Difference between revisions of "Interviews"

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File:Podcast at Gosho Aoyama’s Home.JPG|Podcast at Gosho Aoyama’s Home
 
File:Podcast at Gosho Aoyama’s Home.JPG|Podcast at Gosho Aoyama’s Home
 
File:Shonen Sunday Speech Bubbles.JPG|Podcast Announcement  
 
File:Shonen Sunday Speech Bubbles.JPG|Podcast Announcement  
 +
File:Shonen Sunday Speech Bubbles Podcast.jpeg|Podcast image
 
</gallery>
 
</gallery>
  
Line 1,020: Line 1,021:
  
  
−
'''Gosho Aoyama – Shonen Sunday Speech Bubbles Podcast Appearance'''<br>
+
'''Episode 49: Gosho Aoyama Appears! The Story Behind the Moment That Iconic Detective Conan Scene Was Born!?'''<br>
 
'''Podcast:''' Shonen Sunday Speech Bubbles (66th Anniversary Project)<br>
 
'''Podcast:''' Shonen Sunday Speech Bubbles (66th Anniversary Project)<br>
 
'''Publisher:''' Weekly Shonen Sunday (Shogakukan)<br>
 
'''Publisher:''' Weekly Shonen Sunday (Shogakukan)<br>
−
'''Guest:''' Gosho Aoyama
Hosts: Kenta Otsuka (editor), Katsumasa Ogura (former Detective Conan editor), Kyosuke Domoto (current Detective Conan editor)<br>
+
'''Guest:''' Gosho Aoyama
<br>
 +
'''Hosts:''' Kenta Otsuka (editor), Katsumasa Ogura (former Detective Conan editor), Kyosuke Domoto (current Detective Conan editor)<br>
 
'''Location:''' Recorded at Aoyama’s residence/workspace<br>
 
'''Location:''' Recorded at Aoyama’s residence/workspace<br>
 +
 +
 +
'''Summary of Key Points'''<br>
  
  
 
'''Overview'''<br>
 
'''Overview'''<br>
−
Gosho Aoyama appeared as a guest on the Shonen Sunday editorial podcast Shonen Sunday Speech Bubbles. The episode was recorded at his home, where he regularly conducts manga and film meetings. This marked Aoyama’s first appearance on an audio-only program.<br>
+
Gosho Aoyama appeared as a special guest on Shonen Sunday Speech Bubbles as part of the magazine’s 66th anniversary project. The episode was recorded at his home, where he regularly conducts manga and film meetings. This marked his first appearance on an audio-only program.<br>
−
The discussion covered:
+
The discussion covered:<br>
−
* His creative process
+
* Nationwide research stories
−
* Field research for Detective Conan
+
* Creative structure and dialogue techniques
−
* Editorial interactions
+
* Editorial relationships across decades
−
* Film production timelines
+
* Film production timelines and coordination
 
* Early career experiences
 
* Early career experiences
−
* Current work status
+
* Daily routine and habits
  
  
−
'''Research & Field Investigation'''<br>
+
'''Nationwide Research & Field Investigation'''<br>
−
Aoyama discussed his approach to on-site research for Detective Conan, emphasizing the importance of personally visiting real-world locations used in the manga.
+
A major highlight of the episode was Aoyama’s entertaining stories about conducting in-person research across Japan.
  
