Generation AI: The New Age of K-pop
For this edition of Rolling Stone Explainer Olivia Oh, virtual girl group MAVE:’s Task Force Leader at Kakao Entertainment, breaks down how the digital quartet were created, and the future of AI in the music industry—is it truly something we need to fear?
The beauty of the music industry lies in its constant evolution. Even though its bones are built of sounds and formulas that last for centuries, there is reinvention with each new generation, younger artists, producers and labels adding their perspectives. Now with the rise of AI and the rampant popularity of programs like ChatGPT, it was inevitable that there would be a crossover with the music industry. MAVE: is one of the more impressive results of this crossover.
The AI girl group debuted on January 25th 2023 with their single “Pandora,” a synthpop/trap blend with a cyberpunk-influenced music video. The quartet, comprising MARTY:, TYRA:, ZENA: and SIU:, are under Metaverse Entertainment– a subsidiary of Netmarble, South Korea’s largest mobile-gaming company. The label was launched in 2021 to create and manage a roster of virtual artists and explore the various business and creative opportunities that come with these projects, in collaboration with Korean media giant Kakao Entertainment. MAVE: is the first group under the agency, and rumors of their creation began floating around in 2021 after Korean news organizations uncovered plans surrounding the group’s debut. Since their debut earlier this year, MAVE: have (as their name stands for) made waves across the world with audiences flocking to watch their video and ‘live’ stages, racking up YouTube views in the millions. There’s shock, but there’s also awe and curiosity to learn more about this virtual quartet.
MAVE:’s debut music video “Pandora”
The woman at the forefront of the MAVE: project is Olivia Oh, Strategic IP Team Leader and MAVE: Task Force (TF) Leader at the Music Content Division at Kakao Entertainment Corp. “To be honest, before the MAVE: project, it was only something I was curious about,” Oh admits about AI idols when we connect for an in-depth conversation about MAVE:’s world. “I never expected to have this opportunity because digital humans and AI technologies were not something I was well versed in at the time.” Oh is, however, a veteran when it comes to understanding how to innovate in K-pop, leading marketing projects for massive names in the scene—most prominently South Korean pop legend IU—before moving to the AI side of things. So it was this expertise in marketing, branding and conceptualizing that she brought to the table. “I used to be part of the music production team at LOEN Entertainment, which is now part of Kakao Entertainment’s music division,” she says. “At that time, I handled marketing for the singer-songwriter IU and I’ve since moved on to strategic planning for Kakao Entertainment’s music content and production businesses, in addition to business management for our multiple music labels. Currently, I oversee planning and marketing for the MAVE: project from the Kakao Entertainment side.”
Olivia Oh, Strategic IP Team Leader and MAVE: Task Force (TF) Leader at the Music Content Division at Kakao Entertainment Corp. Photo: Courtesy of Kakao Entertainment
Like most of the world, Oh’s first exposure to the idea of a digital girl group was in 2018 with the debut of Riot Games’ pop quartet K/DA, which comprises characters from the iconic video game, League of Legends. While not quite a K-pop group, two of K/DA’s digital members were voiced by Korean artists – Soyeon and Miyeon from (G)-IDLE – and their music features a blend of Korean and English lyrics. The group also uses many aspects of K-pop (choreography, styling, positions, etc.) in their work and dynamic as artists, so it was proof that the formula can be digitized successfully and it’s something a global audience is very interested in. “I was very intrigued and since then I’ve kept my eye on everyone from virtual influencers, musicians, models, to YouTubers,” Oh explains. “I’m always curious about how much further we can evolve in the digital sphere.”
In this in-depth, global exclusive feature with Rolling Stone India, Oh breaks down how MAVE: was created, the evolution of technology in the entertainment industry and the future of AI in music.
The mythology of MAVE:
K-pop has always stood out in the global music scene thanks to each artist’s stellar concepts, and Oh wanted to ensure that MAVE: would accurately represent this aspect of the industry. In fact, since MAVE: live in the digital world, a storyline seemed even more important when it comes to conveying their message as artists. “Prior to visually designing MAVE:, we first ideated and created a character proposal for each member,” Oh shares about the first few stages of development. “Their external appearance flowed from that early character planning. Kakao Entertainment experts who handle visual production for human idols participated in the MAVE: Task Force to closely communicate with the art director at Metaverse Entertainment, who modeled MAVE: to complete the group’s attractive visuals.”
