Journalist
Choi Songhee
alfie312@ajunews.com
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BTS Returns as Full Group at Seoul’s Gwanghwamun Square in ‘Arirang’ Comeback Live Seoul’s central Gwanghwamun Square filled with cheers as BTS returned as a full seven-member group after 3 years and 9 months. The “BTS Comeback Live: ARIRANG,” held at 8 p.m. on the 21st, was streamed live to more than 190 countries, underscoring the group’s continued global reach. The show opened with sweeping drone footage over Bugaksan and Gyeongbokgung Palace. As 50 dancers lined up on the stage platform, the seven members appeared in black outfits that reinterpreted traditional armor in a modern style. Leader RM, seated due to an ankle injury and focusing on vocals, greeted the crowd: “It’s been four years. Hello, we are BTS.” He added, “We’ll pour everything into today. It’s been a long journey, but we finally made it here.” BTS launched into new-album tracks “Body to Body,” “Hooligan” and “2.0,” quickly taking control of the square. “Body to Body” blended the melody of the folk song “Arirang” with a collaboration with the National Gugak Center, highlighting a distinctly Korean identity. After the stage, Jin thanked fans for returning. “I vividly remember telling you to wait for us at our last Busan concert a few years ago,” he said. “I had a lot of worries about getting to this point. I’m grateful and happy to face you again.” Jimin told fans, “ARMY, we finally met. I’m overwhelmed and grateful to be able to speak like this. I’m so happy the seven of us can be together again. I missed you. I didn’t expect you to fill Gwanghwamun Square like this — thank you.” Suga called it an honor to perform “at the most historic place in Korea,” saying the album title “Arirang” reflected a desire to capture the group’s identity and that the decision led them to stage the comeback at Gwanghwamun. V added, “It feels new to be able to come back in such a special place. Thank you to ARMY who came all the way here, and to those watching around the world through Netflix. We waited a long time, too. Wherever you are, I hope our feelings reach you.” The group followed with global hits “Butter” and “MIC Drop.” J-Hope and Jung Kook told the crowd it still felt unreal to be onstage together as seven again, thanking fans for waiting and promising they had prepared “a lot of special things” and would give everything they had. Jung Kook said, “I don’t think I’ll ever forget tonight. I think I had pressure and fear about the comeback, but standing in front of you today, it just feels good. Just good.” RM said the album was worked on for two months in Los Angeles, with postproduction completed in Korea. He said the members held many conversations about who they are now and how they could come together, and that they took on new challenges, before performing new songs “Aliens” and “FYA.” In remarks about their hiatus, J-Hope said the album contains “countless worries,” including concerns about whether the group might be forgotten or whether fans would still remember them. Suga said he spent a long time thinking about what needed to change during the pause, adding that he still felt uncertain and anxious but considered those feelings part of who they are. RM said he repeatedly asked himself what choices to make at a turning point and what kind of creator he wanted to remain, concluding that the answer was not outside but within. He said the goal of the album was to listen more closely to their own voices and reflect themselves more fully. Jimin said, “As you know well, we’re not special people. Like you, we’re afraid every time, and I was afraid preparing for this stage, too. But I believe if we ‘keep swimming,’ we’ll find an answer someday.” V said what they can do is keep making music, keep performing and show fans their best, adding he hoped their songs could offer some comfort. The group then performed the title track “SWIM,” along with “Like Animals” and “Normal.” The production emphasized a blend of tradition and modern staging. Director Hamish Hamilton said he focused on building a balanced stage model that respected the historic setting of Gyeongbokgung. Netflix said it viewed the show as the biggest moment among its live events planned for the year and a landmark partnership, highlighting major investment to ensure technical stability. J-Hope said, “I’m really, really happy to be back. Every moment is thanks to you. BTS 2.0 is just beginning.” V told fans it was time for the last song, saying he had imagined the moment for years and wanted to keep going. Suga again thanked the Seoul Metropolitan Government and related officials, as well as police working on site. Jimin bowed and said, “Thank you, and I’m sorry.” Jung Kook told fans the seven members always share the same 마음, adding they would always do their best as long as fans stayed with them. BTS closed with “Dynamite” and the encore “Mikrokosmos.” BTS, which set a new personal record with 3.98 million copies sold on the album’s first day of release, used the roughly hourlong show to reaffirm its presence. By the Seoul city government’s count, 40,000 people gathered near Gwanghwamun, with the crowd far larger when including the area around Sungnyemun, and the event proceeded safely in an orderly manner. The group is set to continue its global schedule with a world tour starting April 9 at Goyang Stadium.* This article has been translated by AI. 2026-03-21 22:54:00 -