  
−
'''Notable anecdotes: Hokutosei Sleeper Train Case''' <br>
+
'''Hokutosei Sleeper Train Case'''<br>
−
When planning a case involving the Hokutosei sleeper train, Aoyama secured a cancellation reservation and boarded the train for reference.
After photographing the necessary structural details for the trick (involving a compartment and window setup), he disembarked earlier than expected once sufficient material had been gathered. This story about his nationwide field research—including the Hokutosei case—was described as particularly entertaining.<br>
+
While planning a case involving the Hokutosei sleeper train, Aoyama secured a cancellation reservation and boarded the train together with his editorial team.<br>
 +
* They traveled from Tokyo toward Saitama.
 +
* After photographing the key structural elements needed for the trick (bed compartment and window mechanism), Aoyama concluded that further travel was unnecessary.<br>
 +
* He decided to disembark early once sufficient reference material had been gathered.
 +
The conductor, surprised that passengers would get off at such an unusual location, asked if they were alright, noting that almost no one exits there.
 +
Aoyama later remarked that they could have continued to Hokkaido for ramen, but instead chose to return early in order to watch a Giants baseball game.
 +
The trick in question involved opening both the window and the bed compartment door, causing the body to fall from the train.
 +
This anecdote—particularly the efficiency of boarding a long-distance train only to leave shortly after—was described as especially humorous and memorable.<br>
 
*See [[The_North_Star_No.3_Express_Leaving_Ueno |The North Star No.3 Express Leaving Ueno]]
 
*See [[The_North_Star_No.3_Express_Leaving_Ueno |The North Star No.3 Express Leaving Ueno]]
  
  
−
'''Shinkansen Scene (Amuro & Mysterious Old Man with Bird)''' <br>
+
'''Shinkansen (bullet train) Scene (Amuro & Mysterious Old Man with Bird)'''<br>
−
Aoyama revealed that a scene in which Amuro Tooru and a mysterious elderly man pass each other on the Shinkansen was initially conceived differently.
+
Aoyama revealed that the scene in which Amuro Tooru and a mysterious elderly man (the Hawk owner) pass each other was originally conceived differently.
−
Originally, the setting involved an elevator. The concept centered on characters briefly seeing one another through glass while passing between floors. After evaluating practical realism and dramatic impact, the idea was changed to the Shinkansen version instead.
+
* The initial idea involved a glass elevator where characters briefly see one another while passing between floors.
−
This illustrates how location concepts may evolve significantly during the storyboarding stage.<br>
+
* Aoyama even visited editor Kyosuke Domoto’s apartment because it had this type of elevator.
 +
However, the idea was ultimately changed:
 +
* The scene was moved to the Shinkansen.
 +
* Aoyama explained that on a high-speed train, you cannot clearly see people inside the passing train, which added a more realistic and subtle effect.
 +
This demonstrates how scene concepts evolve based on realism and narrative impact.
 
*See [[The_Reason_He_Became_a_Butler |The Reason He Became a Butler]]
 
*See [[The_Reason_He_Became_a_Butler |The Reason He Became a Butler]]
  
  
−
'''Other Research Locations Mentioned:'''<br>
+
'''Additional Research Locations'''<br>
 +
Aoyama personally visited numerous locations for reference, including:
 
* Tokyo Tower
 
* Tokyo Tower
 
* Tokyo Skytree
 
* Tokyo Skytree
−
* Abeno Harukas
+
* Abeno Harukas (including rooftop access)
 
* Mount Takao
 
* Mount Takao
−
* The Sherlock Holmes Museum (London arc research)
+
* British Museum (London arc research)
−
Aoyama is known to visit locations personally for accuracy, even for short reference sessions.
+
* Big Ben (visited during renovation)
 +
He is known for verifying spatial layouts firsthand, even for brief visits.
 +
 
 +
 
 +
'''Mount Takao Incident (Professional Documentary)'''<br>
 +
During the filming of the documentary program Professional, Aoyama visited Mt. Takao.
 +
* High school students recognized him and asked for photos and autographs.
 +
* Editors accompanying him were surprised by the encounter.
 +
Despite using the ropeway for part of the ascent:
 +
* Aoyama still struggled significantly while climbing.
 +
* The group chose the “women’s route” due to the steepness of the “men’s route.”
 +
The physical exhaustion he experienced was later reflected in Detective Conan, particularly in Mouri Kogoro’s mountain-climbing fatigue (Chapter 1116).
 +
*See [[The_Crimson_Skeleton_of_Mt._Washio |The Crimson Skeleton of Mt. Washio]]
  
  
 
