More Popular Voice Actors Gaining TV Roles — But What Do Those Rumored to Be Fading Have in Common?

Popular voice actors like Mamoru Miyano are making their way into the television industry!

Mamoru Miyano (42), the popular voice actor known for roles such as Light Yagami in the anime DEATH NOTE, has announced his departure from the theater company Himawari, which he had been affiliated with since his days as a child actor. He is transferring to Ken-On, a major talent agency that also represents stars like Toshiaki Karasawa (62) and Haruna Kawaguchi (30).

“Ken-On has high hopes for him. He’s reportedly being treated like a VIP—with a private transport vehicle and three managers, including a chief and a site coordinator,” said a director from a production company. “People in the industry who’ve worked with Miyano generally welcome the move, but there are also concerns that his fees might go up or that he’ll no longer accept smaller jobs.”

In the October 2024 drama season, Mamoru Miyano’s performance as the eccentric “Kitakura-sensei,” also known as Keetakuraa, in the TV Tokyo series Wingman has been making waves—so much so that his wild portrayal is said to be stealing the spotlight from the lead.

Over the past few years, Mamoru Miyano has been appearing more frequently in high-profile productions, such as Hanzawa Naoki (TBS), and with the support of a major talent agency, that momentum is expected to accelerate. But what’s behind the growing trend of voice actors like Miyano regularly appearing in dramas, films, and variety shows?

“Voice acting is now a hugely popular profession. Many younger talents have dreamed of becoming voice actors since childhood. But for those in the mid-career or veteran bracket, a lot of them started as child actors or aspired to be performers or TV personalities before finding success in voice work. So they’re very open to offers from the acting or entertainment world. And if a voice actor has a passionate fanbase, they also have strong social media influence, which gives producers a lot of promotional advantages, including easier exposure through online news,” explained a producer from a key broadcasting network.

Currently airing on NHK’s morning drama Anpan, Kenjirou Tsuda (54) plays the editor-in-chief of the Kochi Shinpō monthly magazine. Known for his captivating “ikemen voice” in roles from The Prince of Tennis, Golden Kamuy, and Jujutsu Kaisen, his appearance is also drawing media attention.

“Now that catch-up streaming has become the norm, generating buzz is more important than ever. Even after a show airs, it can keep racking up views. So, casting celebrities from other industries—like voice actors who easily make headlines—is going to increase even more,” said an executive at a talent agency.

On daytime TV, voice actors are also being tapped. Subaru Kimura (35), the voice of Gian in Doraemon, appears on Hirunandesu! (NTV), while Kana Hanazawa (36), who voices Mitsuri Kanroji in Demon Slayer, is featured on Pokapoka (Fuji TV). A director from a production company notes, “The rise in voice actor casting reflects the growing number of young staff who are voice actor fans themselves.”

“With younger viewers turning away from traditional TV, networks are more willing to listen to younger staff to attract that audience. As a result, more popular voice actors are being suggested and selected.”

The push for voice actors to branch out into other fields is no longer just a passing trend—it’s part of an ongoing shift toward a more borderless entertainment landscape. However, the same TV network producer offers a word of caution:

“Many of these talents are being cast because of their status as popular voice actors. But some have started to prioritize outside gigs over their main work in voice acting. If they’re not careful, they risk losing demand from both industries. In drama, too, a unique voice can be a double-edged sword—unless the actor has the range to adapt to different roles, their performances can feel repetitive. And some try to make a strong impression in variety shows by acting like comedians, but depending on the format, that can backfire.”

Only those who understand and play to their strengths will survive.

—From “FRIDAY”, August 1, 2025, issue.