In the bustling office of Fuguang AI in Jinshui District, Zhengzhou, Henan, 26-year-old Liu Kaixuan sits focused at his computer, meticulously reviewing a grid of AI-generated images. To the uninitiated, his role as a "card drawer" might sound baffling, but it is a cutting-edge position born from the boom of AI-produced micro-dramas. The name comes from the random, card-like nature of the AI's image generation, where each result is a unique "draw." Liu's job is to sift through these visuals, selecting the perfect shots of ancient costume characters, dynamic fight scenes, or nuanced facial expressions to drag into his editing timeline. He is part of a new wave of specialized roles, including AI micro-drama directors and editors, that are reshaping the industry's employment landscape.

The rise of AI micro-dramas is a double-edged sword, creating a seismic shift in the job market. In the first quarter of this year alone, the industry launched approximately 128,000 micro-dramas, with AI-produced content making up over 95% of that output. This explosive growth has squeezed traditional live-action productions, forcing many companies to adapt or face decline. For Liu Kaixuan, this transformation was the catalyst for his own career pivot. Having previously worked as an executive director on live-action sets, he observed the industry's direction and made a strategic move to Fuguang AI, retraining as a card drawer. Despite the efficiency gains from automation, he notes that human oversight remains indispensable. Every step, from content selection to final correction, still requires a person's judgment, leading to the creation of numerous new roles. This trend is officially recognized; in 2025, the Ministry of Human Resources and Social Security listed "generative AI animation producer" as a new occupation, with the card drawer being a specialized subset. Data from third-party recruitment platforms underscores the demand, showing a 179% year-on-year increase in AI editor job postings this June, which in turn boosted traditional editing roles by 7%.

Li Dongjin, the head of Fuguang AI, who has deep roots in the industry, offers a reassuring perspective: "The growth of AI micro-dramas is creating far more new jobs than it is destroying." This sentiment is echoed in the emergence of the "one-person company" (OPC) model, a novel employment concept that is gaining traction. The OPC approach empowers an individual to act as a complete business unit, leveraging AI tools to independently handle everything from initial concept and production to marketing and operations. Li Letong, a former director at the Mu Wu Ren Film & Television Production Company, exemplifies this shift. Last year, he was managing a 30-person crew on location; this February, he left that role to register his own OPC and produce AI micro-dramas independently. He describes his experience as increasingly smooth, enjoying the freedom and a steady stream of orders. Fuguang AI has already incubated over 100 such companies nationwide, providing them with scripts, computing power, distribution channels, training, and mentorship. The parent company signs contracts, issues orders, and manages revenue sharing, treating these OPCs as independent business partners, not temporary workers. Li Letong emphasizes that while AI is a powerful tool, it only assists in production; an individual's creativity, market insight, and business acumen remain critical to success. The OPC model, though demanding, undeniably carves out a new path for employment.

Recognizing the potential of this new frontier, policy is quickly catching up. In April, the Zhengzhou High-tech Zone unveiled a ten-point plan to support the computing power industry, pledging up to 50 million yuan in subsidies over three years. This includes a maximum 30% rebate on computing costs for all enterprises, including OPCs, capped at 300,000 yuan per entity annually—a significant boon for individual entrepreneurs just starting out. Building on this, the city of Zhengzhou released a promotion plan in July for an "AI OPC Entrepreneurial Community," outlining a comprehensive framework to support everything from facility development to ecosystem cultivation. The initiatives extend beyond financial support into education and industry integration. In May, universities like Zhengzhou Software Vocational and Technical College partnered with Fuguang AI to co-design "order-based classes." These programs introduce students to AI micro-drama production from their freshman year, with second-year students receiving commercial orders from the company and third-years coordinating internships. Additionally, the Zhengzhou Employment and Entrepreneurship Service Center has initiated special dialogues on the short drama sector with six universities, including Henan University and Zhengzhou University of Aeronautics. Local company Riyue Xinyi Culture Communication has also established an industry-university-research base with Zhengzhou Normal University. These collaborative efforts are building a complete employment ecosystem for the micro-drama industry in Zhengzhou.

The impact is tangible. According to Xu Huabo, head of the Network Audiovisual Division at the Zhengzhou Bureau of Culture, Radio, Television, and Tourism, the city currently boasts nearly 40,000 workers in the micro-drama field, with a striking 70% of them being under 30 years old. This youthful workforce is finding new purpose and opportunity. As our interview with Liu Kaixuan concludes, a new work order pings on his computer, and he turns back to his screen with a smile. "A few months ago, I was worried about the impact of AI on my career," he reflects, "but now, things are better than ever. AI has opened a brand new door for me."