Joseph Hwang
* This article references the “2023 Music Industry White Paper,” released by the Korea Creative Content Agency, which operates under the Ministry of Culture, Sports, and Tourism of the Republic of Korea.
1. What is “Virtual”?
The COVID-19 pandemic has highlighted the importance of indirect contact. Traditionally, transactions, agreements, relationships, and trust-building in the marketplace have favored direct human interactions. While that remains true, indirect contact has often been overlooked in both personal lives and economic activities. This changed suddenly when the pandemic enforced restrictions on direct human interactions.
Historically, there were few alternatives to direct communication. However, advancements in networks and digital technology have introduced more efficient methods of indirect contact than ever before. Technology has demonstrated that people can communicate and conduct transactions without face-to-face interaction. Over time, we began referring to direct contact in three-dimensional space as “real existence” and online interactions as “virtual.”
The Internet Oxford Languages defines “virtual” as something that is “almost or nearly as described, but not completely or strictly defined.” It primarily refers to experiences facilitated through a computer. In Korean, the National Institute of Korean Language, part of the Ministry of Culture, Sports and Tourism, defines “virtual” as the act of believing something to be true when it is not or when its truth is ambiguous. While in English, the term is largely used in computer contexts, in Korean, it signifies an assumption of truth in uncertain situations.
In conclusion, we tend to see the virtual as something that lacks physical existence; yet, our consciousness engages with it as if it were real. But what determines existence? When we refer to virtual, we mean that anything made of atoms in physical three-dimensional space is real, while something composed of bits and electronic signals is categorized as virtual. According to the Korean definition, these bits are not part of the physical world but reside in human consciousness. Nevertheless, we acknowledge their existence when utilizing software built from these bits. It would be contradictory to label something as virtual if it doesn’t exist by this definition, which is why we comfortably refer to it as virtual reality or virtual assets.
2. What is a “Virtual Artist”?
Based on the earlier definition of Virtual, a Virtual Artist is an electronic artist created from bits and displayed on a computer. Although it exists as bits in reality, it does not manifest physically as atoms. However, a character made of bits can be represented in three-dimensional form through a physical medium, like a doll.
Virtual artists are categorized as photorealistic or non-photorealistic based on the source of their characters. A photorealistic virtual artist portrays a character that reflects a real-world existence through computer graphics, while a non-photorealistic virtual artist features characters that originate from a virtual realm. Both types have their own benefits and drawbacks.
Photorealistic characters closely resemble actual people, leading audiences to compare the virtual character with its real-world counterpart. If the audience experiences any discomfort or aversion due to these differences, fans may reject the virtual artist. Conversely, a virtual character that effectively reflects or complements the original is likely to be embraced. Therefore, it is crucial to navigate the uncanny valley successfully.
Because there are no original characters for comparison, the backstories of non-photorealistic characters become essential. When a non-photorealistic virtual artist is introduced, the audience first assesses the character’s visual appeal. They then inquire about the character’s background, personality, and connections to others, followed by evaluations of the fluidity of movement and the overall appeal of the artist’s content.
Prior to the rise of virtual artists, the metrics of real artists were not examined in detail as described. However, when the term “virtual” is introduced, it inherently conveys the notion of “someone created with intent” to the audience, which imposes a significant burden on the creator. This applies to both photorealistic and non-photorealistic art, albeit to varying extents. Many creators of virtual art struggle to overcome this obstacle.
The significance of storytelling is paramount. A personality is not defined solely by its appearance; it must be accompanied by a narrative. Essentially, a personality does not confirm its own existence. When a narrative is present, it serves as proof of the personality behind it, and it is only when others acknowledge this proof that it is recognized as a personality. The narrative acts as the cohesive force that unites existence, while storytelling is the method of applying that force across the timeline of existence. This timeline culminates in what we refer to as history.
The existence of a being is fundamentally defined by its story, which reflects its coexistence with others. Each person’s narrative begins at birth; no individual can exist without a story. Existence isn’t merely a desire to be born but rather the acknowledgment from others that one’s birth story validates that existence. This is why the concept of the metaverse, or virtual world, gained prominence during the COVID-19 pandemic, highlighting the significance of digital personas that represent multiple facets of identity, especially as we seek to foster human connections in non-face-to-face interactions. Unfortunately, due to a lack of understanding of this intrinsic philosophy, many operators in the metaverse have faced significant setbacks.
3. Background of the Appearance of “Virtual Artist” in K-pop
Popular artists gain economic value primarily through public success. When an artist achieves popularity, they face numerous demands from their audience. How the artist responds to these pressures can lead to stress and emotional strain. This is a key reason for an artist to have a manager. Consequently, the artist and the manager operate as distinct entities, functioning as impresarios. A single hit can generate financial rewards for both parties.
The challenge lies in the fact that the artist generates the hit, which creates a sense of inalienability for the artist, while the manager can only benefit from the profits if an exclusive contract is in place. This inalienability consistently hampers the manager. Moreover, even with a long-term exclusive contract, managers cannot compel the artist to work. This situation places managers in a difficult position, prompting them to seek solutions. One potential solution is the emergence of virtual artists. Traditionally, technology has posed difficulties, but advancements in digital computing have expanded these possibilities.
Virtual artists do not present human rights challenges. Even if a virtual artist gains fame, managers remain unaffected by the concept of inalienability. Provided that the manager has the necessary technology and environment, they can legally operate throughout the day. Managers can enable the public to engage with and enjoy non-photorealistic characters in unique ways that photorealistic characters cannot. While live-action films exist, the allure of animation offers a different experience altogether compared to live action.
The K-pop industry features an exceptionally high number of idol group artists. This trend is primarily due to the success in overcoming the inalienability of artists. However, this aspiration is also present in other fields. When a virtual model emanates unyielding energy and dynamism, advertising firms are likely to consider utilizing it. Naturally, even the most captivating virtual models have their limitations, as audiences may lose interest if they are overexposed. Nevertheless, advancements in AI technology have progressed to a stage where this issue is no longer significant.
4. K-pop Virtual Artist Business Model and its Implications
Although technology plays a significant role, we believe that the success of a virtual artist hinges on effective world-building. It’s insufficient to simply have a character with an appealing look; the producer must establish a richly detailed environment that embodies personality, character, values, background, and narrative. Additionally, the producer must determine whether to feature just one character or construct a scenario that includes a main protagonist and supporting characters. In cases where multiple characters are involved, the producer needs to consider who they are, when they appear, how they interact, and their relationships with one another. A virtual artist project requires the creation of an entire artificial world.
Merely composing a song and producing a music video featuring the characters will quickly hit a ceiling. Short films also require regular and ongoing releases, with producers needing the backing of various elements that enhance the narrative. Ultimately, the audience will respond over time. This is a lengthy and demanding process.
After the producer establishes a world and receives public feedback, the main revenue model will focus on content creation and sales. Collaborations with other artists will remain an option, as well as participation in commercials and online games.
In the realm of photorealistic virtual art, voice synthesis technology can bring a deceased artist back to life. Instead of creating an entirely new world, this approach can significantly reduce costs since the audience is already familiar with the artist’s characters. Consequently, legendary artists find a form of immortality in the digital sphere.
The strength of the virtual lies in its appeal and worth. Virtual artists who cater to fantasies or desires that cannot be realized in reality are likely to thrive and endure. Since the entertainment industry’s core mission is to satisfy fantasies, it seems possible to broaden the market through innovative technological expressions.
* References and Quotations:
https://welcon.kocca.kr/ko/info/trend/1953646
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