BTS to Return as Full Group at Gwanghwamun Square for 'Comeback Live: ARIRANG' BTS members, speaking through their agency BigHit Music, shared their thoughts and what to watch for ahead of “BTS Comeback Live: ARIRANG,” set for 8 p.m. on the 21st at Gwanghwamun Square in Seoul. It will be the group’s first performance as all seven members since a Busan concert in 2022, about three years and five months ago. The members expressed anticipation and urged attention to safety. How do you feel ahead of “BTS Comeback Live: ARIRANG”? RM “While practicing for a great stage, I picked up a minor injury. I’ll adjust the performance to match my condition, but I’ll do my best within what’s possible. More than anything, I want to repay those who have waited with a good performance.” Jin “I’m very nervous. I never imagined I’d perform at Gwanghwamun Square, and it’s really sinking in. This is all possible because so many people prepared it together. I want to say thank you to everyone.” Suga “Preparing for a world tour while also working on the Gwanghwamun comeback show has been a blur. That makes it even more meaningful because the whole team focused in one direction. I’m really looking forward to it.” j-hope “It’s a big event the world is watching, which is a burden, but it also makes me want to do even better. Since it’s been a while since we’ve been on stage together, I’ll keep the energy and focus to the end.” Jimin “As much as I’m excited, I’m honestly anxious, too. Still, it’s a chance to meet fans again after a long time, so I’m even more thrilled. I’ll stay focused so that feeling comes through on stage.” V “I’m happy. We prepared very solidly and practiced with everything we had every day. I hope we finish the show looking good — and above all, safely.” Jungkook “I’m excited and nervous. I’m thrilled, but I also have worries, so I ended up preparing even more. I’ll make it a stage I won’t regret and create a time we can enjoy together.” What are the key points to watch in the Gwanghwamun Square show? RM “To make the most of the symbolic space of Gwanghwamun, we built the set in an ‘open cube’ structure with a clear view. The point is that Gwanghwamun and the stage don’t block each other, so they can be captured in a single frame.” Jin “The cube structure is the core device of the stage. We all thought hard about the stage setup, and the cube became the solution. It will be used in many ways in the production, so I hope you look forward to it.” Suga “We prepared the stage with the mindset that we always have to show something new. This time, in particular, working with an overseas production team helped us bring the highlights to life in a different way.” j-hope “When you see the stage setup, it will feel like Gwanghwamun is inside a picture frame. The scene of BTS performances filling that frame itself will feel symbolic.” Jimin “Since the album title is ‘Arirang,’ it would be amazing if we could create a moment where we sing ‘Arirang’ together at Gwanghwamun. Please look forward to the moment when the space and the music come together.” V “The cube that clearly captures Gwanghwamun as the backdrop is the biggest point to watch. Being able to perform in that space feels like an honor and something special.” Jungkook “The stage is divided into three zones, and we prepared many parts of the song lineup in a new way. If you follow the overall flow, I think the show will feel even more fun.” BTS said it has built a new set list to match fans’ long wait. The production team also includes veterans of global stages. Executive director Hamish Hamilton has directed the opening and closing ceremonies of the 2012 London Olympics and the Super Bowl halftime show, and has staged concerts for pop stars including Madonna and Beyonce. Producer Guy Carrington has worked on the direction and production of the Emmy Awards. The album “Arirang” reflects the group’s identity and emotions the members say are widely shared. HYBE Chairman Bang Si-hyuk served as executive producer. Titled after Korea’s best-known folk song, the release expresses BTS’ roots and the feelings the seven members have in 2026 through music. BTS has also been strong on album and streaming charts. Its fifth full-length album, “Arirang,” sold 3.98 million copies on its first day, going straight to No. 1 on the Hanteo daily chart. The figure surpassed the group’s previous best first-week sales record of 3.37 million in a single day. The title track “Swim” topped Melon’s “Top 100” and the real-time chart on Bugs immediately after release. * This article has been translated by AI. 2026-03-21 16:15:22 -
