• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.823-831
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• 2021

In the Internet age, the digital cultural industry is booming, start-up companies want to win a place in the fiercely competitive red sea market of the Internet, innovative business models have become an important challenge and opportunity for countless companies. Taking the virtual idol "Hatsune Miku" as the example, the analysis is carried out at the levels of technological innovation, value proposition, resource combination, operation process and marketing model. By comparing the differences between the first-generation software Meiko of Crypton and the second-generation software "Hatsune Miku", we will study the components of the business model to explore the characteristics and advantages of this business model, and in-depth operation models and innovations. The analysis is expected to provide a substantial reference for other electronic product and software development companies in their business models.

• Journal of Korea Multimedia Society
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• v.23 no.1
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• pp.74-84
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• 2020

In November 2018, virtual pop band K/DA, with the use of holograms and actual K-pop girl group members, performed its debut album titled "POP/STARS" at the opening ceremony of the League of Legends S8 final, hosted by Riot Games. The fan culture that exists for real singers adapts itself to virtual bands, and K/DA, consisting of virtual characters, encouraging the production of user created content (UCC). However, this form of UCC is different from the most common one, meaning that this type of band generates another way of consuming content. Therefore, this study examines how K/DA's digital characters are transformed and reproduced by UCC and how the original producers' content differs from them. Firstly, the development of this study considers the open characteristics of UCC, such as user type, created motivation, created process, content type and sharing method. In the second part, the virtual idol Hatsune Miku and virtual band Pentakill will be analysed to understand UCC. Thirdly, K/DA will be analyzed as a case study based on three factors: created motivation, content type and sharing method. In this manner, this study aims to explain how UCC for virtual bands reproduce and consume original content and expand their commercial value.

• International journal of advanced smart convergence
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• v.11 no.3
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• pp.102-118
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• 2022

With the development of digital content software production technology and the technological progress of related hardware, the social status quo in the post-epidemic era, the popularization and application of 5G networks, the market and consumers' increasing demand for digital content products, artificial intelligence, virtual digital human, virtual Idols, virtual live, self-media content and metaverse-related content industries are all developing rapidly. Virtual idols, virtual digital human, etc. are not only accelerating innovation in production technology. The economic cost, technical difficulty and time requirements of production are also greatly reduced. With the arrival and development of the Metaverse, the author believes that the content industry with virtual digital humans as the core will continue to develop in the direction of refinement, specialization, facilitation and customization. In this article, we will analyze and study the production of virtual digital human based on Photoscan technology and Unreal Engine 5 Metahuman software, and discuss the application status and future development of related content.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.45-54
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• 2023

The digital age start in earnest with the widespread use of the Internet. As a digital product, virtual idols bring new value to the design and dissemination of commercial brand images. "Luo Tianyi" is the world's first avatar and VOCALOID voice bank of Chinese. It has a large number of fans in China and is widely used in brand promotion. Therefore, "Luo Tianyi" is taken as the research object. Initially, we investigated the virtual idols through books, literature on the internet and other materials. Then we discussed semiotics and theories related to culture code brand design methodology (CCBD). After that, putting the above theories into practice, combined with brand design cases, we analyzed the strategy of virtual idols in brand promotion and dissemination, at last, we have the conclusion as followed. The results show that the virtual idols, visual symbol of "Luo Tianyi" can express the Index and Symbol corresponding to the brand information according to the characteristics of the brand. As an image of cultural code, "Luo Tianyi" can present three visual images at the same time, which are contemporary, traditional and future. In addition, these three visual images are presented in a strong and weak combination, which has a positive impact on the visual communication of the brand.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.1-15
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• 2021

With the prolonged COVID-19 pandemic situation, the attention on Metaverse has been soared throughout media and publications. Recently the entertainment industry is also changing to actively utilize the virtual world with artists working through Metaverse platforms. With the recent high interests on Metaverse, this study attempts to illuminate how the public perceives and accepts Metaverse experiences. While research on Metaverse has been mainly focused on specific technologies or technical objects, this study focuses on exploring how fans recognize and understand the concept of Metaverse through newly debuted idol group 'aespa', composing of 4 human members and 4 AI avatar members that integrate real and virtual world. For this, this study seeks to analyze the reaction and recognition of fans by exploring online community 'DC Inside'. As a result of analyzing the reactions of fans in the early days of aespa's debut, the perspectives of understanding AI members of aespa are categorized into three groups: first, the type of equating and accepting the real and the virtual world; second, the type of recognizing the real world and the virtual world separately and recognizing the virtual member as an avatar or concept, not a genuine member; and finally, a type of recognizing virtual worlds separately from reality. Based on these results, the implications that Metaverse contents may have in the entertainment industry are suggested.

• Journal of Fashion Business
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• v.26 no.3
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• pp.33-49
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• 2022

In the metaverse, it is important to embellish aesthetics of user with a character called 'Avatar', a virtual representation of the user. This study provides basic data related to the fashion trend of the metaverse by studying 'Zepeto', a representative Korean platform. For empirical research, Zepeto's "Best Items" section were investigated and analyzed in the first pre-survey. Based on this, the second and main survey was conducted using a questionnaire to investigate users' style-specific preferences and purchasing behaviors for virtual fashion, comparing style preferences between virtual and real, brand preferences, and purchasing behaviors of virtual fashion. The survey found that most users were teenage girls with a high preference for pastel-toned, feminine, and cute casual styles who had a much higher interest in brands bearing idol names than in real-world luxury brands. Many responded that they felt burdened by purchasing items that had to be purchased for cash. The same can be assumed to be the reason why they preferred a suit of items that were fully coordinated rather than individual items. These results seem to reflect characteristics of teenage girls who lack cash with a high preference for idols and feminine-cute casual styles. This study suggests considerations when creating virtual fashion items. By providing basic information, more effects and developments in creating virtual fashion items that reflect consumer preferences and reactions are expected in the future.