MAVE: have a complex storyline that unfolds across their music videos, social media and their ongoing webtoon series, Mave: Another World. In their universe, the members are from the future and have crash-landed in our world in a search for emotional freedom. “They needed a reason for being, and we wanted to unpack this information through a conceptual worldview, letting their music and music video flow out smoothly and naturally,” explains Oh. “MAVE:’s worldview is all about four girls from a place called IDYPIA who are sole retainers of human emotions. This is because on the surface, IDYPIA seems like utopia, but it has actually lost its sense of humanity and is more like a dystopia. Discovering this, the girls set out on an adventure to regain the world of emotions, which is akin to opening Pandora’s box in IDYPIA. The ‘Pandora’ video portrays IDYPIA using futuristic backdrops such as an airborne city, flying cars, robots, people without expressions and surveillance towers. It offers a lot of amazing immersion to fans, and is just [one] part of our efforts to materialize MAVE:’s identity and universe.”
“Prior to visually designing MAVE:, we first ideated and created a character proposal for each member,” Oh shares about the first few stages of development. Photo: Courtesy of Metaverse Entertainment
Indeed, the music video for “Pandora” is a stunning display of world-building; MAVE: use their digital existence to their advantage, leaping off buildings, performing stunts with hover-cars, and flitting between worlds with ease. The video also features the single album’s cover art, a digital Pandora’s Box, which the quartet unleash upon the world. MAVE: also pay tribute to the history of AI in pop culture, and map out a reality our world could be hurtling towards. There’s a particularly stunning moment in the video when ZENA: leaps off a building, similar to a scene from the 1995 manga Ghost In The Shell, and Oh seems pleased when I bring it up. “These were scenes added to intensify MAVE:’s universe and storyline. I also need to add that the MV director and production teams are big fans of Ghost in the Shell,” she says with a smile.
Like Ghost In The Shell and a lot of other AI themed sci-fi we’ve seen over the past few decades, MAVE:’s aim is to connect with the human side of things. They hope to achieve this by creating music that people can relate to. Their search for emotions ties into this endeavor to connect with their audience. “There is a bit of underlying philosophical intent where MAVE: pulls at people’s heartstrings through music,” says Oh about MAVE:’s goals as artists. “It’s all about maximizing emotions and awakening the human spirit.”
Tech and behind-the-scenes
Some of the biggest questions around MAVE: and other digital K-pop stars are centered around how it all works. Oh is happy to give us an insight into the process that created and powers the quartet. She explains that the idea of MAVE: came about due to the pandemic. “Everyone knows how much the COVID-19 pandemic changed our lives,” she says. “It also greatly accelerated the development of the metaverse and various AI technologies. Witnessing the changes in how people consumed films, dramas, and game content during this unprecedented period gave me and my team the confidence that we can propose a new trend by combining K-pop with digital human technologies.”
MAVE: aren’t the only digital artists we’ve seen rise in the past couple of years. Boy group Superkind, who debuted in 2022, have two AI members who are similarly going viral online. In fact, what most people might not know is that South Korea is the originator of the concept of virtual idols; Adamsoft, a software company, debuted the first Korean virtual singer named Adam in 1998. Adam’s creation and massive popularity led to a mini-boom of virtual artists in South Korea with more names like Lusia and Cyda popping up in the next couple of years. This trend eventually died down in the early 2000s as the music industry focused to give rise to K-pop as we know it today. Coming to the late 2010s, we saw a resurgence of the digital idol in South Korea with artists like K/DA, girl group aespa’s metaverse counterparts, 11-member AI group Eternity, and solo virtual idol named Apoki, a singer-songwriter and dancer who prefers to perform via an anthropomorphic bunny avatar to keep her actual identity a secret. Oh and the teams at Kakao Entertainment and Metaverse Entertainment began working on MAVE: in October 2021 after witnessing and analyzing this renaissance of virtual stars. “Interest in the metaverse and AI was exploding everywhere, and our team wanted to be at the center of it, combining all our entertainment and technology expertise,” she recalls, adding that the goal was to disrupt the K-pop industry with metahuman and metaverse technology.