BTS’ ‘ARIRANG’ Sells 3.98 Million Copies on Day 1 Ahead of Gwanghwamun Comeback Show BTS is back, and the group’s first-day numbers underscored the scale of the return after a 3-year, 9-month wait. According to Hanteo Chart on Friday, BTS’ fifth full-length album, “ARIRANG,” released at 1 p.m. Thursday, sold 3.98 million copies on its first day to top the daily chart. The figure surpassed the previous record first-week opening tally set by the group’s 2020 album “MAP OF THE SOUL : 7,” which sold 3.37 million copies, in just one day. The new album reached million-seller status within 10 minutes of release and went to No. 1 on iTunes’ Top Albums chart in 88 countries and regions. The title track, “SWIM,” also led iTunes’ Top Songs chart in 90 countries and regions, including the United States and Japan, as of 9 a.m. Friday. In South Korea, it topped Melon’s Top 100, while B-side “Body to Body” ranked No. 2. Kim Hyeon-jeong, a vice president at BigHit Music, said the album was built from the members’ roots and was produced to help global fans follow the message. “We used Korean and English in alternation so fans around the world can understand the message and enjoy it across generations,” she said, calling it the result of intense deliberation over what the members and Bang Si-hyuk, the company’s chairman, wanted to convey. The choice of Gwanghwamun as the concert venue was also tied to the group’s identity, said Yoo Dong-ju, HYBE’s APAC representative. He said Bang’s view was that if BTS, which began in South Korea and became global superstars, returned, “the starting point must be South Korea’s most symbolic space.” He said the aim is to share a rare cultural experience in an iconic Korean setting where people of all nationalities and generations raise a toast together. The buildup is set to peak Friday night with “BTS Comeback Live: ARIRANG,” scheduled for 8 p.m. at Gwanghwamun Square. The roughly hourlong show is expected to feature large-scale staging using a route from Gyeongbokgung Palace to Gwanghwamun, often referred to as the “King’s Road.” With large crowds anticipated, the members urged fans to prioritize safety. Leader RM asked attendees to “please follow the guidance of on-site staff and safety personnel” and said he hoped for orderly conduct. Jin said it was an honor to greet fans again in a meaningful place and repeatedly emphasized safety. Police expect as many as 260,000 people to gather from the stage area to Sungnyemun. That would be the largest crowd since the 2002 World Cup street cheering, when about 250,000 people assembled. The Seoul city government said that as of 3 p.m., about 23,000 people had already gathered near Gwanghwamun and Deoksugung Palace, up about 23.8% from three hours earlier. Officials said the atmosphere remained festive under organized safety management. The event will be livestreamed via Netflix to more than 190 countries.* This article has been translated by AI. 2026-03-21 15:51:19 -
BTS Returns With Fifth Studio Album 'ARIRANG,' Releases 'SWIM' Music Video BTS returned with its fifth full-length album, “ARIRANG.” The group released the album at 1 p.m. on the 20th and unveiled the music video for its title track, “SWIM.” Shot against the open sea off Lisbon, Portugal, the video moves between a real large ship and detailed sets, emphasizing scale and visuals. The video opens on a massive vessel crossing an endless ocean. A woman is shown shaken and discouraged as she endures a difficult period. BTS appears as helpers guiding the ship — taking the helm, raising the anchor and scanning the route ahead. The seven members stay by her side in their own ways, offering quiet support. She eventually breaks a necklace that had felt like a restraint and smiles, conveying anticipation, tension and the moment of taking on a new challenge. Hollywood actor Lili Reinhart appears in the video, adding a restrained emotional arc. Director Tanu Muino led the production, creating a film-like mise-en-scène. In comments released through BigHit Music, the members said viewers can see a subtly more mature BTS. They also asked fans to watch it as they would a movie because it has a storyline. The group shared a weather-related anecdote, saying there was not a single day of good weather during filming and that a rain-soaked scene turned out beautifully. “ARIRANG” is described as an album that captures BTS’ identity and universal emotions many people can relate to. Bang Si-hyuk, the label’s chairman, oversaw overall production. The title track, “SWIM,” is an alternative pop song about pressing forward through life’s waves, framing the resolve to keep swimming at one’s own pace as a form of love for life. BTS will hold “BTS Comeback Live: ARIRANG” at 8 p.m. on the 21st around Gwanghwamun Square in Seoul, where it plans to perform new songs including the title track. On the 23rd (local time), the group will team up with global audio and music streaming platform Spotify for a “Spotify X BTS: SWIMSIDE” event in New York. It will then appear on NBC’s “The Tonight Show Starring Jimmy Fallon” on the 25th and 26th.* This article has been translated by AI. 2026-03-20 14:12:20 -
