Descendants of Adam, my virtual bias brought to life through binary number

Article published: August 21, 2023

Original source: https://www.sisajournal-e.com/news/articleView.html?idxno=302658

Written by Jang Min-ji, a Professor in the Department of Media and Film Studies at Kyungnam University.

English Translation: plaveintl

In 1998, a cyber artist named Adam made his debut, and though his career was brief, he left a lasting impression on many. This is because he was the pioneer of South Korea's first virtual singer, crafted using early 3D technology. 

Naturally, during that era, 3D technology wasn't as sophisticated, resulting in limitations to the virtual performer's movements on stage. 

Despite this, his impact was significant, even though he faded from the scene. Subsequently, both domestically and internationally, there has been a consistent exploration of virtual entertainment. 

SM Entertainment's idol group, æspa, openly disclosed their eight-member lineup and went on to create virtual counterparts for each member, utilizing them in music videos and even having them share the stage.

The concept of the first virtual singer emerged in Japan. It all began with a character called Shiori Fujisaki from the dating simulation game "Tokimeki Memorial,"

a title that most gamers of that time would have tried at least once. Shiori Fujisaki gained popularity and transformed into a virtual idol.  

Inspired by this, Kyoko Take developed a 3D virtual human. Not only Adam, but even Kyoko Take's 3D creations closely resembled actual humans in terms of appearance. However, their movements and expressions still retained an awkwardness. 

As a result, users and spectators were left with a discomforting feeling. Moreover, the extensive resource and capital needed to harness this technology made it challenging for these virtual entities to become a regular presence in mainstream media. 

Consequently, the contemporary virtual humans and previous cyber characters slowly faded away from the realm of pop culture.

However, as VFX technology advanced and experience in the field grew, virtual humans began to be widely used in the entertainment industry. 

In 2007, the VOCALOID software introduced Hatsune Miku in Japan, which achieved remarkable success and sparked a surge of interest in virtual human technology. 

The rise of social media platforms and the spread of technology led to the emergence of virtual YouTubers at a steady pace. 

From 2016 onwards, virtual YouTubers expanded their presence by incorporating real-time streaming from studios. 

Particularly in the local context, streamer Woowakgood introduced the ISEGYE IDOL through a VR-based virtual YouTuber audition in the metaverse, setting the stage for ongoing content creation by entertainment companies that harnessed virtual human capabilities.

In the end, the combination of advances and accessibility in digital media technology, the growth of social media platforms capable of distributing such content, and the increased demand for online content due to the impact of COVID-19 has led to the remarkable surge in virtual entertainment and content creation.

One crucial factor in this development has been the rapid progress of motion capture technology. 

Unlike conventional cyber singers, this technology now allows real artists' movements and expressions to be captured in real-time and high resolution, narrowing the emotional gap between fans and virtual humans. This presents an opportunity for a closer connection and wider acceptance in the mainstream.

Lee Sung-gu, who served as the supervisor of MBC's VFX team within the Video Art Division from 2002 to 2021, and currently leads as the CEO of VLAST under the name William, has introduced PLAVE. 

Starting in September 2022 with YouTube and Twitch live streams, PLAVE have focused on fostering connections with fans.

In March 2023, they made their debut as virtual-human idols. 

The conceptual world portrayed in their actual music video not only holds a narrative that expands into intellectual property but also stands out for how the debut members established a long-lasting closeness with fans through YouTube live sessions, shedding light on the vital elements and insights that virtual humans and entertainment content should encompass.

Within the realm of virtual humans, it becomes apparent that maintaining a continual dialogue and intimacy with fans is as crucial as technical prowess.  This reality is made evident through PLAVE's journey from debut onwards.  

The ongoing growth of PLAVE, formed from the binary number of ones and zeros, is thus anticipated, largely due to these factors.