In the wake of The Squid Game's global phenomenon, an array of Korean dramas on Netflix - notably Hellbound, All of Us Are Dead, and Sweet Home - have masterfully employed zombie, occult, and fantasy genres to cast a critical eye on Korean society. These narratives, while meticulously adhering to the established norms of horror and fantasy, ingeniously harness the genre's imagination to voice profound despair and indignation towards Korea's rigid class structure. They weave societal issues – school violence, bullying, debt, poverty, inequality – into a tapestry of horror and fantasy, marked by the haunting presence of zombies and otherworldly creatures.

This fusion of fantasy's conventions with the piercing realities of Korean life offers a compelling commentary, a narrative mirror reflecting societal woes. This innovative amalgamation of social critique within genre frameworks stands as a cornerstone in the international acclaim of K-dramas. In essence, "The Squid Game" emerges not just as an allegory for Korean society but as a metaphor for the global capitalist dilemma. The portrayal of "hell-Joseon" in these series resonates as a microcosm of the worldwide struggle against the undercurrents of capitalist structures.

Yet, the ostensibly critical veneer of K-dramas paradoxically masks the very dynamics of Korean society it seeks to expose. Themes of violence, deception, and corruption transcend character traits, embodying systemic norms. Political quandaries are reimagined as moral dilemmas of survival. The integration of military narratives in apocalyptic scenarios further entrenches the long-standing militaristic and Cold War ideologies, subtly normalizing them within the Korean societal fabric.