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Squid Game is a South Korean survival drama television series created by Hwang Dong-hyuk. The cast includes Lee Jung-jae, Park Hae-soo, Heo Sung-tae, HoYeon Jung, O Yeong-su, and Anupam Tripathi.

The series revolves around a contest where 456 players, all of whom are in deep financial hardship, risk their lives to play a series of deadly children's games for the chance to win a ₩45.6 billion (US$35 million, €33 million, or £ 29 million as of broadcast) prize. The Korean children's game was the inspiration for the title of the series.

The idea was conceived by Hwang because of his own economic struggles early in life, as well as the class disparity in South Korea and capitalism. He was unable to find a production company to fund the idea until around the time of the expansion of their foreign programming offerings, which was around 2019.

The Squid Game was released in September of 2021, and it received international attention. It is the most watched show on the internet, with 142 million memberships and 1.65 billion viewing hours, making it the most watched show in the world.

The series has also received numerous accolades, including the Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film for O Yeong-su and the Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Drama Series and Outstanding Performance by a Female Actor in a Drama Series for Lee Jung-jae and HoYeon Jung, respectively, with all three making history as the first Korean actors to win in those categories. The first series received fourteen Primetime Emmy Award nominations, including for Best Drama, making it the first non-English language work to be nominated in this category; Jung-jae won the Outstanding Lead Actor in a Drama series, making the first time an Asian actor had won this award for a non-English work.

The series was renewed for a second season in June of 2022, which is expected to be broadcast in late or early 2024. A reality competition program based on Squid Game will feature 456 players competing for a large cash prize.

Seong Gi-hun, a divorced father and indebted gambler who lives with his elderly mother, is invited to play a series of children's games for a chance at a large cash prize.

He accepted the offer and was taken to an unknown location where he was among a group of other players who were in deep financial trouble. The players are made to wear green tracksuits and are kept under watch at all times by masked guards in pink jumpsuits, with the games overseen by the Front Man who wears a black mask and black uniform. The players soon discover that losing a game results in their death, with each death adding ₩100 million to the potential ₩45.6 billion grand prize. Gi-hun allies with other players, including his childhood friend Cho Sang- woo and North Korean defector Kang Sae-byeok, to try to survive the physical and psychological twists of the games.

The character's assigned number in the Squid Game is indicated by the numbers in parentheses.

There are nine episodes of Squid Game that run for 32 to 63 minutes. The episodes were written and directed by Hwang. The full series was released on September 17, 2021.

Around 2008, Hwang Dong-hyuk had tried unsuccessfully to get investment for a different movie script that he had written, and he, his mother, and his grandmother had to take out loans to stay afloat, but still struggled amid the debt crisis within the country. He spent his free time in a Manhwabang (South Korean manga cafe) reading Japanese survival manga such as Battle Royale, Liar Game and Gambling Apocalypse: Kaiji. Hwang feared the storyline was "too difficult to understand and bizarre" at the time. Hwang tried to sell his story to various Korean production groups and actors, but had been told it was too grotesque and unrealistic. Hwang put this script aside without any takers, and over the next ten years successfully completed three other films, including the crime drama film Silenced (2011) and the historical drama film The Fortress (2017).

In the 2010s, Netflix had seen a large growth in viewership outside of North America, and started investing in productions in other regions, including Korea. Ted Sarandos, co-CEO of Netflix, stated in 2018 that they were looking for more successes from overseas productions: "The exciting thing for me would be if the next Stranger Things came from outside America. The scale of that movie has never come from anywhere but Hollywood, and while they were still operating out of temporary leased office space in South Korea, Hwang brought his script to their attention. Kim Minyoung, one of the content officers for the Asian regions, recognized the talent of Hwang from The Fortress and his other films by him, and he knew they needed it for the service.

