Why are the reactions to Squid Games different at home and abroad?

The media is being used as a "squid game" all over the place. That's been the case all week. The atmosphere was a little subdued when "Squid Game" was released as the original netplex series on The 19th. Rather, it was only plagiarized noise, such as Japanese content "as God says." However, the situation changed rapidly through the Chuseok holidays. While there has been a surge in viewers who watched "Squid Games" during the holidays, there was a more major cause. It is a "foreign achievement" that will cause a flurry at any time in South Korea.

Over the past week, the media has been flooded with news about The Squid Game. When "Squid Games" aired on the 19th with the Netflix original series, the atmosphere was relatively calm. Instead, it is mixed with controversy over the plagiarism of the Japanese film "As God Says.". But after the Mid-Autumn Festival holiday, the situation changed drastically. The surge in audiences watching Squid Games during the holidays is one reason, but there is a more important reason. That is the theory of "overseas achievements" that can set off a boom in South Korea at any time.

On November 21, the Korean drama became the first U.S. Netflix to reach No. The korean drama's previous best record was 3rd place recorded by SweetHome. On the 23rd, it reached Netflix's no. 1 spot worldwide. On the 24th, "Squid Game" topped Netflix, expanding to 43 countries including the United States, Germany, Japan, Canada, Australia, and Brazil, and added France, Austria, and Sweden on the 26th. And unlike domestic criticism, the evaluation was much better abroad. As of The 26th, Lorton Tomato, which compiles critics' ratings based on the U.S. right, has a 100% popularity rate, and the Internet Movie Database user rating also scored 8.3 out of 10.

On the 21st, for the first time in the history of Korean TV dramas, it won the first place in the United States Netflix. Previously, the highest record for Korean TV dramas was the record of the third place set by "Sweet Home". Immediately after, on the 23rd, it became the first place in the world's Netflix charts. By the 24th, "Squid Games" occupied the first place in Netflix in many countries, including the United States, Germany, Japan, Canada, Australia, Brazil and other 43 countries, and the scope was expanded compared with before. By the 26th, France, Austria, Sweden and other countries also joined the above scope. Unlike the critical public opinion in South Korea, TV dramas have received better reviews overseas. On the 26th, on the website rottentomatoes, which was evaluated by critics in the British and American circles, the drama set a 100% positive score. It also received an 8.3 out of 10 ratings in user reviews in the Online Movie Database.

As the situation reached this point, the domestic atmosphere began to change. Criticism of the "squid game" was immediately sabounded, and discussions were over intoquiry into why the so-called "national mulberry" atmosphere and why "squid games" resonate so much in the world. In the media, the line in the drama even appeared to say, "The numbers beat the bad reviews." It means that brilliant overseas performances and critical praise have pressed for critical public opinion in The Nation.

At this point, the domestic atmosphere has suddenly changed. Accusations of Squid Games disappeared, the show instantly became a 'national hero', and people began to explore why Squid Games received such a worldwide response, and the previous controversy ended. In response, a media outlet quoted the line in the TV series that "numbers triumph over bad reviews." It can be said that through gorgeous overseas achievements and critical praise, the critical public opinion in South Korea has been suppressed.

In fact, it is clear why the "squid game" in the U.S. is the opposite of domestic. First, the U.S. does not respond very seriously to plagiarism issues of certain content. There are a myriad of examples of Japanese anime idea theft in Hollywood movies right now. There are no ends to Alex Proyas's "The Dark City," which brought the idea of setting in Mamoru Oshii's "The Beautiful Dreamer," Christopher Nolan's "Inception," which appears to have stolen some scenes from Con Satoshi's "Paprika," and Darren Arnawowski's "Black Swan," which shows some traces of the scene copy in Con Satoshi's Perfect Blue.

In fact, especially in the United States, the audience's reaction to "Squid Game" is diametrically opposed to that in South Korea, and the reasons are simple and clear. First, in the United States, people don't think that plagiarism is a serious problem. Hollywood movies also have many examples of stealing Japanese anime ideas. Alex Proyas's "Soul Shifter City" directly uses the setting ideas from Rumiko Takahashi's "Fuxing Kid 2: Kirito Dreamer", Christopher Nolan's "Inception" and several scenes also steal from Imatoshi's "Inception", and several scenes in Darren Aronofsky's "Black Swan" have traces of plagiarism from Imatoshi's "Unma's House", and similar examples abound.

