The song "KIDDING" rose to 167th place on the Billboard Global 200 chart, and the album "AESTERUM: The Shape of Things to Come" achieved a first-week sales volume of 200,000 copies. The protagonists behind this overwhelming popularity are not your typical 'human' K-pop idols. Instead, they are the virtual idols 'Isegye Idol' and 'PLAVE,' and in a September 2023 interview with Daegu Ilbo, a PLAVE fan explained why they love them: "The various staging methods, like levitation, that ordinary people cannot do are charming. It seems that people who used to like 2D (animated) characters are now interested in and supporting virtual idols without any hesitation." The scope of the K-pop industry has now expanded into the virtual realm. In this article, we aim to explore the innovative and immensely popular world of virtual idols.

Introduction to Virtual Idols

  A virtual idol is an idol created by combining K-pop content with AI technology, referring to idols who dance and sing using a 3D avatar within the metaverse. Before the concept of 'Virtual Idols' emerged, there were singers who engaged in activities similar to them under the title of 'Cyber Singers.' The first cyber singer was 'Data Kyoko,' created by the major Japanese entertainment agency 'Horipro.' In Korea, there were also various cyber singers like Adam and Cider. However, during the 1990s, the technology of that time required a significant budget for modeling these singers, leading to a short lifespan for cyber singers. Subsequently, in 2004, Yamaha in Japan released 'Vocaloid,' a combination of voice synthesis programs and virtual character images. This marked a significant development that paved the way for the creation of virtual idols by integrating AI technology and K-pop content in the future. While VOCALOID gained significant popularity among anime enthusiasts in Japan, it remained within subcultures and failed to capture mainstream appeal.

▲ Capture of the program introduction video on VOCALOID's official YouTube.

▲ Official introduction illustration of the popular VOCALOID character 'Hatsune Miku.'

  The emergence of virtual idols, as seen today, was heavily influenced by the arrival of 'VTubers' (Virtual YouTubers). The first virtual YouTuber was the Japanese channel 'Kizuna AI,' debuting in 2016. Kizuna AI's character was created by applying a virtual 3D avatar through motion capture to a real person, a principle that is widely used for most current virtual avatars. Following the success of Kizuna AI, various Japanese companies began investing in the production and nurturing of virtual YouTubers. Until 2020, the majority of virtual YouTubers in the Korean market were influencers imported from Japan. The widespread trend of virtual YouTubers gained momentum in 2021 when internet broadcasters, who had been streaming without turning on their cameras, transitioned into virtual YouTubers.

  During this time, the Twitch streamer ' Woowakgood' selected some of his subscribers and initiated the ' ISEGYE IDOL' project, forming an idol group with VR chat characters. This laid the foundation for the currently active virtual idol group ' ISEGYE IDOL.' As their music successfully entered the 'Melon Top 100' chart, various virtual idol groups were born in Korea. Currently, there are an estimated 16 virtual groups primarily engaged in album-centric activities in the domestic scene.

  Representative groups at the moment include ISEGYE IDOL, PLAVE, Revolution Heart, and Maeve. They mainly operate through terrestrial channel music broadcasts, YouTube, or real-time internet broadcasting platforms such as Twitch. Additionally, they participate in offline concerts by broadcasting only the video on-site.

Virtual Idols in Korea

  Currently, the most successful virtual idols in terms of album performance in South Korea are ‘PLAVE’ and ‘ISEGYE IDOL’. In this chapter, we aim to delve into an in-depth exploration of these virtual idols.

▲Virtual idol PLAVE's photo, Source: [Playve Official Twitter (@plave_official)]

  First, PLAVE is a virtual male idol group produced by ‘VLAST’, a virtual IP startup that spun off from the MBC internal venture. It's worth noting that Vlast's CEO, Lee Sung-gu, served as the graphics director overseeing various programs such as the variety show 'Infinite Challenge' and dramas like 'Empress Ki,' 'W,' and 'Gugaui-Seo.' Although PLAVE initially started as a team to showcase Vlast's real-time rendering (real-time engine) technology, it has unexpectedly gained significant popularity and is becoming a major source of income for Vlast.

