"Squid Game": Pleasure and Consumption of Korean Drama by Young Saudi Audiences

Merfat Alardawi, Pat Brereton

Abstract


This study investigates why the Squid Game TV show is so successful among young Saudis across cultural divides. It explores the engagement of young Saudi audiences with the show and the range of enjoyment they derive from it, via a mixed-methodology consisting of two stages: a preliminary survey and comprehensive focus group sessions. The data is gathered via a preliminary online survey (N = 50) involving Saudi youths aged 18 to 21, and from a focus group of 23 Saudi participants aged 18 to 30, all of whom are viewers of Squid Game. The findings demonstrate that three factors promote the success of Squid Game among Saudi youths: first, the storyline; second, the fact that the COVID-19 pandemic turned young Saudi viewers into “binge-watching” viewers, and finally, the word-of-mouth marketing strategy employed by the show’s broadcaster, Netflix, which inspired the engagement of Saudi youths with the show. The study also explores the nature of their pleasure, including intense emotions, and deep engagement experienced by viewers of Squid Game, since emotional engagement is a key driver of engagement.


Keywords


"Squid Game"; Korean drama; pleasure; young Saudi audiences; Netflix

Full Text:

PDF

References


Abdullah, A., & Ubaidillah, I. (2023). The impact of the cross-border cultural phenomenon of the Korean Wave on cultural transformation in Saudi Arabia. Center of Middle Eastern Studies (CMES), 16(1), 25–35.

Ahmed, W., Fenton, A., Hardey, M., & Das, R. (2022). Binge-watching and the role of social media virality towards promoting Netflix’s Squid Game. IIM Kozhikode Society & Management Review, 11(2), 222–234.

Akildiz, Y., & Şeşen, E. (2022). The brutal face of the violent game of the capitalist competition: Squid Game. SineFilozofi, 7(14), 279–299.‏

Albers, R., & AlNuaimi, H. R. (2020). Korean clubs in the United Arab Emirates: Promoting intercultural competence of female emiratis. Business Communication Research and Practice, 3(1), 60–67.

Ariffin, J.T., Bakar, H.A., & Yusof, N.H. (2018). Culture in Korean drama towards influencing Malaysian audiences. International Journal of Innovative Research in Engineering & Management, 5(1), 10–14.

Awan, M.A. (2022). Psychological appeal in watching Squid Games for the viewers. Ph.D Millennium Universal College Islamabad.

Bae, E.S., Chang, M., Park, E.S., & Kim, D.C. (2017). The effect of Hallyu on tourism in Korea. Journal of Open Innovation: Technology, Market, and Complexity, 3(4), 22.

Bosman, F.G. (2022). “There is no order in which God calls us”: The depiction of Christianity and Christians in the Netflix series Squid Game. Journal for Religion, Film and Media (JRFM), 8(1), 105–128.

Boyle, E.A., Connolly, T.M., Hainey, T., & Boyle, J.M. (2012). Engagement in digital entertainment games: A systematic review. Computers in Human Behavior, 28(3), 771–780.

Braun, V., & Clarke, V. (2023). Is thematic analysis used well in health psychology? A critical review of published research, with recommendations for quality practice and reporting. Health Psychology Review, 17(4), 695–718.

Choi, J. (2015). New agendas. In S. Lee & A. Nornes (Eds.), Hallyu versus Hallyu-hwa. Korean Wave in the Age of Social Media (pp. 31–52). Creative Commons.

Correia, C., Guimarães, B., & Teixeira, S. (2022, October). Viral marketing: How Squid Game became the most watched show on Netflix. Paper presented at the International Conference on Design and Digital Communication, Barcelos, Portugal. https://www.springerprofessional.de/en/viral-marketing-how-squid-game-became-the-most-watched-show-on-n/23644196

De Zoysa, R., & Newman, O. (2002). Globalization, soft power and the challenge of Hollywood. Contemporary Politics, 8(3), 185–202.

Hu, E., Stavropoulos, V., Anderson, A., Scerri, M., & Collard, J. (2019). Internet gaming disorder: Feeling the flow of social games. Addictive Behaviors Reports, 9, 1–8.

Irwin, W. (2012). The Hunger Games and Philosophy: A Critique of Pure Treason. John Wiley & Sons.

Jang, Y., Ko, Y., & Kim, S.Y. (2016). Cultural correlates of national innovative capacity: A cross-national analysis of national culture and innovation rates. Journal of Open Innovation: Technology, Market, and Complexity, 2(4), 23.

Jiang, Z. (2024). Research on the strategic positioning of the Korean mainstream film and television market based on Netflix platform. SHS Web of Conferences, 81, 04010.

Jo, J.Y.O. (2021). Korean dramas, circulation of affect and digital assemblages: Korean soft power in the United States. In Y. Kim (Ed.), The Soft Power of the Korean Wave (pp. 208–219). Taylor and Francis.

Ju, H. (2017). National television moves to the region and beyond: South Korean TV drama production with a new cultural act. Journal of International Communication, 23(1), 94–114.