The team decided to work on launching a wholly digital group with all members powered by AI. “We thought that a virtual idol group would have an edge over a solo artist, and there were many reasons for this,” Oh shares. “First, a group can present more dynamic choreography and gripping performances. Second, having multiple members gave us more to work with in terms of creating the group’s universe and storyline, not to mention IP scalability and communicating with fans. We also thought that a girl group would give us more opportunities to diversify and amplify the visual details, such as outfits and hairstyles.”
“We thought that a girl group would give us more opportunities to diversify and amplify the visual details, such as outfits and hairstyles.” Photo: Courtesy of Metaverse Entertainment
Thus began the design process and conceptualization. There were a plethora of elements that needed to come together to create the sleek group we see on our screens today, and Oh emphasizes that there is a major difference when it comes to MAVE: versus their predecessors and peers. “One piece that I’d like to highlight is full 3D real-time technology,” she says. “That’s what sets MAVE: apart from existing virtual idols. In fact, many industry insiders have told me that MAVE:’s dynamic movements that you can see in the ‘Pandora’ MV, as well as their appearances in music programs, were groundbreaking. Essentially, what you see was a level of quality that was not possible before with real-time rendering. A lot of expertise went into the making of MAVE:. It was a great example of peak technologies all coming together to create something new.” She recalls the first moment she saw all the members of MAVE:, stating, “It was unforgettable when I saw the complete visual rendering of all four members. Before this, I only had a vague image in my mind. Seeing them felt like they existed in real life. It was like a first date!”
3D real-time rendering focuses on producing movement and images in synchronization with input from the program. The software renders images quickly enough to create the illusion of motion, while simultaneously accepting user input. Programmers can modify rendered images in real time, producing the effect of the image interacting with the information being given to it. It’s massively complex and impossible to explain in just a few sentences, but the general idea is that the AI and programmers powering the members of MAVE: are able to respond to information almost as soon as it’s being relayed. 3D real-time rendering is most seen in video games, where the user’s response and interaction is necessary for the game to proceed in that moment. It’s an integral part of also creating MAVE:’s movements and choreography, although Oh feels that the artistic aspect of it all is quite close to the same formula K-pop companies use when training and debuting new idols. It’s a fascinating marriage of real-world concepts with digital.
Teamwork makes the dream work
“The process of creating MAVE:’s music and choreography was not different from that of any other K-pop idol,” explains Oh. “We did think that the public might have higher expectations of virtual idols, so our A&R team worked very hard to ensure MAVE:’s choreography was perfect. The dance moves were created by three choreographers famous in the K-pop scene. The iconic choreography during the chorus, where the members make a box with their arms, was a big hit among K-pop fans during the Pandora Dance Challenge. We wanted to make sure the group’s performance was realized naturally, so Metaverse Entertainment teams filmed the movements of the actual dancers from various angles with motion capture equipment. You can even see these efforts showing up in the details of the finger movements! And, since the movement of clothes is very important to realistically expressing dancers’ movements, the team also invested a lot of resources into simulating the wardrobe. The K-pop choreographers we brought in were closely monitoring everything and their feedback was reflected several times to reach perfection.”
The “Pandora” choreography video
When it comes to MAVE:’s sound, Oh is surprisingly forthcoming about the process she and her team employed; “We collaborate with human vocal experts and use voice AI technologies,” she reveals. “When the MAVE: members speak in Korean, English, French, and Indonesian to communicate with global fans, the voice for each language is done through AI.” It’s a pleasant surprise to learn that MAVE:’s voices were born of a collaboration with human artists and AI, and the information offers a lot of clarity on the importance humans play in the world of digital idols— AI can’t actually do it all on its own. Oh adds that finding human voices for each member was also quite like the traditional idol scouting and audition process. “Looking for talented singers was the first thing we did when we started the MAVE: project,” she says. While the identities of the voice artists remain confidential, their influence in the process is vital in conveying each member’s unique personality. “It was very important to us to discover and cultivate a voice that fit MAVE:’s universe, as well as their characters, and to create all the chemistry between the different voices and personalities. Just like K-pop artists, we auditioned and selected singers based on talent. Then they went through numerous practices and recordings to realize that fit.”
