A battle-scarred factory, taser-wielding riot police, and a protestor who sat 100 days on top of a smokestack-the vivid images disturbingly echo real-life riots inspiring Netflix’s hit series, “Squid Game.” The second season of this dystopian thriller-with desperate contestants competing in a lethal adaptation of children’s games for a significant prize cash-arrives this month.
Although fictional, the creator of this series, Hwang Dong-hyuk, drew his inspiration from the violent Ssangyong strikes way back in 2009. He wanted to show how easily an average middle-class person can fall into the depths of economic despair in just one night.
In May 2009, the then-struggling automotive giant Ssangyong announced the layoff of more than 2,600 workers, about 40% of its workforce, and ignited a 77-day factory occupation and strike. There were clashes with riot police armed with rubber bullets, while workers were wielding slingshots and steel pipes, leading to severe injuries and imprisonment in the case of many union members.
The strike continued, and years later, the union leader Lee Chang-kun sat on top of the factory chimney for 100 days to protest against a legal judgment in favor of Ssangyong. Using a supply of food involving a basket and rope, Lee faced hallucinations and extreme pressure throughout the protest.
The aftermath of the strike was catastrophic, contributing to about 30 suicides and leaving long-lasting trauma on workers and their families. Lee recalled the oppressive atmosphere, with police helicopters hovering above and the ongoing violence against strikers broadcast for all to see.
Despite “Squid Game” being a global sensation, Lee expressed disappointment that it has not catalyzed real change in workers facing economic inequality and strained industrial relations in the country. As much as there is talk about it, the show has not really translated into effective outcomes for those who suffered.
It comes amidst enormous political turmoil in a country teetering in chaos after the impeachment of President Yoon Suk Yeol amid widespread protest against his attempt to instate martial law. As South Korea works its way toward stability, this struggle with the state and capital is increasingly reflected in the nation’s most popular cultural productions. According to experts, all this ongoing state violence also remains an important background fact to South Korea’s rapidly evolving cultural geography.
