Naevis debut and a new virtual girl group

A new all-virtual girl group just debuted and AI Naevis, a character from aespa’s expansive Metaverse lore, is set to debut next month. But are virtual idols here to stay?

New virtual girl group MAVE. Image: Netmarble.

Mobile game company Netmarble’s affiliate, Metaverse Entertainment, debuted an all-virtual K-Pop girl group MAVE (consisting of members SIU, ZENA, TYRA, and MARTY) on January 25 with a mini album titled ‘Pandora’s Box’ and the single “Pandora”.

As is typical within the K-Pop industry, each virtual girl has their own role within the group, with SIU acting as the group’s leader and main vocalist, ZENA as the lead vocalist, TYRA as the main performer and rapper, and MARTY as the group’s second rapper.

The concept of the group, as explained by Netmarble, sees the four virtual girls, who come from the future, in search of the freedom to express their emotions. With the K-Pop industry being known as one that lacks compassion for its idols, does this new concept make a mockery of the lack of expression real idols have to face on a day-to-day basis?

In a recent interview with Korea JoongAng Daily, music critic Cha Woo-jin explained: “Korea can be quite harsh toward celebrities that speak out on sensitive issues, but that shouldn’t be reason enough to hide away from issues that matter.

“In Korea, no K-Pop artist reveals their political views or any ideas that could offend anyone. While this may work here, in the global scene, such silence will get them nowhere. But because Korean consumers can be resistant to such behaviour, the agencies need to protect them enough so that the artists can speak out.

“Companies need to realise that artists are not just products but the owners of their own intellectual properties (IP) and partners that need to be protected and respected.”

Following recent events which unfolded between girl group LOONA and their entertainment company BlockBerry Creative, it’s no wonder that the relationship between idols and their companies are often fraught with tension.

Chuu. Image: BlockBerry Creative.

Rumours circulated regarding member Yeojin who claimed she hadn’t been paid since the group debuted back in 2016, and the company recently faced backlash from fans following the removal of Chuu from the group on November 25, 2022. Three days later it was revealed by JTBC that nine of the 11 remaining members took part in legal action to terminate their contracts with the company. 

With idols racking up debt from their trainee years, which can amount to fees of up to $50,000 per year, it’s unlikely they would see a paycheck until several years after their debut, and only then if their group found success within an already tightly packed industry. 

In the past, several idols have also taken the decision to terminate their contracts with their companies on grounds of differing opinions. On January 19, 2021, boy group GOT7 ended their contract with big-three company JYP Entertainment in order to focus on solo endeavours. When speaking to GQ Australia, member Jay B said: “Our way and JYP’s way, it was just different.

“The way they looked at our solo promotions was different. I understand because JYP is a big company but, for me, I wanted more of a role in my work. I’m not trying to be a superstar, I just wanted to be me.”

Self expression is something of a rarity in the K-Pop industry, with entertainment companies often choosing the group’s concept themselves and removing members depending on whether or not they fit that concept. In the recent Le Sserafim YouTube documentary ‘The World Is My Oyster’, HYBE trainee Haruka is seen teary eyed after failing to make the cut for the final group line-up, despite training with members Yujin, Sakura, and Chaewon ready for their debut. 

HYBE Management Team Leader Kim Hyeong-eun revealed the harsh truth behind this decision: “There could be health problems, there could be psychological problems, or once the title concept and track are decided in the visualising process a member might not fit with the image. There are too many variables so it would be very difficult for the trainee due to these standards.” 

Virtual idols give entertainment companies the power to control concepts, vocals, and visuals on a grander scale than with their human counterparts, and widen the scope in terms of consumables. Merchandise can be pumped out consistently, and variables which may limit the amount of in-person performances, fan meetings, and comebacks are completely eradicated when working with virtual idols — as long as the tech team is willing to put in the hours behind the scenes. 

In November 2021, HYBE announced its strategic partnership with Dunamu, one of South Korea’s leading fintech (financial technology) companies. This comes as a ploy to monetise their artists’ IP for the creation of contents such as digital photocards, which will likely take the form of NFTs (non-fungible tokens) that can be traded virtually by fans.

Following this announcement, SM Entertainment formed an alliance between girl group aespa, known for their escapades in the virtual world, and 3D artist Blake Kathryn, to create a stunning NFT collection which was exclusively auctioned through the Sotheby’s Metaverse. 

Aespa. Image: SM Entertainment. 

No stranger to the Metaverse, aespa debuted with four virtual counterparts (ae-Karina, ae-Giselle, ae-Winter, and ae-NingNing), and introduced the concept of KWANGYA — an infinite place where time and space are not defined, and infinite energy and data flow — within the wider SM Entertainment Universe.

The ae-counterparts of aespa are not the only virtual characters to exist within aespa’s Metaverse central lore, however. Naevis, an AI who helps aespa and the ae members co-exist and who also aids the group when fighting Black Mamba, is set to make her own debut in March.

SM Entertainment’s CEO, Lee Sung-soo, gave more details regarding the virtual characters official debut: “Naevis, who had only appeared so far as a CG image in aespa’s music video, is in plans to be shown as an AI artist. She will be an artist born by mobilising skills for natural movements, newly created voice, and real time communication.”

He also explained that in the past it had been difficult for AI artists to be seen as true ‘virtual humans’: “In order for the audience to accept virtual humans as real people, storytelling and music must be supported.”

Despite being a polarising topic, it’s clear to see that the virtual world has formed a strong foundation for itself within the K-Pop industry, with new virtual idols debuting frequently and entertainment companies creating partnerships within the tech space. Hate them or love them, virtual idols may be the new norm within K-Pop as the industry explores the limitations of the Metaverse.

Watch MAVE’s “Pandora” MV here.

For more virtual idol content, click here.