Virtual 5-member boy band PLAVE/ Courtesy of Vlast

Virtual idol groups, once a niche aspect of K-pop culture, have become more common in the music industry. They marry computer graphics with singing to create a digital sensation, captivating audiences worldwide.

This redefined what it means to be an idol in today's K-pop scene, marking a pivotal shift in the industry's dynamics.

Leading this digital revolution is PLAVE, a five-member boy group whose second mini-album sold 570,000 copies within a week of its release last month, topping the Circle Chart's Retail Album Weekly ranking.

The band's win on MBC's "Show! Music Core" was a milestone, marking the first time in 26 years that a virtual act has achieved such recognition since the debut of cyber singer Adam in 1998.

The phenomenon of PLAVE and its kin is underscored by their enthusiastic fan base, as seen at a pop-up store in The Hyundai Seoul, a department store in Yeouido, where fans eagerly queued from the early hours for a chance to engage with holograms of PLAVE members. This fervor speaks to the blurring lines between virtual and real-life idols, with fans finding real connection and charm in the digital personas and their music.

"I became a fan because of their music, despite my initial disinterest in virtual idols. The characters and their chemistry are incredibly charming," a fan in his 40s said.

Another fan in her 20s said, "I usually dislike realistic AI 3D characters, but have no issue with 2D animation characters. Despite being 2D, their dance moves are realistically reproduced, giving a genuine feel."

Fans browse items at the PLAVE virtual idol group's pop-up store set up in The Hyundai Seoul in Yeouido / Korea Times photo by Ko Kyeong-Seok

PLAVE's success story is not just a tale of technological innovation but also of cultural entrepreneurship. Founded by Lee Sung-goo, a veteran of MBC's visual effects team, PLAVE's agency Vlast aims to pioneer a new entertainment era through real-time graphics, leveraging its unique intellectual property to carve out a niche in the entertainment industry.

Lee recently told a media outlet that he wants to revolutionize the entertainment industry with real-time graphics, envisioning a new era of entertainment grounded in proprietary knowledge and technology.

Unlike previous virtual singers who hid their real faces, PLAVE and other modern virtual idols engage closely with fans through advanced technology and social media. Utilizing game engines and motion capture technology, PLAVE offers realistic portrayals of their members' movements and interacts with fans through YouTube live broadcasts and one-on-one conversations via the private messaging service Bubble.

Music critic Im Hee-yoon said, "While idol groups previously interacted with fans in physical spaces, virtual idols can now engage in real-time online conversations, enriching the fandom experience with their unique virtual worlds."

Isegye Idol, a virtual idol group produced by Woo Wakgood / Courtesy of Wak Entertainment

The four-member virtual girl group, MAVE / Courtesy of Kakao Entertainment

The industry's adoption of virtual idols is reflected in the strategic moves of major entertainment companies. SM Entertainment, for instance, is preparing to debut Naevis, a virtual character from the aespa universe, as a testament to the growing integration of technology and music.

The interest in virtual idols spans across the industry, with heavyweights like HYBE, JYP Entertainment and YG Entertainment closely monitoring the trend, recognizing its potential to redefine entertainment boundaries.

A senior executive at a major K-pop agency said, "The popularity of virtual idols doesn't seem to be a passing fad. As the market grows, major companies will also enter the fray."

Assisted by generative AI and edited by The Korea Times, this article is from the Hankook Ilbo, a sister publication of The Korea Times.