Kim said " e were looking for shows that were different from what's traditionally 'made it,' and Squid Game was exactly it". Netflix formally announced in September 2019 they would produce Hwang's work by him as an original series. Netflix's Bela Bajaria, head of global television operations, said that of their interest in Hwang's work, "we knew it was going to be big in Korea because it had a well-regarded director with a bold vision", and that "K-Dramas also travel well across Asia". Regarding his return to the project, Hwang commented, "It's a sad story. But the reason why I returned to the project is because the world 10 years from then has transformed to a place where these unbelievable survival stories are so fitting, and I found that this is the time when people will call these stories intriguing and realistic." Hwang further believed that the ongoing COVID-19 pandemic impacted the economic disparity between classes in South Korea, and said that "All of these points made the story very realistic for people compared to a decade ago".

The film concept was expanded to a nine-episode series with the order of the streaming service. Kim said that there was more than 120 minutes of written material. So we worked together to turn it into a series." Hwang said he was able to expand the script so that it "could focus on the relationships between people the stories that each of the people had". Initially, Netflix had named the series Round Six, rather than Squid Game as Hwang had suggested; According to Netflix's vice president for content in Asia Kim Minyoung, while they knew that the name "squid game" would be familiar to Korean viewers from the children's game, it "wouldn't resonate because not many people would get it", and opted to use Round Six as it self-described the nature of the competition.

As production continued, Hwang pushed on the service to use Squid Game instead, which Kim said its cryptic name and the unique visuals helped to draw in curious viewers. At the time that Hwang wrote the series, his goal was for having the series reach the most-watched show on Netflix in the United States for at least one day. Hwang had initially written the series as eight episodes, which was comparable to other Netflix shows, but found that the material for the last episode was longer than he planned, so it was split into two.

Hwang described the work as "a story about losers". The names of the characters - Seong Gi-hun, Cho Sang-woo, and Il-nam - were all based on Hwang's childhood friends, as well as the character name Hwang Jun-ho, who was also a childhood friend in real life with an older brother named Hwang In-ho. The two main characters Gi-hun and Sang-woo were based on Hwang's own personal experiences of him and represented "two sides" of himself; Gi-hun shared the same aspects of being raised by an economically disadvantaged single mother in the Ssangmun district of Seoul, while Sang-woo reflected on Hwang having attended Seoul National University with high expectations from his family and neighborhood. Furthermore, Gi-hun's background was inspired by the organizers of the SsangYong Motor labor strike of 2009 against mass layoffs.

Hwang based the narrative on Korean games of his childhood to show the irony of a childhood game where competition was not important becoming an extreme competition with people's lives at stake. Additionally, as his initial script by him was intended for film, he opted to use children's games with simple rules that were easy to explain in contrast to other survival-type films using games with complex rules. The central game he selected, the squid game, was a popular Korean children's game from the 1970s and 1980s. Hwang recalled the squid game as "the most physically aggressive childhood game I played in neighborhood alleys as a kid, which is why I also loved it the most", and because of this "it's the most symbolic game that reflects today's competitive society, so I picked it out as the show's title". The colors of the ddakjis in the initial game, which are blue and red, were inspired from the Korean urban legend "blue paper, red paper". The "Red light, Green light" game was selected because of its potential to make a lot of losers in one go.

Regarding the selection, Hwang said, "The game was selected because the scene filled with so many people randomly moving and stopping could be viewed as a ridiculous but a sad group dance." Hwang joked that the dalgona candy game they chose may influence sales of dalgona, similar to how sales of Korean gats (traditional hats) bloomed after the broadcast of Netflix's series Kingdom. Licking the candy to free the shape was something that Hwang said that he had done as a child and brought it into the script. Hwang had considered other Korean children's games such as Gonggi, Dong, Dong, Dongdaemun, and Why did you come to my house? The Hana Ichi Monme is a Korean variant.