'''Creative Process'''<br>
 
'''Creative Process'''<br>
−
'''Reverse Construction:''' Aoyama sometimes begins with a specific climactic scene and works backward to build the narrative structure logically toward it.
+
'''Reverse Construction:''' Aoyama sometimes begins with a key scene and constructs the story backward.<br>
 +
Example:
 +
* The school trip confession scene (kiss) was conceived first during a location visit.
 +
* He then built the narrative steps leading to that moment.
 +
*See [[The_Scarlet_School_Trip |The Scarlet School Trip]]
  
  
−
'''Dialogue Development'''<br>
+
'''Dialogue Creation'''<br>
−
'''When struggling with dialogue, he:'''<br>
+
'''When struggling with dialogue, Aoyama:'''
 
* Repeats lines aloud multiple times
 
* Repeats lines aloud multiple times
−
* Adjusts rhythm and wording verbally
+
* Adjusts phrasing and rhythm
−
* Waits for a line to “click”
+
* Waits until the line “clicks”
−
He mentioned that when a particularly strong line emerges, he occasionally feels a strong sense of creative satisfaction.
+
He occasionally mutters to himself while thinking.<br>
 +
<br>
 +
'''“I’m a Genius” Moments'''<br>
 +
Aoyama admitted that when he creates a particularly strong line, he sometimes quietly says:
 +
'''“I’m a genius.”'''<br>
 +
Examples:<br>
 +
* While revising a movie storyboard during a meeting
 +
Otsuka stated that while working on a film storyboard, Aoyama revised a scene’s dialogue, then quietly said, “I’m a genius.” He noted that this reflects a manga artist’s creative process, where a strong idea feels like a remarkable achievement.
 +
* While eating at a restaurant after coming up with a Haibara sunset line
 +
In one instance, his visible excitement caused restaurant staff to check if he was okay.<br>
 +
'''Haibara Line:''' (Sunset… the final cry of the sun… that dyes the world blood red… I wonder how many more times I’ll get to see.. that melancholy color…) 
 +
*See [[Volume_38#File_386_-_Stairs_in_the_Setting_Sun |File 386]]
 +
 
  
 +
'''Dimensional Sniper (Film 18) – Manga Integration'''<br>
 +
Detective Conan: [[Dimensional_Sniper |Dimensional Sniper]] (2014)
  
−
'''Editorial Interaction'''<br>
+
Former editor Katsumasa Ogura discussed the synchronization between the manga and the film’s release.
−
Aoyama stated that he observes editors’ reactions while they read his name storyboards, though he pretends not to. Genuine reactions—laughter, surprise, or critique—are valued.<br>
+
Key points:
−
He also discussed how his storyboarding style has evolved:<br>
+
* The manga chapter featuring Okiya Subaru and Amuro Tooru was released immediately after the film.
−
* Early career: More collaborative, looser storyboards, some dialogue undecided.
+
* It strongly implied that Amuro was attempting to expose Okiya’s true identity as Shuichi Akai.
−
* Current style: Fully structured, tightly written storyboards with detailed expressions and finalized dialogue.
+
* The chapter used a major headline: “What is the truth?”
 +
* It emphasized that the story continued the excitement beyond the film.
 +
Ogura explained:
 +
* The film was a major success.
 +
* The editorial team aimed to position Shonen Sunday as the most exciting place to follow the story.
 +
* The manga and film were deliberately linked to enhance reader engagement.
 +
Aoyama commented that:
 +
* This was one of the first major collaborations between the manga and the film’s narrative momentum.
 +
* Okiya Subaru’s use of a voice changer with Shuichi Ikeda’s voice when saying “Roger” in the film was particularly impactful.
 +
At the time, rumors that “Okiya = Akai” were widespread, and the magazine successfully amplified that excitement.
  