T.O.P to Return With First Full-Length Solo Album, “Another Dimension” Singer T.O.P is returning with a solo album. TOPSPOT PICTURES said on the 20th that T.O.P will release his first full-length album, ‘Multi-Perspective (ANOTHER DIMENSION),’ on April 3 through major online music platforms. Along with the announcement, T.O.P has been rolling out teaser videos on his official social media channels highlighting the new release’s mood. The first teaser, ‘I’m Totally Crazy! (Studio54),’ used distinctive typography and sound to signal the start of his comeback. A second teaser, ‘DESPERADO,’ set in a film-like scene, spotlighted T.O.P’s signature presence and raised anticipation for a musical shift on the album. The album is T.O.P’s first full-length project as a solo artist. The agency said he led overall production and prepared the record over a long period. ‘Multi-Perspective’ will be released at 6 p.m. on April 3, and preorders begin at 3 p.m. on the 20th through online album retailers.* This article has been translated by AI. 2026-03-20 14:09:17 -
BTS to Return After 4 Years With Netflix Live Show at Seoul’s Gwanghwamun 2026년 3월 21일, Seoul’s central Gwanghwamun area will be turned into a major stage broadcast live to more than 190 countries. Netflix will stream its first live event produced in South Korea, “BTS Comeback Live: ARIRANG,” marking the group’s first comeback performance in four years. Netflix held a media briefing Friday at Cinecube Gwanghwamun in Seoul’s Jongno district to outline the project and share production details. Attendees included Brandon Rigg, a Netflix vice president; Kim Hyun-jung, a BigHit Music vice president; Yoo Dong-ju, APAC head of HYBE Music Group; and executive producer Garrett English. Yoo said the question he heard most during preparations was, “Why Gwanghwamun?” He said the team focused on what would feel distinctly BTS, and that HYBE Chairman Bang Si-hyuk wanted the group’s return after four years to begin in “South Korea’s most symbolic space,” reflecting HYBE’s goal of expanding fan experiences. Yoo said the aim is to share a rare cultural moment — people of different ages and nationalities celebrating together at an iconic Korean site — with viewers worldwide. English said the central challenge was placing a modern pop show in a historic setting. He said the production held ongoing discussions on how to balance tradition and modernity while fully realizing BTS’ vision and showing respect for Gyeongbokgung, describing collaboration and faithful execution of the members’ creative intent as key principles. He called the physical scale “massive,” but said the goal is not only to capture the sweep from Gyeongbokgung to Seoul Plaza, but also to preserve close, intimate moments between the seven members and their fans — and to deliver that energy effectively to viewers watching live around the world. Kim said the new release’s title, “Arirang,” reflects that approach. She described it as an album that starts from the members’ roots, using both Korean and English so global fans can understand the message. She said it is intended to be enjoyed across generations, including by people who may not know BTS well. Kim added that BTS has long put its emotions and stories into its music, and that the members, Bang and staff worked closely to decide what message to deliver. For Netflix, Rigg said, the event is more than another program. He said single moments that connect the world at the same time are becoming rarer amid abundant entertainment choices, calling the BTS show the biggest live moment Netflix will present this year and a landmark partnership. Rigg said Netflix made major investments in local infrastructure and technical stability, drawing on experience from live broadcasts in extreme environments, including a Taipei skyscraper, to meet the constraints of a downtown location and expectations of hundreds of millions of simultaneous viewers. Joking, he said he was not sure what is harder — climbing a skyscraper or satisfying ARMY — but added that Netflix worked closely with local partners to prioritize reliability. He said Netflix has strong confidence in Korean content and that there was no better choice than BTS, adding the collaboration would set a new standard for Netflix live. On possible expansion into sports or other K-pop live events, he said many discussions are underway. Producers said the key viewing points are the combination of overwhelming scale and emotional closeness — capturing the size of Gwanghwamun while not losing the bond between the members and fans. Rigg also hinted at an unrevealed surprise, saying Saturday’s stage would offer a rare spectacle and become a massive global viewing party for ARMY and other viewers. “BTS Comeback Live: ARIRANG” is scheduled to be streamed live worldwide on Netflix at 8 p.m. Saturday.* This article has been translated by AI. 2026-03-20 13:03:20 -