There are also dozens of incredible artists behind the cameras who are eager to innovate and elevate K-pop in fascinating new ways. Oh credits them and the efforts of fans for MAVE:’s success. “I would like to say it was because of MAVE:’s music rather than any [marketing] technique,” she says. “When we made MAVE:, we thought about a lot of things, like communication with the fans, visuals for each member, and the storyline and characters that unite them. In the end, though, it’s all about the music and the performance. Kakao Entertainment collaborated with K-pop’s most sought-after composers and choreographers by utilizing the network we built up in the industry. MAVE:’s music is the result of their work, and their willingness to experiment with this new way of creating music. They really pushed themselves to make the unprecedented happen.”
Oh emphasizes that a large part of her job is about striving to realize the dreams of talented new artists and expand their fields of activity. “In the same vein, I hope that MAVE: can expand the realm of K-pop and further deliver new opportunities to artists. By expanding the realms of K-pop, more opportunities will be given to people who make music and performances, as well as talented artists.” She is similarly committed to giving fans the experience they deserve with the artists they love. “It is not an exaggeration to say that the current K-pop phenomenon was created by fans. As MAVE: is also rooted in the K-pop culture, Kakao Entertainment will put fans front and center of everything.”
Stepping into the ‘real’ world
Speaking of fans, those of you who have read my previous pieces on the rise of AI idols, know that I’ve been particularly curious about how virtual artists can interact with their fans. The bond between an artist and fan runs deep, and it takes a lot of time and effort to cultivate. K-pop stars in particular are extremely dedicated to building their relationships with their fans via livestreams, variety shows, interviews and plenty of other content divided across various forms of media. It’s what truly sets K-pop apart—fans aren’t simply screaming their love into the void of social media with no response. There is acknowledgement and understanding that goes both ways. It’s something Oh and her team knew they’d have to achieve with MAVE:.
“These days, I feel that K-pop idols are gaining popularity and building their fandoms based on a combination of factors,” Oh explains when we get to the topic of interactions. “Everything begins with their music and stage performances, but it’s their unique stories, each member’s personality and charm, and the way they communicate with their fans that takes the fan-artist relationship to the next level. So, we strived to create these factors for MAVE: as well.” The quartet post regularly on social media, release video messages and performance videos, beautifully rendered photoshoots and more. “We really wanted MAVE: to be able to communicate and empathize with fans in the real world. Each member communicated closely with fans even before their debut. We also made sure they have various foreign language skills (Korean, English, French, Indonesian, etc.) and ensured each member operates a social media channel so fans could bond with them.”
Of course, the biggest goal for most fans is to see their favorite artist in the flesh—whether it’s a live concert or perhaps a fanmeeting. Which is why Metaverse Entertainment wanted to take a step in the direction of ‘live’ performances. Soon after debuting with “Pandora,” MAVE: made an appearance on one of South Korea’s most popular music shows, Show! Music Core. “We thought it was essential for MAVE: to appear in a major K-pop idol music show to showcase their virtual performance,” Oh says. “Thankfully, the producer of Show! Music Core reached out to us first asking us if it would be possible for MAVE: to blend into this K-pop idol TV program, but also add something new as a virtual idol.” The TV show features almost all groups showcasing their new releases in front of a live studio audience and it’s a rite of passage for all groups making their debut. Metaverse Entertainment and Kakao recreated the TV show’s stage digitally for MAVE: to dance on and were also able to add special effects that only a virtual group can pull off. “MAVE:’s performance on the show was a huge success. Their production team worked closely with Metaverse Entertainment, and we were able to create MAVE:’s performance with the same staging. Near the end, MAVE: had moved across time and space through the change in the stage design. It was a great way to highlight the uniqueness of being a virtual idol.”
MAVE: made a total of three appearances on Show! Music Core and treated audiences to new outfits, hairstyles and facial expressions each time. “Our first meeting with the producer of Show! Music Core was during August 2022, and the debut performance came on January 28th, 2023,” recalls Oh. “It took us a relatively long time because we were producing the music video at the same time. We released a live version of the song and worked on every single detail including the ending pose and the ad-lib part for leader and main vocalist SIU:.” The ‘ending pose’ is a unique tradition at the end of K-pop music shows, where the camera focuses on one or two members in particular at the end of a performance; this gives the artist a chance to express themselves, send a quick message to their fans watching at home, or show off something unique about their own personalities or visuals. It’s an integral part of the music show experience and Metaverse Entertainment was determined not to skip it.
