KUALA LUMPUR — Generative artificial intelligence (Gen AI) is significantly reshaping Malaysia’s creative industries, altering traditional roles and prompting both concern and adaptation among professionals. This shift is exemplified by illustrator Ain Moses, 25, who, after graduating in 2025 expecting to work as a graphic artist, found herself transitioning to the role of a prompt editor—inputting instructions into AI systems to generate images rather than creating artwork by hand.

A study by Malaysia’s Ministry of Human Resources in August 2025 estimated that AI could impact up to 620,000 workers across multiple sectors, including aerospace, manufacturing, energy, pharmaceuticals, and retail. However, its effect on creative fields has been pronounced but less formally measured. A June 2026 study from the Institute of Strategic and International Studies Malaysia, led by economist Calvin Cheng, identified multimedia design and advertising as among the most AI-exposed occupations. The data suggested degree-holders in these areas faced a 78 percent higher rate of job losses, with younger workers aged 25 to 34 particularly vulnerable.

Government statistics highlighted that employment losses in the creative sector—which encompasses advertising, marketing, and public relations—were exceptionally high. Between 2022 and 2025, there were 1,087 job-loss cases per 1,000 workers, reflecting repeated occurrences among individuals over that period.

Despite Gen AI’s mainstream emergence around 2022, when Ain was studying at Universiti Teknologi Mara, awareness of its potential remained limited within formal education. She recalled early warnings against using AI for assignments, but the technology’s quality at the time was subpar. Since then, adoption of AI tools has grown rapidly—including in the public sector, where government agencies increasingly utilize AI to generate posters, social media content, and infographics.

The use of AI is expanding beyond static visuals. In April, Malaysia’s national broadcaster RTM introduced AI-generated avatars—Aaron Lim and Che Rita—as public service announcers, adding to the radio station’s AI hosts Aria and Dio, launched in September 2025, intended to align with evolving audience preferences.

Political campaigns have also integrated AI-generated content extensively. The 2026 Johor state election saw parties deploying AI tools to produce campaign videos, social media posts, and music, often utilizing accessible platforms like the AI music generator Suno, eliciting mixed reactions from professionals in related fields.

Voice-over artists are among those most acutely affected. A survey conducted from November 2025 to February 2026 by Voice Guild Malaysia, representing 154 members, found that AI technology had eliminated up to 30 percent of jobs. English- and Chinese-language talents reported the steepest declines, with English-language performers facing reductions of more than half. Some practitioners credit their bilingual abilities for shielding them somewhat from job losses, as AI struggles with the nuances of the Malay language and its various dialects, sometimes confusing it with Indonesian, which deters clients.

Meanwhile, some companies are exploring ways to incorporate AI without sidelining human creativity. Proxifai, a startup founded in May 2026 by advertising veteran Daniel Yap, offers “digital twins”—AI-created replicas of real individuals that mimic voices, appearances, and mannerisms for use in content production. Yap described this approach as a creative collaboration where AI supplements human talent without replacing it, allowing performers to license their likenesses and potentially earn income remotely. Rights management, including deletion of digital replicas after contracts end, is integral to the model.

The potential of digital twins is underscored by projections that the global virtual influencer market may grow by about 40 percent annually and reach between US$46 billion and US$63 billion by 2030, encompassing software and related technologies.

Despite this optimistic framing, not all industry voices share the enthusiasm. Actor Redza Minhat expressed concerns that digital twins might strip artistic portrayals of their authenticity and emotional depth, emphasizing the importance of human experience in creative expression. Prime Minister Anwar Ibrahim’s recent launch of “PMX AI,” a chatbot representing his digital twin, faced backlash for awkward and inconsistent interactions, leading to its removal and casting further doubt on the technology’s current capabilities.

Amid these changes, Ain Moses’s experience illustrates a continuing demand for human-generated art. After sharing her AI-related story on Instagram, she attracted millions of views and increased her follower base substantially. This exposure led to international commissions, including illustrating a children’s book in Seattle and designing characters for a Los Angeles theme park. Ain has since left her publishing job to focus on these new opportunities.

She encourages others in creative fields not to fear AI but to find ways to coexist with it. “We live in an age where avoiding AI is impossible, but letting it dictate our lives is a choice,” Ain said.