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Chinese actress Luo Xinyuan played Huang Rong, a beloved wuxia heroine, at Hengdian World Studios. Photo: Courtesy of Luo XinyuanAs China's once-thriving live-action short drama industry looses speed due to the weight of AI-generated content and shrinking investment, a growing number of young actors who once starred in micro-dramas are moving to a different kind of stage: playing roles at cultural tourist attractions.
There, they play martial arts heroes and folk characters for live audiences, finding steadier income and real-time connection with viewers.
"Earning a living with your own hands is nothing to be ashamed of," actress Luo Xinyuan told the Global Times, even as many still hold out hope, waiting for good scripts.
The migration reflects a stark reality. In the first quarter of 2026, AI micro-dramas accounted for more than 95 percent of all micro-dramas released industry-wide, sharply squeezing the space for live-action productions.
By July, pay for leading actors had shrunk by over 50 percent, mid-tier actors by more than 80 percent on average, and daily wages for bottom-rung extras had fallen into double digits, China's CCTV reported.
Luo, a 21-year-old actress, experienced the downturn firsthand. She came to Hengdian, China's largest film and television production base, to shoot short dramas. "When I first arrived, there were many crews preparing in one hotel. Now sometimes there are only one or two, or none," she told the Global Times.
This May, she began playing the role of Huang Rong, a beloved wuxia heroine, at Hengdian World Studios. Her daily routine includes interactive stage competitions, parades and live audience interactions, working nearly 13 hours daily during the peak summer season.
"It's tiring but fulfilling," Luo said. "There are no scripts here. It's more about playing with visitors face to face." The change has eased her anxiety. "When I was filming, I kept worrying about the next job. Now I feel more stable."
Yin Jiaxuan, 25, took a different route. He started his career as a professional character performer at major theme parks, starring in immersive shows based on popular game and film IPs before transitioning to short dramas and online movies in mid-2024.
At the industry's peak, he moved seamlessly between sets.
"One crew wrapped, and the next was already arranged. I'd go straight to makeup the next day and start filming the day after," he said. Now he keeps both identities, taking film roles when they come and returning to scenic spots during holidays.
Yin rejects the stigma that screen acting is the only proper path.
"Screen acting is seen as the professional main road, while street-level performance is treated as amateur work. This invisible prejudice has trapped many performers," he said. Yet the tangible stage offers something the camera cannot.
"Performance comes from life and is higher than life - that is the core of film creation. But now I realize that beyond artistic expression, performance is about building human connections."
Both actors shared that theme park characters must do more than act; they must draw tourists into the scene, delivering emotional value on demand. Visitors come to the scenic spot not just to sightsee, but "to step into a fantasy."
Yin Jiaxuan Photo: Courtesy of Yin Jiaxuan

    Yin Jiaxuan Photo: Courtesy of Yin JiaxuanScenic areas are reaping the benefits. Media outlets have reported that in Kaifeng's Wansui Mountain Martial Arts City, Central China's Henan Province, tourists who interacted with these characters stayed an average of 2.3 hours longer per day.
Every extra 30 minutes of stay raises the probability of secondary consumption by about 25 percent, according to local data. Revenue jumped from about 80 million yuan ($11.86 million) in 2022 to 1.27 billion yuan in 2025.
While Hengdian World Studios has used characters to boost repeat visits, with annual pass holders returning multiple times "for a specific character."
Cultural scholar Yu Jinlong told the Global Times that the influx of trained actors is upgrading immersive tourism.
"In the past, theme park characters were mostly amateurs doing costume photos. Now professional actors can build complete characters, improvise and connect storylines, turning scenic spots into open-air theaters," he said.
Yu pointed out the uniqueness of China's character boom compared with global immersive entertainment.
"Unlike Western theme parks that rely heavily on mature imported IPs and standardized performances, China's scenic character culture is rooted in local wuxia (martial hero) history and folk customs, encouraging personalized improvisation. Many local scenic spots create hit immersive projects with small investments, forming a unique online-offline communication loop via social media," Yu said.
As China's cultural consumption shifts from sightseeing to participation, Yu said the young actors swapping short drama sets for scenic spots may be shaping a new hybrid career for the country's entertainment workforce.
For Luo, the recognition from visitors is a reward in itself.
"There are tourists who travel from far away just to see my performance. It feels good to be recognized," she said. "Actually, I'm still exploring too. But I think you should do what you love, as long as you have the ability."
。    週日早上，WNBA常規賽火熱進行，火花主場迎戰陽光。兩隊都已經徹底無緣今季季後賽，剩餘賽程都是例行公事，不過陽光的強力內線格蓮娜以及均場得分接近雙位數的艾莉亞愛華士都傷缺，實力大受打擊，今鋪不妨看好火花重返勝軌。

    　　火花在賽季上半段表現尚算交到功課，勝率維持在五成左右，但從七月中旬不敵夢想開始，火花陷入低潮，兩波六連敗同季後賽講拜拜。8月初交易走K.柏林，此舉更似是為火花步入重建作鋪墊。當家球星奧胡米克雖然已經36歲，但她今季均場還能交出16.7分和8.7個籃板，賽季至今只缺席過1場比賽，求戰欲強烈。而且火花今季最長連敗場次只有6場，目前正處於六連敗的她們肯定想盡快擺脫頹勢，今鋪面對排名倒數第二的陽光，火花誓要一雪前恥。

    　　陽光上仗23分的分差慘敗給王牌，今季勝場數還未達到雙位數。作客出戰的陽光更是令人擔憂，今季作客3勝14負，只有排名墊底的暴風比她們差，球隊目前也處於作客六連敗的泥潭當中，當中3場淨負至少20分。更讓陽光感到無力的是，球隊近2次走訪火花都輸波，兩場比賽她們都是上半場領先，下半場被翻盤。加上兩名主將的受傷，奧莉維婭奧杜達顯得獨木難支，陽光此行只能接受空手而回的事實。