  
−
'''Film Production & Timeline Complexity'''<br>
+
'''Editorial Interaction & Relationships'''<br>
−
Aoyama participates in film meetings well in advance of release. Because interviews, current productions, and future planning overlap, he occasionally finds timelines confusing, particularly when multiple years’ projects are in development simultaneously.
+
* Aoyama observes editors’ reactions when reading drafts, while pretending not to.
 +
'''Notable editor reaction:'''<br>
 +
* Editor Kuramoto was described as the most expressive, reacting strongly to humor and surprises.
 +
<br>
 +
'''Editorial Conversations'''<br>
 +
'''With Ogura:'''
 +
* Discussions included manga, baseball (Giants vs. BayStars), films, and TV dramas.
 +
* They exchanged recommendations, sometimes influencing story ideas.
 +
Example:
 +
* The Conan special The Disappearance of Conan Edogawa was inspired by the film [[Wikipedia: Key of Life|Key of Life]] (suggested by Ogura).
 +
* See [[The_Disappearance_of_Conan_Edogawa:_The_Worst_Two_Days_in_History |The Disappearance of Conan Edogawa: The Worst Two Days in History]]
 +
'''With Domoto:'''
 +
* Conversations include anime, dramas, and recently:
 +
* The Pokémon card app game (“PokéPoké”), where they exchange cards to complete collections.
 +
 
 +
 
 +
'''Daily Routine (As Shared in Episode)'''<br>
 +
'''Aoyama described a recent day:'''
 +
* Playing Pokémon Sleep upon waking
 +
* Playing the Pokémon card app and checking trades
 +
* Playing Kantai Collection (resource management and training)
 +
* Watching sports highlights
 +
 
 +
 
 +
'''Motivation & Work Habits'''<br>
 +
Aoyama stated:
 +
* He does not easily enter work mode, even as a professional.
 +
* He often lies down on a sofa to relax before starting.
 +
* When an idea comes, he moves to his desk immediately.
 +
* He may walk around or rewatch favorite scenes to raise motivation.
 +
He currently enjoys works related to the [[Wikipedia: Brothers in Arms (TV series)|Brothers in Arms (TV series)]].
 +
 
 +
 
 +
'''Film Production Timeline'''<br>
 +
After interviews (such as those in Conan movie magazines), planning for future films continues immediately.<br>
 +
Aoyama participates in:
 +
* Current film discussions
 +
* Future film planning (often years ahead)
 +
This overlapping schedule can create timeline confusion.
  
  
 
'''Early Career'''<br>
 
'''Early Career'''<br>
−
Before Weekly Shonen Sunday, Aoyama initially submitted work to Weekly Shonen Magazine. He was advised to either change his art style or move to another magazine. He chose to submit to Sunday instead.
+
Aoyama initially submitted to Weekly Shonen Magazine:
−
His first Sunday editor left a strong impression for being supportive rather than overly critical.
+
* He received positive feedback but was told to change his art style or move elsewhere.
 +
* He chose to submit to Shonen Sunday instead.
 +
His first Sunday editor was supportive, which left a lasting impression.
  
  
−
'''Current Work Status (As of Broadcast Day)'''<br>
+
'''Early Serialization Experience'''<br>
−
According to the same day’s Sunday no Fukidashi (Shonen Sunday Speech Bubbles segment):<br>
+
'''During 3rd Base Fourth:'''
−
* Aoyama is currently working on storyboards.
+
* The first chapter was heavily revised by editor Makoto Oshima.
−
* He described the current story as “a complicated case”.
+
* Excessive revisions made the story difficult to understand.
 +
* Aoyama returned to the original draft and added a training scene.
 +
* The result improved significantly, surprising even Aoyama.
 +
 
 +
 
 +
'''Editorial Reaction Observation'''<br>
 +
Aoyama watches editors’ reactions while pretending not to.<br>
 +
He values:
 +
* Genuine laughter
 +
* Surprise
 +
* Honest critique
  
  
 