Hwang wrote all of the series himself, taking nearly six months to write the first two episodes alone, after which he turned to friends to get input on moving forward. Hwang also addressed the challenges of preparing for the show which was physically and mentally exhausting, saying that he had forgone dental health while making Season 1 and had to have six teeth pulled by his dentist after production was complete. As such, Hwang was initially unsure about a sequel after completing these episodes, though he wrote the ending to keep a potential hook for a sequel in mind. Hwang had considered an alternate ending where Gi-hun would have boarded the plane after concluding his call with the game organizers to see his daughter, but Hwang said of that ending, "Is that the right way for us to really propose the question or the message that we wanted to convey through the series?"

Hwang said he chose to cast Lee Jung-jae as Gi-hun as to "destroy his charismatic image portrayed in his previous roles". HoYeon Jung was requested by her new management company to send a video to audition for the series while she was finishing a shoot in Mexico and preparing for New York Fashion Week. Although this was her first time auditioning for an acting role, she was not expecting to get the part, and she immediately thought of herself as the person we want.

"My first impression of her was that she is free and untamed like a horse," said Hwang, who cast Ali Abdul. He chose Anupam Tripathi because of his emotional acting capabilities and fluency of her in Korean. Both Gong Yoo and Lee Byung Hun had worked with Hwang during his previous films, Silenced and The Fortress respectively, and Hwang had asked both to appear in small roles within Squid Game. The VIPs were selected from non-Korean actors living in Asia; in the case of Geoffrey Giuliano, who played the VIP that interacted with Jun-ho, his prior role from Train to Busan Presents: Peninsula led to his casting for Squid Game.

On June 17, 2020, the casting for the series was confirmed.

Production and filming of the series ran from June to October 2020, including a mandatory month break due to the ongoing COVID-19 pandemic. City scenes were filmed in Daejeon, while the island setpieces were filmed on Seongapdo located in Ongjin.

The colorful sets and costumes were designed to look like a fantasy world as part of a plan to target a global audience. The players and soldiers each wear a distinctive colour, to reduce the sense of individuality and emphasize the difference between the two groups. The green tracksuits worn by the players were inspired by 1970s athletic wear, known as trainingbok (Korean: 트레이닝복). The maze-like corridors and stairs drew inspiration from the 4-dimensional stair drawings of M. C. Escher including Relativity. Chae Kyoung-sun said the stairs were a form of bondage for the contestants.

Chae was also inspired by the Saemaul Undong political initiative of the 1970s aimed to modernize rural Korean villages. The mint green and pink color theme throughout the show were a common theme from Korean schools in the 1970s and 1980s, and further reflected themes throughout the show, with the green-suited players to come in fear and consider around the color pink when they are exposed to this through the guards and the stairway room.

The players' dormitory was designed with the idea of people who are abandoned on the road in mind, and it was also used in the tug-of-war game. The bed and stairs were initially laid out to look like warehouse shelves, but as the episodes progressed and these furnishing used as makeshift defenses, they took the appearance of broken ladders and stairs, implying the way these players were trapped with no way out, according to Chae. The dinner scene that took place in the eighth episode was inspired by the art installation The Dinner Party by Judy Chicago. Walls of many of the areas where the games took place were painted in skies inspired by The Empire of Light series by René Magritte.

The crew spent the most time crafting the set for the Marbles game, creating a mix of realism and fakeness as to mirror the life and death nature of the games themselves. Chae stated that this set was designed as a combination of small theatrical stages, each stage representing parts of Player 001's memories. The VIP room was one of the last pieces to be designed, and Chae said that they decided on an animal-based theme for both the costumes and room for this; "The VIPs are the kind of people who take other people's lives for entertainment and treat them like game pieces on a chessboard, so I wanted to create a powerful and instinctive look for the room."

The sets were a combination of practical sets and chroma key background.

In the Glass Stepping Stones scenes, the set was only 1.5 meters off the ground, using a screen to mimic the height in post-production. In filming, this was far enough from the ground to make the actors nervous, which contributed to the scene. The tug-of-war set was actually set more than 10 meters (33 ft) off the ground, which further created anxiety for some of the actors with fears of heights.

