae. “Orange and purple stand out,” she begins. “I aimed to craft a playful and nostalgic world using bold, high-saturation colours commonly linked to childhood.” Orange, Chae explains, can hold positive (‘warmth, joy, festivity’) and negative (‘caution, anxiety, impulsiveness’) connotations, while purple represents ‘ultimate power’. Chae would often collaborate with other departments to make sure that the
52
DEFINITIONMAGAZINE.COM
Powered by FlippingBook