  PLAVE differs from traditional virtual idols in many ways. Firstly, unlike conventional virtual idols that are based on Japanese animation styles or modeled to closely resemble real people, PLAVE is designed with a look inspired by Korean webtoons to be more familiar to the public. Secondly, unlike previous virtual characters that had to pre-record videos and couldn't engage in live broadcasts, PLAVE has been developed in real-time graphics from the beginning, conducting weekly live broadcasts on YouTube and Twitch. The real-time engine is a technology that implements 3D-modeled objects on a 2D screen without delay. Thanks to this technology, it is possible to apply real-time 3D graphics on the scene where actual individuals are being filmed. The ability to broadcast in real-time allows for frequent interaction with fans, giving PLAVE an advantage in forming and strengthening fandom compared to past cyber singers who couldn't engage as actively  Currently(2021~), the PLAVE fan cafe has over 61,000 members, and the members' live broadcasts attract a viewership ranging from 17,000 to 18,000 on average. Lastly, unlike traditional virtual idols where machines often replace or heavily edit songs, and dance moves are generated by programs, PLAVE distinguishes itself by having both songs and dances performed directly by humans. Especially in the case of dance, motion capture is applied to the movements of actual individuals, resulting in a very natural dance line.

  The fandom is called "PLLI," and there is a growing trend of an increasing number of international fans. PLAVE's music performance is consistently growing. In August 2023, their mini-album 'Asterum: The Shape of Things to Come' achieved a first-week sales volume of 200,000 copies, marking a career high.

▲Virtual idol ISEGYE IDOL’s photo, Source: [Kakao Entertainment]

  In contrast to PLAVE, which is produced by a company, ISEGYE IDOL (hereafter Ise-dol) is a virtual idol project created by the Twitch streamer ' Woowakgood.' They are crafted within Woowakgood 's 'Wak-taverse' universe: Wak-taverse is a content where Woowakgood's viewers actively participate. The ' ISEGYE IDOL Project' conducted in Wak-taverse was a large-scale audition with approximately 145 participants at that time. Through the audition, a final selection of six members was made.  

  Unlike PLAVE, these idols operate using avatars in VRChat. They are active as idols using avatars in VRChat. Noteworthy is their dual activity as both music performers and Twitch streamers simultaneously. All members are among the top-ranking streamers on Twitch. While PLAVE models its appearance targeting the Korean audience, those in ISEGYE IDOL use VRChat characters, adopting a look reminiscent of Japanese animation. Another difference with PLAVE is, they do not appear on terrestrial music broadcasts. Their music activities are focused on releasing music videos and singles. Live broadcasts are conducted on Twitch as streamers, and due to modeling budget constraints, they, like other virtual YouTubers, only show the upper half of their bodies.

  ISEGYE IDOL's music performance is quite commendable, comparable to mainstream K-pop idols. Their single album 'KIDDING' achieved 1st place on Melon and YouTube Music, and it ranked 3rd on the Billboard Korea Chart. The public's response to their music has been positive, and the dance challenge for 'KIDDING' gained popularity on short-form platforms like Shorts and Reels.

  Being one of the most prominent virtual female idol groups, their future growth is highly anticipated.

Public Response

  Virtual idols are receiving considerable love and attention from the public. However, as their origins trace back to Japanese subculture, there are those who may not fully acknowledge their existence as idols. Some even face criticism, being labeled as the 'uncanny valley.' In this chapter, we aim to explore the public's response to virtual idols.

