Issue link: https://digital.copcomm.com/i/1470106
that represent the Squid Game world and the show itself were hidden everywhere, including the logo of the show, masks that signify the workers' rank, business cards given to the players, set props used in the games, and pictograms engraved in the waiting lounge. I always thought it regrettable that Korean movies and shows are conservative about colors. Squid Game was diff erent. Director Hwang happily accepted the idea when the costume designer suggested using pink for one of the main costumes. This choice motivated me to stretch my imagination to the fullest since my fi rst color choice for the design concept was also pink. Creating a colormap went without di culty after choosing pink with the hope that the color could give the sentiment of youth and childishness to the guards. By contrast, green tracksuits reminiscent of those worn in the 1970s-1980s were selected for the players. The contrast between the green of the contestants' tracksuits and the pink of the guards revealed the hierarchy among the characters. The color contrast was also applied to spaces. The maze-like hallways were predominantly colored in pink, conjuring disturbing and unsettling feelings for the players in green. White was chosen as a color for the large empty waiting lounge to express the deadly fear created by the utter lack of color, which gave players a terrifying impression of not knowing what lays beyond the chamber or what would happen next. The Most Memorable Prop of All The doll featured in "Red Light, Green Light" was the product of a close collaboration with the special A. & B. INITIAL SKETCHES FOR YOUNG-HEE DRAWN BY CHAE KYOUNG-SUN. C. & D. WAITING LOUNGE. CONCEPT IMAGE DONE IN SKETCHUP, V-RAY AND PHOTOSHOP BY WOO WOLL-SOOK. E. MAZE HALLWAYS. PRODUCTION STILL. COURTESY OF NETFLIX. E A B C D