BigHit Music VP: BTS’ ‘Arirang’ album starts from the group’s roots Kim Hyun-jung, a vice president at BigHit Music, introduced BTS’ new album, titled 'Arirang.' A media briefing for Netflix's 'BTS Comeback Live: Arirang (ARIRANG)' was held March 20 at Cinecube in Seoul's Jongno district. Attendees included Brandon Rigg, Netflix VP for nonfiction series and sports; Kim; Yoo Dong-ju, APAC representative for HYBE Music Group; and executive producer Garrett English. Kim said BTS has consistently made music that reflects the stories they want to tell and the emotions they feel at the time. She described the full-length album 'Arirang' as capturing the members' feelings and messages. She said the group worked closely during production with BTS members, executive producer Bang Si-hyuk and BigHit staff. She added that, as the album title suggests, it starts from BTS' roots and uses both Korean and English so listeners worldwide can understand the message. Kim said she hopes the album can be enjoyed across generations by longtime fans as well as people less familiar with BTS. BTS will release its fifth full-length album, 'Arirang,' at 1 p.m. on March 20. It is the group's first new release in three years and nine months since the June 2022 anthology album 'Proof.' The group has said the release will open a new chapter, 'BTS 2.0.' The album, which includes BTS' identity and universal emotions, was executive produced by Chairman Bang Si-hyuk. A comeback live show will be held at Gwanghwamun at 8 p.m. on March 21 and streamed live on Netflix.* This article has been translated by AI. 2026-03-20 12:00:19 -
Netflix to Livestream BTS ‘Comeback Live: Arirang’ From Seoul’s Gwanghwamun Square Ticket demand for “BTS Comeback Live: Arirang (ARIRANG),” set for March 21 at Seoul’s Gwanghwamun Square, has been intense. The venue’s 22,000 seats sold out immediately, and the ticketing site’s virtual queue topped 100,000 people. Because it is a free outdoor show, some forecasts say as many as 260,000 people could gather on site. Fans who cannot attend in person will still be able to watch live. Netflix said it will stream the Gwanghwamun performance in real time to more than 190 countries. For Netflix, the company said, the event is its first live event in South Korea and a major test of live-streaming capability in the OTT market. Netflix is also highlighting the production team. The show is overseen by Hamish Hamilton, a director known for major live broadcasts, including multiple U.S. Super Bowl halftime shows featuring artists such as Madonna, Beyonce and, most recently, Bad Bunny. Hamilton, who has led broadcasts including the 2012 London Olympics opening ceremony and awards shows such as the Grammys and Oscars, is expected to bring a style that goes beyond standard coverage, capturing small movements and emotional moments, Netflix said. The opening, which begins as three gates at Gwanghwamun open, the large stage planned around the Yukjo Madang area, and media-facade visuals along the walls are all to be carried on Netflix’s stream. To support the broadcast, Netflix said it is applying operational know-how built over the past decade to deliver what it described as “flawless” streaming without delays even with large numbers of simultaneous viewers worldwide. Netflix said it has built a stable viewing environment using its content delivery network, Open Connect. It will use advanced video-encoding technology that adjusts quality in real time to match a user’s network conditions, along with load-balancing technology designed to prevent traffic from concentrating on a single server. Netflix also said it has set up a multi-layer recovery system that automatically switches to a backup encoder if the main encoder fails, reducing the risk of interruptions. The company said it has tested the stability of such technology through live events including the “Jake Paul vs Mike Tyson” boxing broadcast and “Baby Gorilla Cam.” A Netflix official said the company is “putting full effort into broadcasting this BTS comeback live by mobilizing all live know-how accumulated since 2023 by the best experts for the best live.” The official added that, unlike offline concerts limited to a specific location or ticket holders, Netflix aims to create “a historic moment in K-culture” in which fans worldwide watch at the same time under the same subscription conditions. Netflix’s plan extends beyond the livestream. The company has already promoted BTS-related content through a marketing push around Seoul’s Seongsu-dong area. The rollout continues March 27 with the feature-length documentary “BTS: The Return.” The film is directed by Bao Nguyen, and produced with the global production company This Machine and HYBE, according to the article. It follows the seven members during a 3-year, 9-month hiatus as they gather in Los Angeles to reflect on what “BTS” means and complete the new release “Arirang.” Netflix subscribers will be able to watch both the March 21 live event and the March 27 documentary at no additional cost on TVs, mobile devices and other platforms.* This article has been translated by AI. 2026-03-20 06:03:52 -
