Durability in a well-packaged box is not much different to any other equipment
Well-packaged in a foam box, it's absolutely fine. As the best example of that, how do you think it got to you? Answer: shipped by air, loaded and unloaded by forklifts, put in the back of a truck to a warehouse, put in the back of a smaller truck to the shop - and then if you bought it online then you can also add whatever postal service got it to your house. At no step in that chain did it get any special treatment.
So if it's in the box it came in, or something equivalently well packed, then there is close to zero risk. Unless they literally run a truck over it, it's going to be fine.
I wouldn't recommend dropping them from waist height - but then I wouldn't recommend doing it with any mic! I've done it though and they've survived. Not that I didn't curse my own carelessness, of course.
But beware of humidity
Condenser mics do have one big problem which dynamic mics don't have, and that's humidity. A build-up of damp in the mic affects the element, causing crackling noises. This is an issue with hold luggage when you descend, because cold metal items will get condensation on them. Open the mic box when you get to the hotel and let it acclimatise before you use it.
It could also be an issue when you're recording, depending on where you are. If you're going to anywhere hot and humid, you're better not taking a condenser mic with you.
It's not your biggest problem though
A far greater risk is whatever you plug it into. All mics need a proper mic preamp, whether that's a mixer, an audio interface, or whatever. (And don't forget you need phantom power as well - some lower-end audio interfaces don't have it.) Packaging this for safe transport is going to be significantly harder, because it's larger than the mic and it's significantly more fragile. I certainly wouldn't bet on my mixer surviving a drop from waist height - even in a flight case, that's an experiment I have no interest in trying! Similarly your laptop or whatever you're using for recording.
Why that mic?
Large-diaphragm side-addressed mics have some advantages. They give a higher level, lower noise, and they usually sound good for vocals.
Where they definitely don't score well is picking up sounds other than what they're pointing at. Sometimes that's a good thing - if you're recording drums in a good ambient space, then the echoes off the walls in your overhead mics are part of what makes a killer sound. If you're in a well-damped studio or booth, then it doesn't matter either way. But if you're out in the open with environmental noise around you, or worse, if you're on stage, then they are entirely the wrong tool for the job.
They also tend to roll off the high end a bit. This is flattering for vocals, but for instruments you nearly always want all of that, otherwise the attack on picking or other transients will tend to be reduced. Dynamic mics like the SM57 have a similar problem, which the SM57 solves with a (horrible-sounding to me) huge artificial boost to its frequency response at about 10kHz.
For recording guitars and other instruments, it's much more common to use a small-diaphragm "end-fire" condensor mic. The frequency response is basically flat out to beyond hearing. More importantly though, their pickup response is much better at blocking off-axis noise. They're still generally more sensitive to off-axis noise than dynamic mics, but they're good enough that they get plenty of use on stage, and in other applications where it's important to have a good off-axis response (such as XY arrangements).
For a similar price to your Perception 420, I'd be looking at something like a Rode NT5, or maybe an SE Electronics SE8 if I had to save a few quid. (Don't be tempted to buy Behringer. Some Behringer kit is surprisingly decent - but their mics are not!)