The robot doll in the first episode, "Red Light, Green Light", was inspired by Younghee, a character who appeared on the covers of Korean textbooks Chul-soo and Young-hee in the 1970s and 1980s, and her hairstyle was inspired by Hwang's daughter's. The doll singsongs, in Korean, "Mugunghwa Flower has Blossomed", referring to the hibiscus syriacus, the national flower of South Korea. The use of this familiar character was meant to juxtapose memories of childhood and unsettling fear in the players, according to Chae. Similarly, the set for the dalgona game, using giant pieces of playground equipment, were to evoke players' memories of their childhood, and was a common place where Korean children would have played dalgona with friends. The dalgona used in "The Man with the Umbrella" were made by a street vendor from Daehangno.

The show's title and the cards given to recruit players have the triangle, circle, and square shapes on them. The shapes are associated with the playing field for the game of Squid.

They are used to represent the hierarchy of the guards. The guards with circles are considered the workers, the soldiers, and the squares as the managers, following the comparison with an ant colony. Furthermore, in the Korean alphabet, Hangul, the circle represents the romanized letter "O", the triangle represents part of the letter "J", and the square represents the letter "M"; together, "OJM" are the romanized initials of Ojing-eo Geim, the Korean translation of Squid Game.

Jung Jae-il, who had previously composed the soundtrack for Parasite, directed and composed Squid Game's score. To prevent the score from becoming boring, Jung asked the help of two other composers: Park Min-ju and Kim Sung-soo, a music director for musicals who uses the stage name "23" when working as a composer.

Two classical music pieces are also used throughout the show as part of the routine for the players: the third movement of Joseph Haydn's "Trumpet Concerto" is used to wake the players, while Johann Strauss II's "The Blue Danube" is used to indicate the start of a new game. Ludwig van Beethoven's "Fifth Symphony" is also used for background music in the VIP lounge. A cover of "Fly Me to the Moon", arranged by Jung and sung by Korean artist Joo Won Shin, was used over the "Red Light, Green Light" game of the first episode; According to Joo, Hwang wanted a contrast between the brutal killing of the players in the game and the "romantic and beautiful lyrics and melody" of the song, such that the scene "embodies the increasingly polarized capitalist society that we live in today in a very compressed and cynical way".

For the song "Way Back Then" that accompanies children playing Squid Game, Jung wanted to use instruments that he practiced in elementary school, such as recorders and castanets. The rhythm of the song is based on a 3-3-7 clapping rhythm that is commonly used in South Korea to cheer someone on. The recorder, played by Jung himself, had a slight "beep", which was unintentional. The song "Round VI" was played by the Budapest Scoring Orchestra.

The soundtrack was released in September of 2021.

In the Philippines, a replica of the doll used in episode one of the series was displayed in September of 2021.

A Squid Game doll was installed in Olympic Park, Seoul on October 25, 2021. A replica of Squid Game's set was exhibited at the Itaewon station in Seoul since September 5, 2021. However, the exhibit was prematurely closed due to COVID-19 quarantine regulation concerns.

A person could win a free one-month subscription to Netflix if they could get the right shape from a dalgona in one minute and 30 seconds.

In the Netherlands, people were able to play the game Red Light, Green Light in both Maastricht and Rotterdam, thanks to the Squid Game hosted by Netflix. The staff were dressed as guards and exhibited a replica of the doll. The winners received Squid Game items.

Similar events featuring replicas of the doll have occurred across the world.

In October of 2021, the Hollywood Reporter interviewed Kim Minyoung, an executive at the company, who said that the company was looking into a video game adaptation of the series.

Squid Game has been licensed for merchandising by Netflix. A Young-hee vinyl figure was released in January of 2022.