The group’s second appearance on Show! Music Core—which took place three weeks after the first—is one that Oh particularly cherishes. “Just like human idols, MAVE: wore different outfits and had a new staging design,” she says. “Around this time, MAVE:’s fan base began to emerge, bringing its own way of cheering for the group. We inserted the real voices of fans cheering in between MAVE:’s performance which made it much more realistic. The second performance is memorable, because even though we were pressed for time as we got ready, MAVE:’s interaction with fans was reflected!” It was solid proof that the group were a success in the real world—it wasn’t just YouTube views cementing MAVE:’s legitimacy, but also human feedback. The group’s fandom is steadily growing and Oh shares that it was immensely gratifying to see the group blend seamlessly with K-pop traditions and patterns that have existed for decades. “After MAVE:’s debut, it was the fans themselves who created the name for the fandom group and all unique ways to cheer,” she explains. “It was fascinating to see how the usual K-pop traditions were naturally translated to MAVE:.”
MAVE: performing at ‘Show! Music Core‘
There’s also potential of expanding real-world interactions to collaborations with human artists. “K-pop fans love individual artists, but they also have a lot of affection for all of K-pop’s unique cultural aspects, such as the short-form video challenge,” Oh says about MAVE:’s participation in various trends including Instagram and TikTok challenges. “In MAVE:’s ‘Pandora Challenge,’ the girl group Weeekly and other artists took part, and we’re planning on other collaboration opportunities in the future.”
More recently, the group launched their own app called Maveus, which allows fans to interact with the members directly and create their own unique content– similar to video game experiences like The Sims. “There are many possibilities for future synergy between MAVE: and the gaming industry,” says Oh. “There was one challenge where Netmarble’s game characters joined to celebrate MAVE:’s debut. The popular game characters helped introduce MAVE: and the song ‘Pandora” to a wider audience. Separately, one of the MAVE: members, ZENA:, appeared in Netmarble’s game Paragon: The Overprime as a hero character. We really want to use these collaborations as a bridge to add more expansive experiences for our fans.”
In-person concerts and meetings are still under development and there’s not much Oh can share at this point about the team’s plans to bring MAVE: into the physical world. “We’ve been giving a lot of thought to how MAVE: can meet directly with fans, such as fan meetings or at performances. There are many things that need to be taken care of from a technical viewpoint, but we do want to create a variety of ways for fan meetings to happen,” Oh explains.
At the end of the day though, which aspect of the K-pop experience does Oh feel is most important to lock in a bond with fans? Is it more about a relatable storyline, the music itself, or is it about interactions? “I think the three elements you mentioned are inseparable from each other,” she answers. “Music and dance, and performances and the stage are the essence of K-pop. Every K-pop artist these days creates their own narrative so they can create their universe and expand their music IP and star status. Virtual K-pop idols are no different– fandom culture and communication with fans are so important.”
The future of MAVE: and Metaverse Entertainment
Everything Oh has shared up till this point is incredibly compelling. There are almost no limitations to what MAVE: can achieve since digital evolution is as expansive as the Internet itself, and it’s fascinating to map its influence in K-pop and the reactions of audiences around the globe. With more labels stepping into the digital idol space and its incredibly rapid growth, Oh is determined to innovate and have her artists stand out even among their AI peers. Simply being a digital artist is no longer enough.
“Kakao Entertainment has an unrivaled business portfolio and value chain in every sector of the entertainment industry. We are primarily focused on story, music and media, and we’re expanding our business scope globally,” she explains when I ask about how Metaverse Entertainment and Kakao want their artists to excel. “On top of that, we are always looking for future growth engines, so we continue to make investments and explore new ventures. Projects tied to new technologies, such as MAVE:, are an example of these efforts. Technology is all around us, and it drives how we enjoy and experience content, from music, to movies, drama, and games. And of course, it’s always changing, and we want to be at the forefront of the latest trends. Recently, the entertainment industry has been paying increasing attention to building their IP universe, which is all about expanding a single IP across several areas. Music used to be just about listening– but now it’s something that people watch. Webtoons, web novels, movies, and even games can be based on K-pop artists, and we can combine them to form powerful IPs. New technologies, such as the metaverse and AI, will be at the center as the industry continues to evolve.”
