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Adobe预计公司2023年年度销售额将低于预期：汇率变化影响增长_我的网站
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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."
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."
。 Adobe超过40%的销售额来自海外。该公司首席执行官Shantanu Narayen周二在向分析师发表报告时表示，经济环境影响了这一预测。
二 | "首席执行官的信心明显有所下降，" Narayen称，理由是客户对美国通胀、潜在经济衰退和俄乌冲突的担忧。Adobe说，这一预测不包括Adobe上个月宣布将以200亿美元收购的产品设计竞争对手Figma。
三 | 分析师们对收购价感到惊讶，这是一家私有软件公司有史以来的最高收购价，并预示着竞争对手正在大举进军，超出了此前的预期。自宣布与Figma达成交易以来，该公司股价已下跌21%，周二在纽约收于292.98美元。该公司在一份声明中表示，本财年的销售额将约为192亿美元。在截至2023年11月的这一期间，不包括一些项目的利润将高达每股15.45美元。分析师平均预计，该公司每股收益为15.53美元，营收为198亿美元。该公司还确认了其第四财季的销售和收益(不包括部分项目)预期为每股3.5美元，约合45亿美元。消息公布后，股价在盘后交易中上涨了约3.2%。媒体写道，Adobe的数字媒体部门(包括其标志性创意软件)的财政年度预测低于预期，强化了收购Figma“显示出对抗创意云业务增长放缓紧迫感”的论点。Adobe正在寻求扩大其基于网络的产品系列，以吸引更多的休闲用户和产品设计师。近年来这一市场吸引了Canva、Lightricks和Figma等公司。在周二早些时候举行的Adobe年度产品发布会上，该公司对其旗舰产品Photoshop图像编辑程序进行了改进，增加了更多协作工具、人工智能功能和网络功能。Narayen在发布会上大力宣传Adobe Express的发布，这是一款基于浏览器的快速媒体编辑解决方案。该公司表示，自推出以来该服务已有2000万注册用户。“我们可能来晚了一点，” Narayen，“但它就在这里，而且很棒。
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