However, there is no explanation or explanation on the Hollywood side. There is also a postmodern attitude in which mixed-gender rooms are performed somewhat easily in the position of "nothing new under the sky," but it also plays a part in the perception of treating the original film as a kind of industrial product. Therefore, the quality of the content, i.e. the completeness of the content, is not evaluated only, and whether the idea is original or not is a big problem. After all, many of the plagiarism controversies in Korea are based on the unique sensibilities of the nation's national nation, which seeks to bring nationalist pride to cultural and artistic content, and even ideas such as the U.S. line of the world's pop culture mecca have raised the hand of "a better made and more attractive side as a product." The attitude of picking and listening to the originality of the idea itself is sparse in the first place.

Even so, there is no special explanation or explanation in Hollywood. As the saying goes, "nothing new under the sun," it's easy to mix imitations, although such postmodernist attitudes can be blamed. But the recognition of cinema as an industrial product in the first place is also one of the reasons. So just evaluate the quality of the work, that is, the degree of completion, as to whether the idea is original, it is obviously not considered too much of a problem. In the end, the various cultural and artistic works that have been caught up in various plagiarism controversies in South Korea are actually endowed with nationalist self-esteem, and the resulting controversy is only based on the sensibility of the nation-state. In the United States, the birthplace of the world's mass culture, even if it is the same idea, people will tend to be "the more well-made and more attractive side of the finished product." Few people at the beginning struggled with whether the idea was original or not.

On the other hand, it is worth mentioning some neo-sectarian depictions of "squid games", which have become another subject of criticism in Korea. In short, western countries, mainly in the United States, do not think of this as a content weakness, but rather a lot of fresh evaluations. It is already known to some extent for its overseas reaction to "busan-bound" etc. This, too, is due to the atmosphere of the western-speaking society. In Western society, most individuals regard their feelings as a fairly personal part of their feelings, and there is a tendency to be reluctant to reveal them to others outside of the world.

In addition, in South Korea, some of the new genre depictions in "The Squid Game" have also become the object of criticism. All in all, the Western countries centered on the United States do not see content as a weakness, but there are many comments that such content is very fresh. The key can be seen from the overseas response of "Busan Trip" and so on. This is also because of the unique social atmosphere of the West. In Western society, most people feel that personal feelings are a very personal part, and there is a tendency to be reluctant to disclose them to others. However, in the process of communication with others, efforts are made to show a spiritually stable and rational attitude, that is, a 'cool' attitude, so the atmosphere mentioned earlier is also directly buried in various cultural and artistic works.

However, it does not respond to explosive emotions that go from cultural and artistic content to the actual level of the new wave. However, while I am not familiar with the appearance of "koreans" expressing such feelings, it is surprisingly easy to see such a figure in overseas content, and it also feels fresh. Italian films, which produce exceptionally emotional content in Western society, were highly acclaimed in the U.S. in the 1960s and 90s. The unique point of "they don't have it, but they have enough willingness to enjoy" is that it's a new wave, and now that Baton has moved to South Korea. Rather, we need to study this point a little more.

However, people are not unresponsive to the explosive feelings that have actually reached the level of the new school in the cultural content. However, for that kind of emotional expression, the appearance of the 'natives' is unfamiliar. On the contrary, when you see that kind of look in overseas content, it is unexpectedly easy to accept and you can feel the freshness. It is reported that in Western society, Italian films that show particularly strong feelings were greatly welcomed by the American public from 1960 to 1990. The unique feature of this 'intention to fully enjoy itself', although it does not have itself, is the 'new school'. It is now time for the baton to reach South Korea. One should study this uniqueness well.

