Veteran anime creators gathered at Anime Expo 2026 to discuss the future of the industry after the announcement of Yoshitaka Amano's new series ZAN. Moriyasu Taniguchi was absent due to injury. The panel examined the history of mecha anime, referencing titles such as Armored Trooper Votoms and Fang of the Sun Dougram, and described challenges in rendering realistic military uniforms. Panelists included producer Hiroaki Ikegami, creator Ryōsuke Takahashi, producer Tatsuyoshi Matsumoto and mechanical director Tōru Yoshida. Takahashi recalled his early work on Votoms at age 22 and described a high degree of creative freedom. Yoshida discussed his involvement with Dougram, noting difficulties in visualizing wing movements and saying he now balances eight projects simultaneously. Matsumoto highlighted the influence of Takahashi and Yoshida on younger animators, naming Hiroyuki Okiura, Kazuchika Kise, Takahiro Kimura, Kazuaki Mōri, Masahide Yanagisawa, Seichi Nakatani and Asako Nishida as examples of artists trained under Taniguchi. He added that many of these creators remain unknown outside Japan. Takahashi reflected on the intensive schedules of the 1980s Golden Age, describing long hours that approached forced labor, and warned that excessive work can shorten lifespans, citing the early deaths of Tezuka, Ishinomori and Fujio at age 60. He observed that the number of anime series grew from four in 1963 to about 370 by year‑end, yet the total animator workforce has remained around 10,000, indicating a disconnect between production volume and staffing. Digitalization has made certain processes faster, but animators continue to spend similar time drawing, according to Yoshida, who said ZAN will emphasize hand drawing to demonstrate traditional techniques. Yoshida noted scheduling constraints, stating that he now works on eight titles rather than the fourteen he managed in his 30s. The speakers expressed concern that many young animators hesitate to pursue careers because of the demanding nature of the work, a view reinforced by a Japanese proverb linking passion to mastery. Yoshida advocated greater focus on drawing, whether hand or digital, while Matsumoto described the Golden Age as 1985‑1992, with Akira (1988) as a defining work that cannot be reproduced today. He added that the current generation of leading animators, now in their 40s and 50s, manages multiple titles, including the completion of ZAN, which Matsumoto finished while traveling on an airplane at 5 a.m. He said the project represents a final opportunity to bring together veteran creators and Taniguchi’s students for a collective showcase. The panel ended without a definitive outlook, leaving the industry’s future open as veteran creators prepare to present ZAN.