Issue link: https://digital.copcomm.com/i/1470106
life and is an assembly of the pieces of his past memories. In designing an alleyway that collects his past memories, I arranged two-dimensional sets seen in theater plays. The shapes of back- to-back houses of the time, roofs and front gates of the same pattern were built as two- dimensional sets, and then additional work was done to put them together to make the entire set three-dimensional. The set also portrays the ambivalence of truths: a space where life-and- death, and fiction and reality coexist, and where the contestants must kill a friend to survive. Fifth Game – Glass Steppingstone lass Steppingstone was the first game in the show with spectators. The game sees contestants walk across a high-rise bridge made of fragile glass panels in a circus-like setting. The design concept was a circus where the contestants play a spine-tingling game just like aerial acrobatics in a circus to entertain VIPs. The set is a replica of a circus tent made with multiple layers of curtains, creating a vast space. It was made more cartoon- ish and impressive with the vivid green and purple colors of the 1970s-1980s and dazzling lights that remind the viewers of the rainbow-colored rides in amusement parks. This unsettling contradiction between the players who must desperately fight for their lives while performing like a clown in a circus leaves a strong impression on the viewer. The set was made with the utmost attention to safety. umping off a 1.m bridge with transparent glass is enough to evoke fear and rigidity even when safety is guaranteed. Most of the actors not only concentrated on playing their roles but felt real fear on the bridge. In the show, the players must cross from one side of the bridge to another from a height of more than thirty meters. The terror and fright induced by clean, transparent and seemingly slippery glass makes the steppingstones decorated with playful colors ironically look like hell. The set indeed had an ambivalent charm. Another design intention was to express each character's state of mind through diverse colors and objects. All the props were intricately designed in shape and color. Circle, triangle and square D. & E. MARBLES ALLEYWAYS. BUILT IN A STUDIO IN DAEJEON. PROPS WERE SET TO PORTRAY THE ALLEYWAYS OF KOREA IN THE 1980S. THE FINISHING MATERIALS AND THE PATTERNS ARE USED AS IT WERE IN THE 1980S, AND THE DOOR PLATES CONSIST OF CIRCLE, TRIANGLE AND SQUARE PATTERNS. SET PHOTO. F. STEPPINGSTONES CONCEPT IMAGE. DONE IN SKETCHUP, V-RAY AND PHOTOSHOP BY WOO WOLL-SOOK. D E F