The term "card drawer" might conjure images of playing cards, but in the evolving landscape of artificial intelligence, it represents a cutting-edge profession. In a creative studio in Zhengzhou, reporter observed Liu Kaixuan, a card drawer, seated at his computer, his screen displaying AI-generated frames arranged like cards - close-ups of ancient costume characters, dynamic action sequences, and varying facial expressions. With a click, he selects an image, drags it into the timeline, and waits for the video to generate.
A card drawer is a new role within AI content creation, responsible for using AI tools to curate high-quality content and generate visual material. The name comes from the inherent randomness of AI-generated results, which feels akin to drawing cards from a deck. As AI-powered micro-dramas surge, the demand for card drawers and similar new positions is growing rapidly, with the concept of a "one-person company" emerging as a novel employment avenue. Some argue this trend threatens traditional actors, while others see it as a fresh career direction. The debate intensifies: is this an authentic employment pathway or just buzzword-driven hype, and does it create or destroy jobs?
The rise of AI micro-dramas has undeniably reshaped the industry landscape. In the first quarter of this year, approximately 128,000 micro-dramas were released across the sector, with AI-generated content accounting for over 95%. This expansion has squeezed the market share of traditionally filmed micro-dramas, pushing some companies to the brink. The shift in production methods has transformed the employment structure, and Liu Kaixuan is part of this transition wave. Previously an executive director for live-action shoots, he pivoted to become a card drawer at this AI company, adapting to the new industry direction.
Fortunately for Liu Kaixuan, while AI has greatly improved efficiency across various stages, every step still requires human operation, evaluation, and correction. This has spawned a host of new positions - AI micro-drama directors, card drawers, and editors. In 2025, the Ministry of Human Resources and Social Security officially recognized "generative AI animation production specialist" as a new occupation, with card drawing being a further specialization. Data from third-party recruitment platforms shows that in June, demand for AI editors surged by 179% year-on-year, while also driving a 7% increase in traditional editing roles. Currently, Liu Kaixuan's colleagues consist of graduates from relevant university programs or those passionate about the film industry, alongside professionals transitioning from traditional filmmaking.
Li Dongjin, the head of the AI studio, who has deep experience in this sector, asserts that the development of AI micro-dramas creates far more new opportunities than it eliminates.
The "one-person company" concept represents an innovative employment model. In the production chain, a new employment paradigm is taking root: the "one-person company (OPC)," where an individual acts as both the creator and manager. This operation follows a "person + AI employee" formula, allowing a single person to use AI tools to independently manage everything from product design to market operations. Li Letong, a former director at a film production company, previously worked with a 30-person crew. In February, he resigned to establish his own one-person company, independently producing AI micro-dramas. "With AI, a single individual can produce a micro-drama. The work is flexible, and orders are steady - I'm becoming more successful each day," he shares.
The AI studio has already incubated over a hundred such one-person companies nationwide. These studios provide scripts, computing power, distribution, training, and guidance, leaving the OPCs to focus solely on production. Li Dongjin clarifies that these are independent business entities, not temporary workers - they sign contracts, receive assignments, and share revenue. Li Letong adds that while AI aids production, personal creativity, market insight, and business acumen remain crucial, noting there are barriers to entry but also new career avenues opening up.
Policy and institutional support are beginning to align with these new roles. In April, the Zhengzhou High-Tech Zone introduced ten measures to support the computing power industry, planning to distribute up to 50 million yuan in subsidies over three years. Businesses, including one-person companies, can receive subsidies of up to 30% based on actual computing costs, with a maximum annual cap of 300,000 yuan per entity - a tangible boost for startups. In July, Zhengzhou further released a plan to promote AI OPC entrepreneurial communities, creating a comprehensive system covering infrastructure, model promotion, essential safeguards, and ecosystem development.
Collaboration between industry and education is also lending support. In May, institutions like Zhengzhou Software Vocational and Technical College partnered with the AI studio to establish "order-based classes," where the company designs AI content generation courses for students. Students begin learning AI micro-drama production from their freshman year, with the company providing commercial orders for sophomores and internships for juniors. Additionally, the city's employment and entrepreneurship service center has connected with six universities for targeted industry exchanges, and other companies have established industry-academia research bases. Zhengzhou is now constructing a full-chain employment ecosystem for the micro-drama sector, with nearly 40,000 practitioners, 70% of whom are under 30.
As the interview concluded, Liu Kaixuan received a new work order and returned to his screen. Reflecting on his journey, he smiles: "Months ago, I was worried about AI's impact, but now things have improved. AI has opened a new door for me."