On the other hand, the situation of the domestic media atmosphere shifting due to positive reactions from overseas, such as the United States, requires more observation. In fact, there have been countless examples of this, and so on. That's right for teams that can be classified as the fourth generation of the industrial paradigm in the K-pop field. Eighty's, Stray Kids, Girl of the Month, Dreamcatcher, etc. share the flow of K-pop globalization, which first reacts hotly abroad, and then reorganizes its domestic presence due to its impact.

In addition, because of the positive response in overseas countries such as the United States, the atmosphere in the domestic media in South Korea has changed, and more observation is needed. In fact, there were countless examples of this before, and the same is true now. Let's take a look at the K-POP field being divided into 4 generations according to the framework, and you can see one or two. K-POP combinations such as ATEEZ, Stray Kids, Girls of the Month, dreamcatcher and so on are all now receiving a fiery response overseas, and then this impact has made their status at home once again be evaluated.

13th mini album 7th album 'Zero: Fever Part. The album title track "DejaVu" music video has been the first time that Eighty's record has been ranked in the top youtube video rankings in Korea, as the domestic flight has been almost unnamed, but the album's title track "DejaVu" has been the first of its kind in The United States.

On the 13th, with a mini-7 series "Zero: Fever Part. 3" returned ATEZ, which was only relatively popular in the United States (this album won the 42nd place in the Billboard Hot200 chart, which is a good proof), is almost unknown in South Korea, as they continue to respond overseas, the topic index rises, and the title song of this album, "DejaVu", is on the domestic YouTube popular video for the first time in history.

On a larger level, it is worth noting that K-pop, the Korean idol, was ultimately due to the craze abroad, which became considered the center of the Korean popular music industry, which is the focus of all media in the real world. Until then, idol products were hard to remove from the image of "teenage items poked into a marriage", and most of the media would deal with idol K-pop "not seriously" in that way.

On a larger level, the reason why the idol K-POP has truly become the focus of all media attention and the center of the Korean mass music industry in South Korea can ultimately be attributed to K-POP's overseas fanaticism. Previously, idol products were difficult to get rid of the image of 'products launched by merchants targeting 10 generations of teenagers', and most of the media were not sincere enough to treat idol K-POP.

At first glance, we cannot avoid the assessment that it is close to the quadrantism, but it is also necessary to point out that it is not necessarily a bad direction. This is because the current K culture globalization has been achieved by focusing all attention and intensely researching the products that are responding abroad. Considering the trend that the Japanese pop culture community, which has taken a two-track attitude, such as the fact that content that has attracted attention from abroad is virtually ignored in the country, has slowly been culled both domestically and globally, it is hard to think of a Korean atmosphere that has placed great value on global breathing in the wrong direction.

Although it is impossible to avoid evaluations that are close to 'big things', evaluations do not only have a bad impact. In this way, everyone began to pay attention to and study the products that attracted attention overseas, and the development of the product was highly promoted. The results that K-Culture has achieved around the world can be said to be due to this. The state of Japan's mass culture community is that content that attracts attention overseas is ignored in its own country. Such a two-sided approach led to the gradual obsolescence of Japanese mass culture at home and even globally. The atmosphere in South Korea is not necessarily wrong in this way.

In the end, it is difficult to say that the "numbers" from abroad justify everything, but it is also true that they should never be ignored. It is necessary to balance the future of what to take positively and what to improve in the "Squid Game" pleasure.

To sum up, although the 'number' obtained overseas cannot be said to justify everything, it is true that this number is a part that must not be ignored. For the achievements of this "Squid Game", it is necessary to think about what attitudes should be actively adopted, what aspects should be improved, and the future direction of talking should also be balanced from these levels.

Key vocabulary

노이즈 [Noun] Noise, interference

간명하다 [Adjectives] Concise, concise and clear

역력하다 [adjective] is clear and obvious

대목 【Noun】 Critical, critical moment

궁극적 [article, noun] Finally, finally

Emphasis on grammar

-V-Bar

It is used when it means the aforementioned content itself or things or methods

I heard that the sale was scheduled for March.

I heard it was expected to sell in March

There's nothing about it.

I don't know.

-Go

Indicates that an action is in progress, equivalent to the Chinese "is...".

I'm listening to music.

Listening to music.

I'm going home now.

I'm going home now.