'''Additional Notes'''<br>
 
'''Additional Notes'''<br>
−
* The episode was recorded at Aoyama’s home.
+
* Aoyama drew a large Conan illustration on the wall of Eiichiro Oda’s home after Oda requested a wall drawing instead of exchanging standard signed Illustration.
−
* Numerous signed shikishi from fellow creators and celebrities were mentioned.
+
* The episode was recorded at Aoyama’s home/workspace.
−
* The new Detective Conan theatrical film was promoted.
+
* Numerous signed Illustration from prominent creators and celebrities were mentioned.
−
* The 30th anniversary Conan exhibition was referenced.
+
* This was Aoyama’s first audio-only media appearance.
 +
</spoiler>
 +
 
 +
=== M29 Interview with the Voice Cast, Screenwriter, and Director ===
 +
'''Date:''' March 2, 2026 <br>
 +
'''Published in:''' Cinema Square vol 158 Magazine
 +
<spoiler>
 +
'''Source:''' [https://imgur.com/a/3CGi25n Raw]
 +
<div class="toccolours mw-collapsible mw-collapsed" style="overflow:auto;">
 +
'''Raw:'''
 +
<div class="mw-collapsible-content">
 +
[[File:Cinema Sqaure 2026 Interview 1.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026 Interview 3.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 2.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026 Interview 5.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 4.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026 Interview .jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 6.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026 Interview 8.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 7.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026 Interview 10.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 9.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026 Interview 12.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 11.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026 Interview 14.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 13.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026 Interview 16.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 15.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026 Interview 18.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 17.jpg|150px]]<br>
 +
[[File:Cinema Sqaure 2026.jpg|150px]]
 +
[[File:Cinema Sqaure 2026 Interview 19.jpg|150px]]
 +
</div>
 +
</div>
 +
</spoiler>
 +
 
 +
=== Shonen Sunday Speech Bubbles: Gosho Aoyama x Rumiko Takahashi ===
 +
'''Date:''' March 10, 2026<br>
 +
'''Published in:''' Shonen Sunday Speech Bubbles Podcast
 +
 
 +
<spoiler>
 +
'''Source:''' ([https://x.com/shonen_sunday/status/2031384613457998290?s=20 Link])<br>
 +
 
 +
 
 +
<gallery widths=95px>
 +
File:Shonen Sunday Speech Bubbles.JPG|Podcast Announcement
 +
File:Shonen Sunday Speech Bubbles Podcast.jpeg|Podcast image
 +
</gallery>
 +
 
 +
<br>
 +
'''Translated by:''' [[User:Manvel|Manvel]]
 +
 
 +
 
 +
'''Episode 51: Special Talk – Rumiko Takahashi × Gosho Aoyama! A rare discussion on manga theory you can only hear here!?'''<br>
 +
'''Podcast:''' Shonen Sunday Speech Bubbles (66th Anniversary Project)<br>
 +
'''Publisher:''' Weekly Shonen Sunday (Shogakukan)<br>
 +
'''Guest:''' Gosho Aoyama and Rumiko Takahashi <br>
 +
'''Hosts:''' Kenta Otsuka (editor)
 +
 
 +
 
 +
'''Summary of Key Points'''
 +
 
 +
 
 +
'''Overview'''<br>
 +
* The discussion was informal, with Otsuka noting he felt more like a fan than an editor.
 +
* Takahashi participated partly out of interest in visiting Aoyama’s home.
 +
* Aoyama mentioned that other creators occasionally visit his home, though Takahashi had not done so previously.
 +
 
 +
 
 +
'''Personal Interactions'''
 +
* Aoyama and Takahashi stated they rarely speak outside group settings.
 +
* Their first notable interaction occurred when Aoyama won a manga award for Yaiba, where Takahashi presented him with flowers.
 +
* Even when meeting with Mitsuru Adachi, they do not usually discuss manga in depth.
 +
 
 +
 
 +
'''Baseball Discussions'''
 +
* Their conversations are mainly about baseball.
 +
* Each supports a different team:
 +
** Takahashi → Hanshin Tigers
 +
** Aoyama → Yomiuri Giants
 +
** Adachi → Yakult Swallows
 +
 
