In a bright office in Jinshui District, Zhengzhou, Henan, a professional known as a "card drawer" sits focused at their computer screen. Contrary to what the name might suggest—it has nothing to do with physical trading cards—this role is at the cutting edge of AI content creation.

Liu Kaixuan, a card drawer at Fuguang AI Company, explains that his job involves using AI tools to filter high-quality content and generate visual materials. The unusual job title comes from the random nature of AI image generation; results appear like cards laid out on a screen, and creators select the best ones. On his monitor, AI-generated scenes display in neat rows—close-ups of period-drama characters, dynamic action sequences, and varied facial expressions—which he clicks, selects, and drags into a timeline for video generation.

The explosion of AI-produced micro-dramas has created significant demand for emerging roles. This shift has led some to worry that AI is "smashing the rice bowl" of traditional actors, while others see it as opening a new door to employment. The reality on the ground appears to be far more nuanced, with the rise of "one-person companies" in the AI micro-drama space sparking debate about whether this is a genuine employment path or just a passing concept.

Industry data paints a clear picture of transformation. In the first quarter of this year, over 128,000 micro-dramas were released across the sector, with AI-generated content accounting for more than 95 percent. This rapid expansion has squeezed the market share of live-action micro-dramas, causing some traditional companies to struggle for survival. However, this production shift has triggered a corresponding evolution in employment structures rather than simply eliminating jobs.

Liu Kaixuan embodies this transition. Previously an executive director working on live-action shoots, he watched the industry's direction change and made the bold move to Fuguang AI. He considers himself fortunate that while AI has dramatically improved efficiency across every stage of production, each step still requires human operation, judgment, and correction—creating a wave of new positions ranging from AI micro-drama directors and card drawers to specialized editors.

In 2025, the Chinese Ministry of Human Resources and Social Security officially designated "Generative AI Animation Producer" as a recognized new occupation, with card drawing being an even more specialized subdivision. Third-party recruitment platform data shows that demand for AI editors surged by 179 percent year-on-year in June, while even traditional editing roles saw a 7 percent increase in demand—suggesting that AI's impact may be expanding the overall pie rather than shrinking it.

Li Dongjin, head of Fuguang AI Company, has observed the industry closely for years. He maintains that the development of AI micro-dramas has created far more "new rice bowls" than it has broken. His workforce currently splits into two main groups—recent graduates from relevant university programs or those passionate about the film industry, and experienced professionals transitioning from traditional filmmaking into the AI space.

A striking new employment model emerging from this ecosystem is the one-person company, or OPC. This innovative approach combines "individual + AI employees," allowing one person to independently complete the entire workflow from product design to market operations. Li Letong, who previously served as a director at Mu Wuren Film Production Company in Jinshui District, spent last year working with a crew of over 30 people on traditional shoots. In February, he resigned to register his own OPC, dedicated solely to producing AI micro-dramas. "With AI, a single person can indeed produce a micro-drama," he says. "The flexible work arrangements and steady flow of orders mean things just keep getting smoother."

Fuguang AI has already incubated over a hundred such one-person companies across the country. The company provides scripts, computing power, distribution channels, training, and guidance, while the OPCs focus purely on content creation. Li Dongjin clarifies the relationship: "Short-drama companies sign contracts with OPCs, issue orders, and share revenue. These one-person companies are independent business entities, not temporary workers."

Li Letong emphasizes that while AI assists with production, an individual's creativity, market judgment, and business acumen remain crucial. Though the barrier to entry is not insignificant, this model has nevertheless opened up a genuinely new path for employment.

Policy support is already catching up with these new career patterns. In April, Zhengzhou High-tech Zone released ten measures supporting the computing power industry, planning to distribute up to 50 million yuan in computing power subsidies over three years. Both enterprises and one-person companies can receive subsidies of up to 30 percent based on actual computing costs, with a yearly cap of 300,000 yuan per entity—substantial support for individual entrepreneurs in their early stages.

Building on this momentum, in July Zhengzhou issued the "AI OPC Entrepreneurship Community Promotion Plan," establishing a complete framework covering facility layout, model promotion, resource guarantees, and ecosystem development. Industry-education integration is also strengthening the talent pipeline. In May, institutions including Zhengzhou Software Vocational and Technical College partnered with Fuguang AI to create "order-based classes," where the company designs AI content-generation courses for students. Freshmen begin learning AI micro-drama production from their first year, sophomores receive commercial orders from the company, and juniors secure internships on campus.

The city's employment center has also connected with six universities including Henan University and Zhengzhou University of Aeronautics to conduct special exchanges on the short-drama industry. Additionally, Riyue Xinyi Cultural Communication has established a production-education research base with Zhengzhou Normal University. These coordinated efforts are constructing a comprehensive employment ecosystem across the entire micro-drama value chain in Zhengzhou.

The numbers reflect the significance of this shift. According to Xu Huabo, who oversees online audiovisual programming at Zhengzhou's Culture, Radio, Television and Tourism Bureau, the city now employs nearly 40,000 people in the micro-drama industry, with young people under 30 accounting for 70 percent of the workforce.

As the interview concluded, Liu Kaixuan received a new work order and returned to his screen with renewed energy. "Just a few months ago, I was worried about the impact of AI micro-dramas," he says with a smile. "But now things are actually going better for me. AI has opened a new door."