Contributing writer for The Artifice.
Junior Contributor I
Squid Game: Refreshing the Battle Royale Genre
As Squid Game becomes one of Netflix’s most-watched shows of all time and holds audiences attention far beyond the cultural scope of South Korea, it begs the question as to why this show resonated with people on an international scale? By no means is the concept of forcing individuals into a life-or-death game original, so what does Squid Game do differently?
In so many ways, Squid Game subverts the expectations of a typical Battle Royale story and refreshes a genre that had largely stagnated. In order to highlight these subversions, engagement with predecessors in the genre is a must; the original novel Battle Royale by Koushun Takami and its numerous adaptations (lending the death game genre the ‘Battle Royale’ namesake as a cultural phenomenon), the Hunger Games series by Susanne Collins, As the Gods Will by Takashi Miike, and other TV series like Liar Game and Alice in the Borderlands. The director takes inspiration from manga but the scope of intersectional engagement may become too wide if one crosses over mediums into manga, anime, and video games with death game narratives.
By comparing these predecessors with Squid Game, a number of distinct differences and focus can be found. These include but are not limited to: game structure and rules, consent and human rights, the role of debt and desperation, spectacle and dehumanization, and cultural specificity. While the director Hwang Dong-hyuk is cited as saying he wanted to create a series that was distinctly Korean, the international reception begs a closer look at what Squid Game is doing differently.