 +
 
 +
'''Art Style and Tools'''
 +
* The two rarely discussed tools until recently.
 +
* Aoyama switched from G-pens to Pigma fineliners due to hand pain.
 +
* Both noted the decline of traditional materials such as screentones.
 +
'''Analog vs Digital'''
 +
* Aoyama stated he cannot comfortably draw on tablets and prefers paper.
 +
* Takahashi explained she struggles with final corrections digitally, making her prefer analog.
 +
* Both favor traditional drawing and coloring.
 +
 
 +
 
 +
'''Early Impressions'''
 +
* Aoyama read Urusei Yatsura in his youth.
 +
* Takahashi described Aoyama’s early work as modern and stylish, but did not expect Detective Conan’s massive success.
 +
* Both confirmed there was no rivalry.
 +
 
 +
 
 +
'''Views on Each Other’s Work'''
 +
* Aoyama praised Maison Ikkoku and stated he strongly related to it.
 +
* He also commented that depicting the female body (such as the chest) in a natural, non-vulgar way is something he believes female manga artists excel at, and that it would be difficult for him to replicate without it appearing inappropriate.
 +
* Takahashi expressed strong admiration for Aoyama’s writing, particularly:
 +
** The Momiji–Iori flashback (File 1114), noting how it made Momiji—who was previously portrayed as a rival trying to come between Kazuha and Heiji, almost like an antagonistic figure—become significantly more likable
 +
 
 +
 
 +
'''Writing Process'''
 +
* Aoyama stated ideas may originate from:
 +
** A trick
 +
** A case
 +
** Or both simultaneously
 +
* He also revealed:
 +
** He once changed the culprit mid-story because he liked the character.
 +
** When introducing Vermouth, he intentionally kept it secret to surprise the editors and see their reactions.
 +
 
 +
 
 +
'''Advice to New Creators'''
 +
* Aoyama emphasized that:
 +
** Art is more important than story at the entry point, because it determines whether readers will pick up the manga.
 +
** Even if the story is excellent, it has no impact if readers never start reading.
 +
* Both agreed that:
 +
** Story is ultimately essential,
 +
** But art functions as the gateway.
 +
* Takahashi described art as the “face” or “brand” of a work.
 +
 
 +
 
 +
'''Character Design and Changes'''
 +
* Aoyama noted that character designs evolve over time (e.g., Ran’s hairstyle becoming sharper).
 +
* He also adjusts characters based on adaptation influences (e.g., Mitsuhiko becoming softer after the anime portrayal).
 +
 
 +
 
 +
'''Character Popularity'''
 +
* Aoyama mentioned unexpected popularity for:
 +
** Haibara Ai
 +
** Amuro Tooru
 +
* He stated that:
 +
** These characters are easy to write
 +
** He may limit their appearances to maintain Conan as the central protagonist
 +
 
 +
 
 +
'''Role of Editors'''
 +
* Editors are considered essential first readers.
 +
* Aoyama incorporates their feedback, including:
 +
** Expanding characters they favor
 +
** Developing story ideas they suggest
 +
* Takahashi emphasized the importance of honest and direct criticism.
 +
 
 +
 
 +
'''Longevity and Motivation'''
 +
* Aoyama stated he never gets bored of Conan due to the endless variety of tricks.
 +
* Takahashi attributed long serialization to consistent daily work.
 +
* Both agreed that consciously aiming for longevity is unnecessary.
 +
 
 +
 
 +
'''Changes Over Time'''
 +
* Aoyama noted a specific artistic change:
 +
** He began paying attention to drawing fingernails clearly in order to distinguish between bare hands and gloved hands, which is important in detective manga for determining the presence of fingerprints.
 +
* Takahashi stated that stylistic changes occur naturally over time.
 +
 
 +
 
 +
'''Research and Daily Life'''
 +
* Aoyama conducts research by visiting stores such as:
 +
** Don Quijote
 +
** Home centers
 +
** Supermarkets
 +
* He purchases both everyday items and materials related to trick construction.
 +
 
 +
 
 +
'''Final Messages'''
 +
* Aoyama:
“It has become a long-running work, so please continue supporting it without getting tired of it.”