CRAVITY’s Hyeongjun Stars in ‘Kill the Romeo’ Interactive Short-Form Drama Trailer CRAVITY member Hyeongjun will star in Kitts’ first interactive short-form drama, “Kill the Romeo,” set to be released on the platform on the 27th. The series from global K-pop short-form platform Kitts is an interactive, multi-ending romantic comedy told in first person. It follows “me,” a top-tier assassin whose alter ego is a devoted fan, after a new target is assigned: the viewer’s favorite idol, “Hyeongjun.” The story begins when the A-list killer receives an order to eliminate him. Hyeongjun plays an idol character who shares his name, marking his first acting project. The newly released main trailer opens with tense music and the line, “All my targets are called Romeo. Codename ‘Juliet.’ I’m a killer.” It then shows the viewer-character at Hyeongjun’s fan-sign event, before the mood shifts as he is named the target and placed in danger. Under the premise of “my favorite idol becoming my target,” the trailer presents multiple choices. Near the end, Hyeongjun asks, “Noona, what do you want me to do?” teasing the directions the story may take. Kitts has been expanding its library with monthly releases, following titles including “Wind Up,” starring NCT’s Jeno and Jaemin, and “Jumpboy LIVE,” starring VERIVERY’s Kangmin. “Kill the Romeo” is expected to differentiate itself from typical romantic comedies through its first-person format and branching story points. “Kill the Romeo,” starring Hyeongjun, will be released on Kitts on the 27th.* This article has been translated by AI. 2026-03-19 14:57:39 -
AMAZE CEO Lee Seung-jun: In the AI era, VR concerts must deliver irreplaceable experiences Artists can feel close enough to touch, and inside the theater, cheers and singalongs break out naturally. VR concert films are changing not only how audiences experience performances, but also what it looks like to go to the movies. Lee Seung-jun, CEO of AMAZE, which has released VR concert films featuring ENHYPEN, TOMORROW X TOGETHER, ATEEZ and TWS, said demand is rising as the format spreads. With TWS’ first VR concert, “TWS VR CONCERT : RUSH ROAD,” selling out day after day, Lee said word-of-mouth is lifting expectations. “Honestly, the response has been better than we expected, so I think it could set our best results yet,” he said. “As people talk about VR content, audience demand is going up. Albums cost money, concert tickets cost much more, and getting tickets is hard, so a VR concert film can be a good way to see an artist. I love concerts too, but it’s not easy to see a top artist right in front of you. This is much more of an up-close experience, so I think it’s a medium that fits music well.” AMAZE did not start out focused only on concerts. Lee said that while thinking about what might come after mobile, the company bet on “space” and VR headsets, tried multiple formats, and found concerts delivered the biggest impact. “It’s been 10 years since I started the company,” he said. “AMAZE is made up of early Kakao members, engineers who worked together back then. I used to work at a consulting firm, but seeing mobile as a new innovation and media paradigm led me to start a business. Then I thought about what would come next, and when the paradigm shifts, I wanted to go global. What we bet on was ‘space’ and ‘VR headsets.’ At first we didn’t do only music — we tried films and other things — but the biggest impact was concerts. So we decided to expand that and build content step by step, centered on entertainment.” That approach also shaped interactive features such as letting fans pick a favorite member and use a virtual light stick. Lee said the experience becomes denser when fans can respond and participate, not just watch. “Because these are K-pop artists, we thought it would be good if fans could choose their favorite member and keep watching that person,” he said. “So we added things like ‘pick your favorite’ and a ‘light stick.’ The elements can differ by artist. Recognizing hands and actions like waving a light stick can ultimately make the experience bigger.” Lee also drew a clear line between watching VR at home and watching it in a theater. When people who like the same artist gather and react together, he said, the content shifts from a private viewing to a shared event. “Of course you can watch at home,” he said. “But the feelings you get watching an artist you love with other people are definitely different. That’s why I think in the AI era, the value of 2D content or 2D images could gradually fall. What we make is, in a way, like Disneyland — we’re building an attraction for an artist. We’ll keep thinking about how to help audiences experience it with more immersion and a stronger sense of being there. And