Issue link: https://digital.copcomm.com/i/1470106
Third Game – Tug-of-War The overall color of the set was jet black, dark as hell, while yellow was used as a color to warn the contestants of danger, just like trac signs on the road. The players form teams of ten and move along the road until they reach the top of the elevated platforms erected on towers high above the ground. As soon as they arrive at the top, they face a choice of life-or-death: either they themselves fall to death or they pull and make the opposing team fall. The players desperately fought for their individual survival in the first and second games that featured sets with childlike backdrops. The third game was the first time they were directly responsible for the death of other contestants. The only option left to survive was to pull the losing team off their platform, resulting in their falling to their ultimate demise. The key concept of the third game was to show peoples' instinctive behavior and reaction when left in the middle of the road flat-footed. The top of the 30-meter-high tower was designed as a road to highlight the despair of the players who had nowhere to go and the harrowing consequence of the game, an immediate grisly death falling to a cold asphalt floor. The set was actually built high off the ground, and the scene was made in collaboration with the I team. Fourth Game – Marbles Director Hwang talked about his childhood and wanted to craft sets that resembled the alleyways of his neighborhood where he spent time with his friends. Mothers' voices calling their kids to come home, the smoke and smell of cooking rice, and the evening glow turning the sky red as the sun sets— alleyways symbolize the daily lives of Koreans in the 1970s-1980s. I wanted to envelop the adult players in a fairytale-like space for the fourth game. The set embodies their childhood and conjures a palpable sense of nostalgia for the adults. The team used an artificial printed sunset background for the sky of the alleys and for Il-nam's house where he lived with his son. On top of this, the marble game was portrayed under the theme of "Gganbu," which means old friends or partners. The set represents Il-nam's A. & B. TUG-OF-WAR. CONCEPT IMAGE. MODELING FOR THE TUG-OF-WAR SET IN AN INDOOR STUDIO IN DAEJEON. THE SET HAD 4 DIFFERENT PARTS, COMPLETED BY VFX. DONE IN SKETCHUP, V-RAY AND PHOTOSHOP BY WOO WOLL-SOOK. C. CONCEPT IMAGE FOR MARBLES ALLEYWAYS. A BIRD'S-EYE VIEW OF THE ALLEYWAYS SET IN AN INDOOR STUDIO IN DAEJEON INSPIRED BY THE FILMS DOGVILLE AND THE TRUMAN SHOW, THE SUNSET IS USED TO CREATE CONFUSION ABOUT WHAT IS REAL AND FAKE. DONE IN SKETCHUP, V-RAY AND PHOTOSHOP BY PARK JEONG-HYEON. A B C