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After the surprising Season 3 finale of Squid Game revealed Cate Blanchett as a new iteration of The Recruiter, there is an implication that these types of competitions are not limited to Korea and could take place globally. Although the extent of these different versions of Squid Game was purposefully ambiguous, the hint of their existence is already a huge problem. It also opens the doors for spin-offs in different countries, putting their own cultural spin on the famous death game tournament. However, Squid Game needs to end exactly where it is, rather than attempting to capitalize on its success with another spin-off.
Not only would different versions of Squid Game trivialize the emotional impact of the original, but they would also likely not translate as successfully to other countries. Much of the rich history of Korea is present within the competitors, and the show feels intrinsically linked to the country; recreating the famous sets would feel inappropriate and disingenuous. There are so many pieces of media that use the death game format to explore ideas around capitalism and power in different cultures, but multiple spin-offs of Squid Game just aren’t necessary.
The End of ‘Squid Game’ Suggests the Competition Is Global
The final shot of Squid Game Season 3 shows In-ho (Byung-hun Lee) traveling to America to inform Gi-hun’s (Lee Jung-jae) daughter of his death and hand over his remaining winnings from the first time he played. However, as he is leaving the city, he sees a Recruiter dressed in a suit playing Ddakji with a man. The scene soon reveals that the American Recruiter is played by none other than Cate Blanchett, a huge surprise considering the lack of notable Western actors in the series, particularly with regard to the VIPs.
The existence of the American Recruiter implies the games exist across the Pacific Ocean, likely to In-ho’s surprise. Through his backstory, we learn In-ho was once a player before he became the front man, and it was the death of his wife and child that led him to run the games. Season 1 reveals that Il-nam (O Yeong-su) was responsible for the games’ conception, and they were merely a playground for the ultra-wealthy to play with human mortality. The final season of the show featured the 37th iteration of the Korean contest, and the exposition does imply it was a unique formula that the elite group came up with and managed to hold annually for nearly 40 years. Any exploration of global versions would have to acknowledge this original format and how it has traveled, especially considering the window shown had a near identical recruiter playing an identical initiation game.
The Games in ‘Squid Game’ Are Intrinsically Korean
The genius of Squid Game owes much to its concept, highlighting a stark contrast between these innocent childhood games and the deadly consequences of failure. While some of these games are universally known, such as Hide and Seek and Tug of War, others take their inspiration directly from Korean culture, such as Dalgona and the titular Squid Game. The games are often accompanied by nursery rhyme-style songs, with the soundtrack to Mingle being particularly memorable. Everything from the music played to the aesthetic of the game arena feels intrinsically linked to Korea, from the cartoon-style room to the now-famous Red Light, Green Light doll.
If these games were to take place in America, they would need a total rebrand to fit the country’s culture. The teased spin-off has already failed on this account by having the Recruiter play Ddakji. Although the game has now become iconic and risen in popularity due to Squid Game, it wouldn’t have been played by American children, and therefore won’t carry the same message as the show. Throughout, the characters often ruminate on how the games are simple since they grew up playing them, and it is a core motivation for them to keep playing. The point is, there isn’t really an alternative game that springs to mind, and it’s the major reason Squid Game doesn’t need any spin-offs. To recreate the games beat for beat in an American setting wouldn’t feel genuine, and would lose the magic of the original.
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An American Spin-off of ‘Squid Game’ Makes No Sense
A continuation of the Squid Game story, outside of a prequel that gave more backstory to the games, would only serve to undermine the complete nature of the ending. The show started with Gi-hun, showing his impulsive nature and how his sense of pride led him to try to save everyone, unable to admit when things had gone too far. His final sacrifice showed the growth in his character and his ability to finally let go. He accepted responsibility for the lives that had been lost — mirroring the whole narrative of the show. There would be no real enjoyment in watching the games without Gi-hun, a sentiment that rings true of the original version of the show or any potential adaptation.
Squid Game serves as a perfect representation of the brutality of the death game sub-genre, evidencing both the good and bad aspects of human nature. Where some participants showed chivalry and relied on camaraderie to pull them through the hardships, others believed violence was the only chance of survival and became self-interested and malicious. Each character offers a different view of the capitalist system, but in particular, attitudes within Korean society, including immigration, gender, and religion. There are so many other pieces of media that reflect this representation in a Western, and specifically American, context, such as The Hunger Games or Saw.
There is nothing an American spin-off of Squid Game could add that another movie or TV show hasn’t already portrayed. Even if there was an aspect to explore, it should be done through the medium of a completely new idea. Squid Game was a huge success, and created a wave of appreciation; any adaptation would undermine how one creator spent years trying to get his idea made. The show explores class and wealth disparity in South Korea, and every aspect of it is intrinsic to its origin, which is why an American spin-off is completely unnecessary.
Squid Game
- Release Date
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2021 – 2025
- Network
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Netflix
- Showrunner
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Hwang Dong-hyuk
- Directors
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Hwang Dong-hyuk
- Writers
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Hwang Dong-hyuk
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Wi Ha-jun
Detective Hwang Jun-ho
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