In the late 1990s, the cyber singer "Adam" emerged, bringing a fresh shock as the first virtual idol. Born from computer graphics and digital technology, Adam was a groundbreaking attempt at the time, but due to technological limitations, his movements were awkward and failed to gain widespread public attention. However, this challenge became a significant starting point for the development of virtual human technology.

Recently, with the rapid development of AI, VR, and motion capture technology, modern virtual idols have become able to implement natural appearances and behaviors that are incomparable to the past. A prime example is the emergence of virtual idols that blur the line between reality and the virtual, garnering popularity comparable to real-world idols. For instance, "Playbe" and "Isekai Idol" have recently topped music charts on major broadcasting networks, entered the Billboard charts, and are breathing new life into the music industry.

Furthermore, with immersive performances and active communication with fans based on VR technology, these virtual idols are becoming more natural and familiar to the digital generation, especially Gen Alpha. They are created in the form of 2D or 3D graphic characters, but their performances and interaction with fans are as vibrant as real idols, successfully forming a global fandom.

This expansion of the virtual entertainment market has sparked interest from big tech companies. Global IT giants like Sony, Google, Meta, and Apple are actively entering the virtual market by debuting virtual YouTuber groups or releasing VR headsets. They are developing more sophisticated virtual avatars based on AI and VR technology, seeking opportunities to penetrate various industries.

This virtual human market is expected to grow even faster in the future. Global market research firm Immersion Research predicts that the virtual human market will grow at an average annual rate of 36.4% by 2030, reaching approximately 700 trillion won in size. However, there is a limitation that access is difficult for adults who have a lower consumer age group and are not yet familiar with game and animation culture.

Nevertheless, virtual humans are now ready to become a part of popular culture, transcending their own culture. Digital content consumption, especially among young generations, is emerging as a key factor driving the growth of this virtual entertainment.