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After the runaway success of Netflix's Korean original series "Squid Game," Chae Kyoung-sun, the production designer, was initially tempted to enhance her artistic vision in the second season by incorporating new elements and designs into the set. But she thought better of herself.

"In the beginning, I was eager to create more interesting set designs and introduce fresh visuals that could surpass those of Season 1. But eventually, I shifted my focus back to the script, as the ideas started to feel too much," she said during an interview with a group of reporters in Seoul on Thursday.

The production team had initially considered redesigning iconic sets, such as the Red Light, Green Light scene and the maze-like alleyways of the deadly arena, she elaborated. They even toyed with the idea of changing the color of the iconic green tracksuit. They, however, ultimately chose to prioritize effective storytelling over visual alterations by avoiding overly dramatic changes and preserving the elements loved by audiences in the first season, she said.

"Squid Game" production designer Chae Kyoung-sun is shown in this photo provided by Netflix on Jan. 16, 2025.

The original series, which took the world by storm in September 2021, mesmerized viewers with its intense storytelling and distinctive visuals, weaving Korean cultural elements into a tension-filled narrative.

Chae's unique vision earned widespread recognition from the international visual design community. In 2022, she received the Excellence in Production Design Award in the One Hour Contemporary Single-Camera Series category from the U.S. Art Directors Guild (ADG) and won the Outstanding Production Design for a Narrative Contemporary Program at the Primetime Creative Arts Emmy Awards.

This year, she has been nominated once again for the same ADG award for "Squid Game" Season 2, with the results to be announced Feb. 15 (U.S. time).

A still image from "Squid Game" Season 2 is shown in this image provided by Netflix.

While preparing the second and upcoming third seasons, she said she delved deeper into colors, researching extensively how different hues can evoke emotional responses.

Among the new additions, she introduced violet to symbolize the authority and power of the Front Man, Hwang In-ho (played by Lee Byung-hun). She said that effectively using violet was particularly challenging, as it was difficult to render the color vividly on screen under certain lighting conditions.

As for orange, another new addition, she used the color to represent two contrasting aspects: human desire and the warmth evoked by sunsets and festivals.

While the round-and-round game set from episode 5 has been widely praised for its grand scale and intricate design, she chose the motel set from episodes 1 and 2, where the protagonist Gi-hun (Lee Jung-jae) confronts the Recruiter (Gong Yoo) and engages in a deadly game of Russian roulette, as her favorite from Season 2.

"I put a lot of thought into making the motel's interior more intriguing, adding unique wallpaper with palm trees on the bathroom wall and red lighting streaming through the window," she said. "I think the set turned out exactly how I envisioned it."

Season 3, expected to be released later this year, will feature "gaming venues that exceed the scale seen in Season 2," she hinted.

Written by Woo Jae-yeon