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South Korea’s virtual influencer sector is entering a more commercial phase as entertainment groups and tech-backed studios reposition digital characters from metaverse curiosities into export-ready intellectual property. The shift is visible in how companies are packaging virtual acts not only as social media personalities but also as music artists, story franchises and brand assets that can travel across platforms without the physical constraints of human celebrity schedules. In practice, that means fewer conversations about novelty alone and more focus on repeatable content production, licensing opportunities and global fan monetization.

The current moment builds on several years of state and corporate investment in immersive media, artificial intelligence and digital production. South Korea previously set a national ambition to become one of the world’s leading metaverse markets by 2026, while large private players explored virtual humans, game-linked worlds and synthetic performers. One of the most visible case studies has been Metaverse Entertainment, founded in 2021 under Netmarble F&C, which later launched virtual girl group MAVE: and developed digital character RINA. That combination of gaming, entertainment and character management has become a template others are watching closely.

For K-entertainment, the global appeal lies in software-like scalability. A virtual act can release music, short-form content, fashion collaborations, webtoons and multilingual campaigns in parallel, extending the economics of idol IP beyond the traditional comeback cycle. Earlier performance signals around MAVE:, including strong early video traffic and significant streaming attention, suggested that international audiences were willing to test the format when the storytelling and production quality felt competitive. That matters because Korean companies are no longer selling only songs or shows; they are building persistent digital franchises that can circulate across music, gaming, publishing and commerce.

Industry observers increasingly view virtual influencers as a margin play as much as a creative experiment. While the upfront costs of modeling, animation, voice production and narrative development remain high, companies see advantages in schedule control, brand safety and long-term ownership of character rights. The strategic question is no longer whether virtual stars can attract headlines, but whether they can sustain fandom, merchandise demand and platform engagement at a level that justifies continued investment.

The next stage will likely depend on how convincingly these characters move between entertainment formats and how transparently companies handle the blend of human labor and machine-assisted production. If Korea succeeds, virtual influencers may become less a metaverse side story and more a durable export category within the wider K-content economy.

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고삼석 상임의장 · Chairman Samseog Ko

고삼석(Ko Samseog)은 K-EnterTech Forum 상임의장입니다. 동국대학교 첨단융합대학 석좌교수이자 국가인공지능전략위원회 분과위원으로, 30년 이상의 방송통신 정책 및 산업 경험을 바탕으로 K-콘텐츠와 글로벌 엔터테인먼트 기술의 융합을 선도하고 있습니다. 前 방송통신위원회 상임위원을 역임했으며, ZDNet Korea에 정기 칼럼을 연재 중입니다.
Samseog Ko is the founding Chairman (상임의장) of K-EnterTech Forum. He is a Distinguished Professor at Dongguk University and a member of Korea's National AI Strategy Committee. Former Commissioner of the Korea Communications Commission (KCC).

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