Although they do want MAVE: to stand out, Metaverse Entertainment hopes to see the quartet collaborate with their fellow virtual idols to help build this digital generation of K-pop and eventually seamlessly integrate with human peers. “We are very open to pursuing various collaborations with other artists, virtual and real,” says Oh. “A member of Superkind even posted a video of him reacting to MAVE:’s music videos, which has garnered millions of views on TikTok. I believe more synergy will happen as different universes meet. K-pop will continue to evolve as we see collaborations expand and real-life blends with virtual.”
Oh also believes that the K-pop formula itself is paramount to the success of South Korean digital stars. Not only has the country been in the business of digital idols since the Nineties, but it has also created a fandom culture unlike any other. “I believe the reason why Korea can have an edge over virtual idols and the metaverse from the rest of the world is because there can be synergy with K-content, specifically K-pop,” she states. “Korea is the hub of the various professionals behind the scenes for K-pop, such as composers, producers, choreographers, music planners, as well as a solid infrastructure. There needs to be appealing content to get people to be curious about the metaverse and I think K-pop can contribute greatly in that respect.”
The elephant in the room
The narrative around AI of course isn’t all positive; from industry-specific issues like copyright infringement (as seen with a Florida student’s AI-generated video of hip-hop superstars Drake, Kendrick Lamar, and Ye singing “Fukashigi no Karte,” a theme song of an anime series) to larger general issues like job security, plus the more horrifying idea of a machine gaining sentience… plenty can (and has) gone wrong. So while Oh is herself immersed in working with AI, she does agree it needs to be done with caution. “I believe technologies like AI and the metaverse will act as a powerful driving force to evolve entertainment IPs in various ways,” she says, adding, “It is, however, important to prepare regulatory measures and rules that match the technology advancement. Creating unprecedented experiences by combining technology and IP requires not only unlimited creativity and imagination but also strenuous preparation and contemplation.”
There have also been conversations online from fans who don’t want AI idols ‘replacing’ human artists. Other opinions consider AI idols to be a passing fad, while some are concerned that the already impossible standards of perfection and beauty in K-pop will rise as more flawless, unproblematic digital stars debut. Oh believes that the key to dispelling these concerns is to create a balance in the industry with human and AI artists. “It was never our intention for virtual idols to replace human idols,” she clarifies. “We used a variety of K-pop formulas, and it’s true that existing K-pop fans are more likely to enjoy and support virtual idols, but that doesn’t mean virtual idols can replace real-life idols. I think the market and enjoyment created by virtual idols is new and should be in a category all by itself.” In short, there’s room for everyone, and neither is a substitute for the other.
AI artists still need human professionals like programmers, producers, choreographers, makeup artists and stylists driving them forward. Photo: Courtesy of Metaverse Entertainment
AI stepping into the world of music production and lyricism isn’t exactly a death sentence for human artists and producers either. Working together and putting in regulations can help cull issues like the “Fukashigi no Karte” copyright infringement fiasco. “AI technology can now write lyrics and books, so AI artists such as MAVE: may be able to someday create their own songs and dances. MAVE: is already using AI technology to speak multiple languages and we hope that they will be able to do more creative work with evolved technology.” As Oh explained before, AI artists still need human professionals like programmers, producers, choreographers, makeup artists and stylists driving them forward– and human superstars can benefit with new AI-related projects too; “Existing K-pop artists will also have a chance to show novel aspects of their creativity through virtual idols, which will help broaden the genre’s horizons.” Metaverse Entertainment also relies on human feedback to advance their roster of artists, including upcoming virtual stars who will eventually follow MAVE:. “We hope to first receive feedback from fans about MAVE: so that the group can continue to grow,” assures Oh. “We need to have that feedback to grow.”
Innovation shouldn’t be hindered by fear; it’s actually a pretty exciting moment in human history for tech creatives across the board and the perfect time for digital artists to shine. “I think it’s a natural phenomenon that stems from the advancement of technology and culture,” Oh says. She goes back to Adam and his success over 20 years ago. “Even though the technology then wasn’t nearly as good, Adam was popular. It tells me that technology is not the only prerequisite for virtual idols or metaverse content to succeed.” In other words, humans’ own desire to invent and evolve is itself the fuel to the movement. “This is a great time to create this kind of synergy, bringing together our own capabilities in K-pop with metaverse technology, which has already come so far. I really think the future is bright for this kind of new content that blends entertainment with technology.”