 +
* Takahashi:
“My current manga MAO will soon receive an anime adaptation on NHK, so please check it out.”

 +
* Takahashi also stated that she enjoyed visiting Aoyama’s home.
 +
</spoiler>
 +
 
 +
=== Takahiro Okura M29 Interview ===
 +
'''Date:''' March 10, 2026 <br>
 +
'''Published in:''' Animage Magazine, April 2026 Issue
 +
<spoiler>
 +
'''Source:''' [https://imgur.com/a/dt7q49T Raw]
 +
<div class="toccolours mw-collapsible mw-collapsed" style="overflow:auto;">
 +
'''Raw:'''
 +
<div class="mw-collapsible-content">
 +
[[File:Animage 2026 Interview.jpg|150px]]
 +
[[File:Animage 2026.jpg|150px]]
 +
</div>
 +
</div>
 +
</spoiler>
 +
 
 +
=== Gosho Aoyama Shu-ichi Interview 2026 ===
 +
'''Date:''' March 15, 2026<br>
 +
'''Published in:''' Broadcast live on Nippon TV
 +
 
 +
<spoiler>
 +
'''Source:''' ([https://www.ntv.co.jp/shu-ichi/articles/583ylbrr88una4fu071.html Link]) - ([https://x.com/ZIRISH7/status/2033630670082175144?s=20 Video])
 +
 
 +
 
 +
<gallery widths=95px>
 +
File:Aoyama and Igari and Sato.JPG|Soya Igari & Gosho Aoyama & Rina Sato
 +
File:Shuichi Live 2026 2.JPG
 +
File:Shuichi Live 2026.JPG
 +
</gallery>
 +
 
 +
<br>
 +
'''Translated by:''' [[User:Manvel|Manvel]]<br>
 +
'''Special Thanks to [https://x.com/zirish7?s=21 @ZIRISh7] for the help'''
 +
 
 +
<br>
 +
'''Key points from the video'''
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 +
 
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In the March 15, 2026 broadcast of Shu-ichi, Gosho Aoyama appeared in a special segment connected to the 30th Anniversary Detective Conan Anime Exhibition.
 +
During the interview, '''he was asked 3 questions.'''
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 +
*First, regarding the locked-room trick from [[Episode 129]], which involved a cassette-tape answering machine, Aoyama said that he had personally tested whether the tape would really rewind after being stretched and then played back. He added that such tricks are much harder to use today because the spread of smartphones has made traditional alibi-based mysteries more difficult to construct, as people now constantly carry cameras and can easily record evidence. He also noted that devices such as dashcams are useful, but further reduce the feasibility of older trick-based setups. The segment additionally stated that one of the program’s hosts, Reina Sato, said that Aoyama had described Detective Conan as a '''“Romantic Comedy Murders” 殺人ラブコメ'''
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*For the second question, Aoyama was asked whether fans would see more stories focusing on Shinichi Kudo and Ran Mouri after their relationship became official. He gave a teasing reply, saying that viewers would probably get to see that and should wait for it.
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*For the third question, Aoyama was asked whether he had experienced any major crises or difficult periods during the series’ 30-year run. He replied that one of the hardest times was when he fell ill. Although he underwent treatment and recovered, he continued working during his hiatus, including while he was hospitalized. He recalled that nurses were surprised to see him still drawing, and that one nurse scolded him for staying up late to play games, reminding him that children across Japan were waiting for him and telling him that he needed to get some sleep.
 