The show received a 95 percent approval rating on the review aggregation site, with an average rating of 8.10/10. The website's critics consensus reads: "Squid Game's unflinching brutality is not for the faint of heart, but sharp social commentary and a surprisingly tender core will keep viewers glued to the screen – even if it's while watching between their fingers." On Metacritic, the series has a weighted average score of 69 out of 100 based on 13 critics, indicating "generally favorable reviews".

The concept of the show was creative according to Decider's Joel Keller. I describe the narrative as a tight narrative with the potential to be tense and exciting. Keller concluded, "STREAM IT." Squid Game takes a fresh idea and spins it into a thrilling drama; we hope it continues to build the tension we saw in the last 20 minutes throughout the season." Pierce Conran of the South China Morning Post rated the series with 4.5 out of 5 stars and wrote, "Overall, this is still a savagely entertaining slam dunk from Netflix Korea, which is likely to be embraced around the world as its predecessors were." Hidzir Junaini of NME rated the series with 4 out of 5 stars and opined, "Thematic intelligence aside, Squid Game is also a white-knuckle watch, thanks to its visceral competition element." John Doyle of The Globe and Mail described the series as "a brave, dark, ambitious tale, at times moving and at times terrifying" and added, "Its power is in its understanding that money is survival.

This isn't like the Hunger Games. This is a life that is complex and terrible.

The series was described as "enormously derivative", but by Karl Quinn of The Age, there were two tensions that elevate Squid Game. One is within the narrative, where the primacy of the individual is in direct combat with the notion of community, and where the illusion of "choice" justifies all manner of exploitation." S. Poorvaja of The Hindu wrote that "the nine episodes manage to leave its viewers horrified, yet invested in the show, thanks to the razor-sharp writing and compelling performances by its ensemble cast". Abha Shah of the Evening Standard wrote that the series was "tightly written, each episode packed with enough pace to make it truly binge worthy", and praised its themes as being "universally engaging". Hugo Rifkind of The Times described parts of the series as being "glacially slow", but stated that it was "definitely interesting", and wrote: "Behind it all, there's an almost Lovecraftian sense of horror, to do with normal lives being unliveable. , and huge, unknowable powers in the background that will smirk while you die."

Mike Hale wrote for The New York Times and found Squid Game to be an "utterly traditional, and thoroughly predictable, melodrama" with "eye-catching" but not particularly interesting production design and costumes. He also thought the series' "pretense of contemporary social relevance" failed to justify its "more than mildly sickening" violence, and thought its characters were "shallow assemblages of family and typical battlefield". Daniel D'Addario of Variety wrote: "Like Joker, there's a having-it-both-ways insistence that a culture that could create violence is inherently sick and deranged, while playing out a wildly overstated version of sick derangement in a manner designed to be maximally tense and amusing."

The show's director was named The Straits Times Asian of the Year in December 2021.

The series was the first Korean drama to top the weekly chart on the streaming service. It reached number one in 94 countries, including the United States and the United Kingdom. Netflix estimated that Squid Game had drawn over 111 million member households worldwide after 17 days of availability, and over 142 million member households after 28 days, surpassing the 82 million that Bridgerton had received in its first 28 days in December 2020, and becoming the service's most-watched series at its launch. After Netflix revamped its published metrics of viewership in November 2021 based on total hours watched of the series, Squid Game remained the most-watched show on the service, with over 1.65 billion hours within its first 28 days compared to Bridgerton's 625 million hours. Although Netflix is ​​not available in mainland China, pirated versions of Squid Game have been widely circulated on the Chinese Internet, making the show a popular topic on Chinese social networking sites. As of July 2022, Squid Game remained the most-watched show on Netflix based on the first 28 days of viewing, ahead of Stranger Things 4.

Word of mouth and social media spread made it popular outside of Asia.

Vulture also claimed that the show's widespread localization, with subtitles in 37 languages ​​and dubbed versions in 34 languages, helped to capture an international audience. Hwang believed that the popularity was due "by the irony that hopeless grownups risk their lives to win a kids' game", as well as the familiarity and simplicity of the games that allowed the show to focus on characterization. The diversity of the characters that play the Squid Game, drawing from different walks of lower- and middle-class life, also helps draw audiences to watch as many could find sympathy in one or more of the characters.

