The “virtual” era opened in the idol market as well.
As non-face-to-face contact became commonplace due to the COVID-19 pandemic, “metaverse”, which interacts in the three-dimensional virtual world, began to spread like a trend. “Metaverse” is a combination of the Greek word “meta” meaning “more comprehensive, transcending” and “universe” meaning “real world”. People implement their avatars in the three-dimensional space and lead a life like reality in it.
In particular, the COVID-19 pandemic and the prevalence of metaverse had a significant impact on the revival of “virtual”. Virtual Streamers and Virtual YouTubers began to appear everywhere in Korea. The domestic virtual market also gradually gained popularity, leading to the birth of “virtual idol groups” that are active on online channels such as YouTube. Metaverse and K-pop are connected in the form of “virtual idols”.
Since cyber singer “Adam” 25 years ago, attempts about virtual world idols have been made. Examples include K/DA, ae-aespa and Isegye Idol.
As successful cases of virtual idols accumulated, it led to the phenomenon of entertainment companies jumping into the “virtual idol” market in earnest. “MAVE:“, which debuted on January 25th, is a four-member virtual girl group jointly produced by Netmarble F&C’s subsidiary Metaverse Entertainment and Kakao Entertainment.
The “virtual” wind is already blowing in the boy group market. On YouTube, Revolution Heart, the nation’s first virtual boy group consisting of male virtual YouTubers, is gaining popularity. Last March, the five-member virtual group PLAVE officially debuted.
Kakao Entertainment will launch the five-member girl group FE:VERSE, which was created through the virtual girl group survival entertainment program “GIRL’S RE:VERSE” held in January this year. Besides, SM Entertainment’s “nævis”, a character in aespa’s worldview, is ready to debut. nævis drew attention by featuring on aespa’s new song “Welcome To MY World”.
The virtual idol market is still in its beginning stage, and there are definitely problems to be solved in the future. However, as agencies approach the public little by little through continuous attempts and trial and error along with the development of technology, it seems that the time when the existence of virtual idols naturally melts into the K-pop market will not be long.
Source: Daum
