While exploring different professional possibilities, the concept that resonates with me most deeply is the emerging role of the Performer-Creator. Although this term lacks a strict industry definition, its presence can be observed in fields such as voice-actor idols, virtual performers, VTubers, mixed-media TikTok artists, and other creators who combine performance with authored digital characters. The core idea is the fusion of real-world performance and original character creation—a hybrid role that feels closest to my long-term aspirations.

Throughout my life, I have enjoyed drawing and naturally developed along the animation pathway. Yet I have always felt a strong desire to stand onstage, to perform, and to be seen by an audience. Every year, I participate in cosplay stage events at conventions, and each time I experience a sense of energy and purpose that differs from the satisfaction of drawing alone. Discovering the performer-creator model helped me realise that I do not need to choose between animation and performance—they can coexist and even amplify each other.

Examples such as LoveLive! illustrate this structure clearly: characters are created first, voice actors give them personality, and performers then embody them on stage. However, the version of performer-creator that resonates with me is slightly different. I do not want to “play a character created for me”; instead, I want to create a character myself and also be the real-life embodiment of that IP. This approach is more aligned with independent creator culture, where personal identity and character identity interweave. It also aligns with the concept of owning one’s IP rather than being cast into an existing one.

In imagining this pathway, I envision designing a character—an idol persona connected to my illustrations and animations—and bringing this persona to life through dance, performance, modelling, music, and short animated stories. The animation becomes a tool to extend the character’s world, while performance makes the character emotionally accessible to audiences. This duality feels uniquely suited to my strengths and desires: my love of drawing and my longing for performance.

Reflecting on this pathway, I recognise its uncertainty. There are few established routes, limited academic resources, and almost no mainstream examples outside corporate virtual-idol systems. The workload is heavy, requiring skills in animation, content creation, performance, branding, and production. Yet the idea excites me more than any traditional role. It feels like a direction where I could combine all parts of myself instead of choosing only one.

Although I do not yet know the exact strategy, beginning with small animated clips, personal branding, and collaborative performance projects may be the first step. Ultimately, the performer-creator path represents the most personal, ambitious, and emotionally meaningful career goal I have explored so far.

Beyond studio work, I have a strong desire to create my own intellectual property (IP)—a character, a world, and a creative identity that belong entirely to me. While traditional jobs involve contributing to someone else’s vision, becoming an independent IP creator allows animation to function as a flexible tool rather than the final product. My long-term ambition is to develop a personal brand that expands into multiple forms: plush toys, accessories, apparel, illustration books, and original character merchandise.

I gained early exposure to this path through part-time work with Studio Enon and Muffinmaru, both of which operate within the independent creator ecosystem. Although my tasks were limited to assistant animation work, I observed their full workflow: building an audience through consistent illustration posts, developing short animations and comics, using emojis and stickers to strengthen character personality, and eventually producing merchandise and establishing partnerships. Their ability to control their brand direction was inspiring. Yet I also saw the intense workload they carried—sometimes one person taking the roles of artist, writer, animator, marketer, shop manager, and customer support. Witnessing this made me anxious about whether I could handle such demands alone.

Despite this fear, I have already begun designing my own characters and building the foundation for a small IP. Even if this path is uncertain and financially unstable compared to studio employment, it offers freedom that traditional pipelines cannot provide. The idea of creating something that reflects my identity—not merely my craft—feels meaningful. I want to make work that resonates emotionally with others, not only visually.

Reflecting on this pathway, I recognise both its potential and its risks. Independence means creative ownership, but it also requires discipline, time management, and strategic planning. Success in this field often relies on balancing consistent output with sustainable personal wellbeing. I realise I must develop skills in branding, social media communication, and small-scale business management—areas not typically taught in animation programmes. Still, the appeal of building a world that belongs entirely to me continues to motivate me.

In the long run, I envision a hybrid career: working in industry for stability while gradually growing my IP until it becomes sustainable. This dual structure allows me to maintain financial security while cultivating my personal creative identity. Ultimately, becoming an independent IP creator represents not just a career option but a path toward artistic autonomy.

In considering traditional employment roles within the animation and game industry, the path that appeals to me most is working as a 2D game character animator or character designer in either Shanghai or London. Compared with 2D animation studios where the work often focuses on narrative-drive shots, game animation emphasises expressive motion cycles, player interaction feedback, and character responsiveness. These elements align closely with my strengths in character design and action performance, and they naturally bring me joy. I have found that this type of work sustains my motivation and keeps my mental state light and positive.

During the summer, I interned at Boke City in Shanghai for two months. My main responsibility was producing idle animations for their mobile game “Supper Egg Duck” (in Chinese 超能下蛋鸭). The work flow involved layer separation in Photoshop, followed by rigging and animating in Spine, creating clean concrete insight into the production pipepling of game animation-how animators collaborate with designers, how assets move between departments, and how animation impacts gameplay and marketing. It also confirmed that I enjoy the rhythm and problem-solving nature of game animation more than traditional hand-drawn processes.

I am also a long-time admirer of Chucklefish, a London-based indie studio known for its pixel-based 2D games. Their animation approach—drawing frame-based movements directly in pixel art—requires precise timing, appealing poses, and strong understanding of body mechanics despite the simplicity of the style. The idea of animating characters directly into the game engine excites me, as it blends artistic intuition with interactive design. It represents the kind of creative environment I hope to join in the future.

Reflecting on this pathway, I see traditional employment as a stable and realistic foundation. It offers structured mentorship, teamwork, predictable income, and the chance to grow professionally inside an established production pipeline. More importantly, it matches my current capabilities and gives me space to refine fundamental skills. Although I have long-term dreams beyond studio work, traditional employment remains a practical and meaningful step in my early career. It allows me to deepen my craft while contributing to projects that reach large audiences. For now, this pathway feels both achievable and aligned with the type of work that I genuinely enjoy.

• Journal 1 – Traditional Employment Roles: 2D Game Character Designer/Animator

• Journal 2 – Independent IP Creator / Personal Brand Owner

• Journal 3 – Performer-Creator: Animation × Performance × Personal IP