we plan to make it available online too for people with headsets at home. Even now, like selling concert DVDs, we sell a version you can watch by inserting a phone.” He said the format could expand beyond K-pop, and that U.S. and Chinese artists have shown significant interest. For now, he said, the company is weighing how to broaden genres without limiting itself to one market. “First, we’re thinking about expanding genres,” he said. “We’re not only thinking about K-pop artists. We’ve been getting a lot of contact from U.S. artists and Chinese artists, so we’re thinking about how to expand this. At the moment, male idol groups seem relatively easier in some ways. But we’re not limiting ourselves to that, and I think there’s a lot we can do with other artists too.” Lee said AMAZE’s edge is technology, built on two pillars: computer graphics based on Unreal Engine and AI. But he argued that, rather than competing with general-purpose image-generation AI, the key is accumulating VR-specific data and postproduction techniques. “Basically, we have two technical pillars,” he said. “One is CG-based technology like Unreal Engine used in games, and the other is AI. But AI should be viewed differently. AI that makes 2D video or images is closer to the domain of big companies like Google or OpenAI, and it’s not easy for an independent company to own that space — it’s expensive and competition is intense. But VR content is a different format. In this area, unique data for specific categories keeps accumulating, and learning based on that is how the technology advances. We have technology optimized for VR content. Using it, postproduction, image-quality improvement and interactive implementation can keep getting better. In VR, it’s important to raise image quality and immersion together. As that technology builds, audiences feel more like they’re on site, and we can add more spatial design and interactive elements. It matters that a single title does well, but we think it’s important to keep building that technology.” Asked why he believes the format will matter more in the future, Lee pointed to what he called an “irreplaceable experience.” “I think content keeps evolving,” he said. “The grammar we’ve built so far is centered on music concerts, but I don’t think this kind of new spatial experience will stay only with music. To get people to pay and come, it has to be a different experience from existing 2D content. We’re in an era of content overload, so it will only get harder to make people spend extra money on 2D content they can watch on a phone or TV. In the end, if it’s not more immersive and valuable, people won’t spend easily. Even in the AI era, I think what matters is an irreplaceable experience. We film real artists and create a real experience with sweat, time and a story inside it. AI can make fake performances, but I don’t think people will spend money on them in the same way.” Some viewers may still see the 33,000 won price and the VR format as barriers. Lee said he expects the market to move away from one-size-fits-all hits and toward sharper individual tastes. “I’m not sure how much longer traditional mass content will be possible,” he said. “There could be another case like ‘Wangsnam,’ but I don’t think it will repeat often. In the end, I think people spend money on experiences they truly love. Even if they spend 10,000 to 20,000 won on some content, they can spend much more on what they really like. I think we’re heading into an era of ‘micro interests’ — an era where people spend more deeply on what they truly like. Rather than focusing only on making each individual title a hit, we’re closer to building an environment and paradigm where more of those experiences can be made.” Lee said motion sickness — a frequent concern in VR — should be addressed differently depending on an artist and fan base. “Because each artist’s fan base differs in age and gender, the level of camera movement they can accept also differs,” he said. “Motion sickness happens because you’re still but the world moves. Taking that into account, if we later build dedicated theaters, we’ll make the chairs move in sync with the camera movement. We’re considering ways to make it less dizzying while delivering a more dynamic experience.” Ultimately, Lee said he is aiming for dedicated venues that go beyond putting on a headset. He said he wants to design the full experience so that, from the moment people enter, it feels like stepping into an artist’s world. “If we go in the direction I’m thinking, there would be motion chairs, and if we add elements like haptics matched to the music, the physical sensation could be much bigger,” he said. “It won’t end with just watching in a theater. We’ll likely design the space so people can enjoy things from the moment they arrive, and feel like they’re entering the artist’s musical world. This isn’t a far-future story — it’s at the stage of being discussed now.”* This article has been translated by AI. 2026-03-19 14:54:33