Ju, H. (2018). The Korean wave and Korean dramas. In Oxford Research Encyclopedia of Communication (pp. 1–21).

Kaptan, Y., & Tutucu, M. (2021). The rise of K-dramas in the Middle East: cultural proximity and soft power. The Soft Power of the Korean Wave (pp. 196–207). Taylor and Francis.

Kim, B. (2015). Past, present and future of Hallyu (Korean Wave). American International Journal of Contemporary Research, 5(5), 154–160.

Kim, D. (2013). Parasite. In Y. Kim (Ed.), The Soft Power of the Korean Wave: Parasite, BTS and drama (pp. 31–42). Routledge.

Kim, S.Y., & Park, S. (2023). What’s in a game? A dialectic of competition and cooperation in Squid Game. International Review for the Sociology of Sport, 58(3), 455–468.‏

Kurniadi, T., & Triana, C.C. (2020). ‘Analysis of the influence of Korean boybands on teenagers in the Bandung region in the perspective of cultural imperialism’. The International Journal of Politics and Sociology Research, 8(3), 86–91.

Longenecker, L.M., & Lee, J. (2018). The Korean Wave in America: Assessing the status of K-pop and K-drama between global and local. Situations, 11(2), 105–127.

Madrid-Morales, D., & Lovric, B. (2015). Transatlantic connection: K-pop and K-drama fandom in Spain and Latin America. Journal of Fandom Studies, 3(1), 23–41.

Meijer, R. (2010). Reform in Saudi Arabia: The gender‐segregation debate. Middle East Policy, 17(4), 80–100.

Moulard, J.G., Kroff, M., Pounders, K., & Ditt, C. (2019). The role of suspense in gaming: Inducing consumers’ game enjoyment. Journal of Interactive Advertising, 19(3), 219–235.

Naguim, M., & Nfissi, A. (2023). Exploring the multidimensional motivations of Moroccan fans consuming Korean popular entertainment: Identification, cultural hybridity, and cultural proximity. Journal of Humanities and Social Sciences Studies, 5(6), 46–53. https://doi.org/10.32996/jhsss.2023.5.6.5

Nye, J., & Kim, Y. (2019). Soft power and the Korean Wave. In Y. Kim (Ed.), South Korean Popular Culture and North Korea (pp. 41–53). Taylor and Francis.

O’Connor, B., & Klaus, E. (2000). Pleasure and meaningful discourse: An overview of research issues. International Journal of Cultural Studies, 3(3), 369–387.

Putri, M.R., Aprianingsih, A., Imran, J.A., & Aminuddin, R.R. (2023). Does pop culture trend drives brand awareness on purchase intention? A case study of the Squid Game movie series on Dalgona Candy. Journal Integration of Management Studies, 1(1), 32–42.‏

Rushe, D. (2022). 142m households watched Squid Game, Netflix says as it adds 4.4 m subscribers. The Guardian. https://www. theguardian.com/media/2021/oct/19/netflix-quarterly-results subscribers-squid-game.

Sekartaji, S. (2023). The four factors dominating online streaming platforms as witnessed by Netflix in the wake of globalization. Rubikon: Journal of Transnational American Studies, 10(2), 161–174.

Shin, G.C., & Whitaker, M.D. (2023). Squid Game between global OTT services. In The Korean Wave in a Post-Pandemic World (pp. 527–559). Springer.

Starosta, J.A., & Izydorczyk, B. (2020). Understanding the phenomenon of binge-watching – a systematic review. International Journal of Environmental Research and Public Health, 17(12), 4469.

Statista. (2024). Video Streaming (SVoD) – Saudi Arabia. https://www.statista.com/outlook/dmo/digital-media/video-on-demand/video-streaming-svod/saudi-arabia

Uhm, J.P., Kim, S., & Lee, H.W. (2023). Stimulating suspense in gamified virtual reality sports: Effect on flow, fun, and behavioral intention. International Journal of Human–Computer Interaction, 39(19), 3846–3858.

Widodo, J.S. (2022). Reception analysis of Indonesian audience towards physical and verbal violence on series Squid Game (2021) by Hwang Dong-Hyuk. Rainbow: Journal of Literature, Linguistics and Culture Studies, 11(1), 57–65.

Winland, C. (2015). An exploration of binge-watching and its effects on college academics. Pediatrics, 75(5), 807–812.

Yu, H., & Alizadeh, F. (2024). Online binge-watching among Chinese college students: Implications for loneliness, anxiety, and depression. Psychology Research and Behavior Management, 17, 295–303.




DOI: http://dx.doi.org/10.17951/ms.2024.8.69-89
Date of publication: 2025-01-27 13:06:22
Date of submission: 2024-08-07 06:27:33


Statistics


Total abstract view - 290
Downloads (from 2020-06-17) - PDF - 0

Indicators



Refbacks

  • There are currently no refbacks.


Copyright (c) 2025 Merfat Alardawi, Pat Brereton

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.