  First, let's analyze the reasons for preference. While past cyber singers struggled to gain popularity, what makes today's virtual idols so beloved? The cultural newsletter platform 'Culture Convenience Store,' in an October 2023 article titled 'The Real Reasons Behind the Popularity of Virtual Idols,' analyzed why contemporary audiences are enthusiastic about virtual idols: "The success of the virtual idol industry can be attributed to the positive influence of the MZ generation, which consumed 'subcultures' such as animation and games. This generation, familiar with internet broadcasting culture (AfreecaTV, Twitch, etc.), was more accepting of the concept of 'virtual' as it did not involve revealing one's face." The younger generation, the main consumer base of K-pop, has become accustomed to the online environment and the contactless world due to COVID-19. Unlike in the past, there is now less resistance to virtual idols. Additionally, the significant advancement in 3D modeling technology, including Vlast's real-time graphic capabilities, has played a crucial role in reducing public resistance.

  From an ethical standpoint, there are reasons for this preference. Fans of PLAVE often describe them as "idols who will never appear on the front page of a newspaper." This phrase implies that there is no risk of scandals emerging from inappropriate private matters. In contrast to the entertainment industry's continuous stream of scandals, including issues like drugs and sexual harassment, virtual idols, by their inherent nature of an undisclosed 'identity of real person who move the virture character,' alleviate concerns about getting entangled in scandals. For this reason, the fandom size of virtual idols continues to grow.

  In reality, the virtual idol concert 'Isekai Festival,' held in Incheon last September, sold out all 1st-round tickets in just 8 minutes, with a total of 15,000 seats sold, including the 2nd round. This trend effectively illustrates the formation of a robust fan base.

▲"ISEKAI Festival" Poster, Source: [CJ CGV]

  Despite the positive reception, virtual idols remain an unfamiliar presence to many in the general public. Consequently, many people still hold a negative view towards them. According to survey data from an idol magazine, the primary reasons for this negative perception of virtual idols are 'technological shortcomings' and 'similar appearances to each other.' This discomfort stems from the fact that, despite being modeled after humans, virtual idols are still perceived as unnatural, creating a kind of 'uncanny valley.' When compared to real human idols, no matter how much technology advances, virtual avatars are considered a subculture that is less natural.

  Another reason for the disapproval is the lack of trust in the 'original body' controlling the avatar's movements. The suspicion arises from the fear that the 'real person' operating the avatar might have a completely different appearance or personality, making it challenging to trust virtual idols from the outset.

  Given that these virture idols are essentially 3D avatars that don't exist in reality and are operated by a distinct 'real person' separate from the avatar, addressing such issues appears to be extremely difficult.

  To summarize, the reasons for the preference towards virtual idols are as follows: The recent younger generation (born between 2000 and 2010) was already familiar with characters in subcultures, and the advancement of 3D modeling technology significantly reduced the public's aversion to virtual idols, contributing to their preference. Virtual idols, by not revealing the individuals behind the characters that bring them to life, are perceived as free from social scandals, which has played a role in attracting fandom. On the contrary, the reasons for disfavor are as follows: Despite advancements in 3D modeling technology, many people still find virtual idols, being humanoid characters but not human, to evoke an 'uncanny valley' discomfort. There is also skepticism about the 'real person' controlling the virtual idols' movements, as these individuals may have entirely different personalities or extroverted characteristics unrelated to the virtual idols' projected images. These issues present challenges for the emerging industry of virtual idols that will need to be addressed.

  Given that the culture of virtual idols has emerged relatively recently, it is natural that the public still finds it unfamiliar. However, considering the significant advancement in 3D modeling technology compared to the era of cyber singers, and the increased exposure of metaverse and virtual YouTubers during the untact (contactless) period, the potential for the development of virtual idols appears limitless. Furthermore, with the growth of the virtual idol market, if it leads to the formation of overseas fandom targeting new demographics, could it not serve as a valuable means to showcase Korea's technological prowess alongside K-culture like K-pop? Anticipating the progress of virtual idols pioneering new markets, I conclude this text.

김나영  nnayyo@naver.com

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