</spoiler>
 
</spoiler>
  

Latest revision as of 09:03, 2 April 2026

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From Gosho
  Interviews with Gosho
  Sherry's soliloquy
  Animal Crossing promotional hints
  Postcards to fans
  Super Digest Book Questions
  Let's Talk Day Events
  "Truth in ..." Keyframe Booklets
  Questions from Shonen Sunday
From others
  Next Conan's Hint
  Joke Card
  Eyecatch
  Staff's Secret Talk
v • d • e

This page lists all interviews in relation with Detective Conan.

1994

Newtype Magazine "Comic Now" Interview

Date: August 9, 1994
Published in: Newtype Vol. 10, no. 9 (Cover date September 1994)


1997

Detective Conan's Mystery Museum Interview

Date: June 10, 1997


Detective Conan's Mystery Academy Interview

Date: September 10, 1997


1999

Gosho Aoyama's Masterpiece Theatre (Favorite Movies)

Date: April 14, 1999
Published in: Weekly Shonen Sunday, Vol. 41, no. 21 (Cover date April 28, 1999)


2003

Complete Color Works Interview Aoyama x Takayama

Date: May 1, 2003

Conan Drill Official Book Interview

Date: May 1, 2003
Published in: Conan Drill Official Book


2004

Love Conan Interview

Date: March 31, 2004

Conan Vs Kaitou Kid Perfect Edition

Date: April 2, 2004
Published in: Detective Conan vs. Kaitou Kid: Perfect Edition (p. 169)


2005

Unknown Fan Gathering

Note: In a later interview (Gosho Aoyama Interview about the Boss 2017), Gosho denied ever saying this and his editor too said that such an interview never happened. This turned out to be a hoax.


2006

Main article: Interviews in 2006

2007

Main article: Interviews in 2007

2008

Main article: Interviews in 2008

2009

Main article: Interviews in 2009

2010

Main article: Interviews in 2010

2011

Main article: Interviews in 2011

2012

Main article: Interviews in 2012

2013

Main article: Interviews in 2013

2014

Main article: Interviews in 2014

2015

Gosho Aoyama's Surgery

Date: March 18, 2015
Published in: Weekly Shonen Sunday Issue 16/2015

2016

Main article: Interviews in 2016

2017

Main article: Interviews in 2017

2018

Main article: Interviews in 2018

2019

Main article: Interviews in 2019

2020

Main article: Interviews in 2020

2021

Main article: Interviews in 2021

2022

Main article: Interviews in 2022

2023

Main article: Interviews in 2023

2024

Main article: Interviews in 2024

2025

Main article: Interviews in 2025

2026

Gosho Aoyama in Yomiuri Shimbun Interview After “Let’s Talk Day” Event

Date: January 13, 2026
Published in: Yomiuri Shimbun

Gosho Aoyama’s Comment on the Fallen Angel of the Highway

Date: February 23, 2026
Published in: on the official Detective Conan movie website

Shonen Sunday Speech Bubbles: Gosho Aoyama Interview

Date: February 24, 2026
Published in: Shonen Sunday Speech Bubbles Podcast

M29 Interview with the Voice Cast, Screenwriter, and Director

Date: March 2, 2026
Published in: Cinema Square vol 158 Magazine

Shonen Sunday Speech Bubbles: Gosho Aoyama x Rumiko Takahashi

Date: March 10, 2026
Published in: Shonen Sunday Speech Bubbles Podcast

Takahiro Okura M29 Interview

Date: March 10, 2026
Published in: Animage Magazine, April 2026 Issue

Gosho Aoyama Shu-ichi Interview 2026

Date: March 15, 2026
Published in: Broadcast live on Nippon TV

See also

References

  1. ^ https://yesyunniechan.tumblr.com/post/149893527591/mystery-museum-interview-97-english-123 Part 1
  2. ^ https://yesyunniechan.tumblr.com/post/149940982821/end-mystery-museum-interview-97-english-4-5
  3. ^ https://yesyunniechan.tumblr.com/post/150147160606/love-conan-interview-2004-english
  4. ^ https://yesyunniechan.tumblr.com/post/150232943761/conan-vs-kaito-kid-perfect-edition-interview
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