Squid Game had not broken into the Nielsen ratings for streaming media on its first week of availability, but for the week of September 20 through 26, 2021, it was the most-viewed show on streaming services in the United States, with over 1.9 billion minutes watched. It remained the top-viewed program on streaming media from September 27 to October 3, 2021, reaching over 3.26 billion minutes watched in the U.S. These ratings made it the most-viewed streaming program to date in 2021, and the sixth such program to reach over 3 billion minutes watched in a single week since the introduction of Nielsen's streaming media ratings. This is the only record achieved in a single season without COVID-19 lockdowns. Squid Game remained the most-watched show according to Nielsen for the weeks starting October 4 and 11, 2021, but was ousted by You in the following week. For four consecutive weeks, Squid Game remained as the most watched series on TV tracking service TV Time, where it also became the most followed Korean series to date. On YouTube, Squid Game related content generated 17 billion views within eight weeks, the highest for a television show, surpassing the viewership generated by Game of Thrones related content in ten years. Nielsen reported that Squid Game was the second-most watched original series in the United States on streaming services for all of 2021, following Lucifer.

According to Bloomberg News, by October 2021, Netflix estimated that Squid Game had generated nearly US$900 million in value based on extended viewer data; it cost $21.4 million to produce. Due to Squid Game's surprising success for Netflix, operators of other streaming services with original content, such as Disney+, Paramount+ and Apple TV+, have begun looking to follow Netflix's model of discovering regional content beyond Hollywood and finding similarly successful works for their platforms, with one executive calling this an area of ​​"unlimited potential". Besides bringing new ideas and veering from common themes of typical Hollywood productions, such foreign productions are typically less expensive to make, with tax breaks or incentives by the host country for filming and production. Several producers of non-US TV series, who had little luck in pitching their shows to US-based streaming services in the past, were hopeful that these services would now seriously consider their works as a result of Squid Game's success.

O Yeong-su is the first Korean-born actor to win an award.

The first non-English series and the first Korean series to be nominated for an award for Outstanding Performance by an ensemble in a drama series were made history by the show's four nominations. Individually, Lee Jung-jae became the first male actor from Asia and Korea to receive an individual SAG Award nomination and HoYeon Jung became the second actress of Asian as well as Korean descent to do the same. With both performers winning, the show made history in becoming the first non-English language television series to win at the SAG Awards. The first non-English show to be nominated in this category was the show, which received 14 nominations.

The Korean wave is a growing trend of popular South Korean media to gain international attention since the late 2010s, similar to popular Korean pop bands and films. South Korean content, traditionally controlled by the country's national broadcasters, is now available across the globe thanks to streaming services.

According to Choe Sang-Hun of The New York Times, South Korean creators have a way of taking ideas from foreign works and applying their own cultural spin to it that draws in more audiences.

While all of the actors saw increases in followers on their social media accounts in the weeks after Squid Game premiered, HoYeon Jung saw one of the largest increases, going from about 400,000 to over 13 million followers in three weeks after Squid Game premiered, and reaching over 23.5 million by November 2021. In October 2021, the fashion brand Louis Vuitton announced Jung as their new global ambassador for fashion, watches, and jewelry; creative director Nicolas Ghesquière said he "immediately fell in love with Jung's great talent and fantastic personality of her" from her performance of her on Squid Game. O Yeong-su, who had a modest career in Korean theater and film prior to Squid Game, was surprised by his newfound fame de él following the show, making him feel like he was "floating on air". Lacking a casting agent, he had to turn to help from his daughter de él to handle the volume of calls asking him to appear in various roles. Several major talent agencies sought to sign Hwang and the lead actors of Squid Game in the months after its debut, with Jung being the first to sign on with Creative Artists Agency by mid-November 2021.