Jane Elliott


22 October 2021

Red Light, Green Light

Most survival game stories keep the cash offstage, trading instead in lives, weapons and vital resources. In Squid Game, the conversion of lives into cash is literally writ large, on a giant scoreboard that keeps count of the diminishing number of players and accumulating prize money. An allegorical reading about class or capital seems redundant when the role of individual debt, financial speculation and violent inequality is as transparent as the giant glass piggy bank that hangs over the players’ dormitory. Which leaves us free to ask slightly different questions about the survival game as a prominent feature of contemporary culture: not what it is about, but what is it for?

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