Interviews in 2026

This page lists interviews in 2026.

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

Date: January 13, 2026
Published in: Yomiuri Shimbun

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Source: (Link)

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Q1: 今年の目標は？
A1:「アニメ３０周年を盛り上げていきたいと思います。漫画でも色々大変な話もあるかもしれないので。それはちょっと言えませんけど、楽しみにしてください」

Q2: アニメの人気をどう思いますか。
A2:「漫画にいい影響を及ぼしていると思います。声優さんのイメージに合わせてキャラを変えますからね。だから、かなり刺激を受けていますよ。ありがたいです」

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  Newspaper
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  After the event concluded, Gosho Aoyama responded to an interview (on the 3rd, in Hokuei Town, Tottori Prefecture).

Translated by: Manvel

Q1: What are your goals for this year?
Aoyama: “I want to help build excitement for the anime’s 30th anniversary. There may also be some challenging developments in the manga as well. I can’t really say much about that yet, but please look forward to it.”

Q2: What do you think about the anime’s popularity?
Aoyama: “I think it has a positive effect on the manga. I adjust the characters to match the voice actors’ images, you see. So I receive a great deal of inspiration from it. I’m very grateful.”

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

Date: March 4, 2026 - February 23, 2026
Published in: In theaters and on the official Detective Conan movie website

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Source: Link

Raw:

• 
• 

原作:青山剛昌

どーも青山です!

今回の舞台は神奈川県!!
ハイテンションなバイクアクションあり
思わずウェ〜イ♡となるラブコメありな上に
死んだはずのあの2人がシレっと出るんだってんだから
しっかり目に焼き付けてくださいね♪
速すぎて見逃すなよ! by 萩原千速(笑)

Translated by: Manvel

Original Story: Gosho Aoyama

Hey there—Aoyama here!
This time, the story takes us to Kanagawa Prefecture!!

You’ll get some high-energy motorcycle action,
plus a romantic-comedy moment so sweet it’ll make you go “Whee~” ♡
—and on top of that, those two who were supposed to be dead show up like it’s no big deal
So make sure you don’t miss a thing—burn it into your memory♪
It all happens fast, so don’t blink! By Hagiwara Chihaya (laughs)

Shonen Sunday Speech Bubbles: Gosho Aoyama Interview

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

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Source: (Link)

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  Podcast at Gosho Aoyama’s Home
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  Podcast Announcement
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  Podcast image

Translated by: Manvel

Episode 49: Gosho Aoyama Appears! The Story Behind the Moment That Iconic Detective Conan Scene Was Born!?
Podcast: Shonen Sunday Speech Bubbles (66th Anniversary Project)
Publisher: Weekly Shonen Sunday (Shogakukan)
Guest: Gosho Aoyama

Hosts: Kenta Otsuka (editor), Katsumasa Ogura (former Detective Conan editor), Kyosuke Domoto (current Detective Conan editor)
Location: Recorded at Aoyama’s residence/workspace

Summary of Key Points

Overview
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.
The discussion covered:

• Nationwide research stories
• Creative structure and dialogue techniques
• Editorial relationships across decades
• Film production timelines and coordination
• Early career experiences
• Daily routine and habits

Nationwide Research & Field Investigation
A major highlight of the episode was Aoyama’s entertaining stories about conducting in-person research across Japan.

Hokutosei Sleeper Train Case
While planning a case involving the Hokutosei sleeper train, Aoyama secured a cancellation reservation and boarded the train together with his editorial team.

• 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.
  
• 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.

• See The North Star No.3 Express Leaving Ueno

Shinkansen (bullet train) Scene (Amuro & Mysterious Old Man with Bird)
Aoyama revealed that the scene in which Amuro Tooru and a mysterious elderly man (the Hawk owner) pass each other was originally conceived differently.

• The initial idea involved a glass elevator where characters briefly see one another while passing between floors.
• 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

Additional Research Locations
Aoyama personally visited numerous locations for reference, including:

• Tokyo Tower
• Tokyo Skytree
• Abeno Harukas (including rooftop access)
• Mount Takao
• British Museum (London arc research)
• Big Ben (visited during renovation)

He is known for verifying spatial layouts firsthand, even for brief visits.

Mount Takao Incident (Professional Documentary)
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

Creative Process
Reverse Construction: Aoyama sometimes begins with a key scene and constructs the story backward.
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

Dialogue Creation
When struggling with dialogue, Aoyama:

• Repeats lines aloud multiple times
• Adjusts phrasing and rhythm
• Waits until the line “clicks”

He occasionally mutters to himself while thinking.

“I’m a Genius” Moments
Aoyama admitted that when he creates a particularly strong line, he sometimes quietly says: “I’m a genius.”
Examples:

• 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.
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 File 386

Dimensional Sniper (Film 18) – Manga Integration
Detective Conan: Dimensional Sniper (2014)

Former editor Katsumasa Ogura discussed the synchronization between the manga and the film’s release. Key points:

• The manga chapter featuring Okiya Subaru and Amuro Tooru was released immediately after the film.
• It strongly implied that Amuro was attempting to expose Okiya’s true identity as Shuichi Akai.
• 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.

Editorial Interaction & Relationships

• Aoyama observes editors’ reactions when reading drafts, while pretending not to.

Notable editor reaction:

• Editor Kuramoto was described as the most expressive, reacting strongly to humor and surprises.

Editorial Conversations
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 Key of Life (suggested by Ogura).
• See 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)
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
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 Brothers in Arms (TV series).

Film Production Timeline
After interviews (such as those in Conan movie magazines), planning for future films continues immediately.
Aoyama participates in:

• Current film discussions
• Future film planning (often years ahead)

This overlapping schedule can create timeline confusion.

Early Career
Aoyama initially submitted to Weekly Shonen Magazine:

• 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.

Early Serialization Experience
During 3rd Base Fourth:

• The first chapter was heavily revised by editor Makoto Oshima.
• 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
Aoyama watches editors’ reactions while pretending not to.
He values:

• Genuine laughter
• Surprise
• Honest critique

Additional Notes

• 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.
• The episode was recorded at Aoyama’s home/workspace.
• Numerous signed Illustration from prominent creators and celebrities were mentioned.
• This was Aoyama’s first audio-only media appearance.

Current Work Status (As of Broadcast Day)
According to the same-day Shonen Sunday Speech Bubbles segment:

• Aoyama is currently working on name drafts.
• He described the current case as “a complicated story” (ややこしい話).

M29 Interviews with the Voice Cast, Screenwriter, and Director

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

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Source: Raw

Raw:

Shonen Sunday Speech Bubbles: Gosho Aoyama x Rumiko Takahashi

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

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Source: (Link)

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  Podcast Announcement
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  Podcast image

Translated by: Manvel

Episode 51: Special Talk – Rumiko Takahashi × Gosho Aoyama! A rare discussion on manga theory you can only hear here!?
Podcast: Shonen Sunday Speech Bubbles (66th Anniversary Project)
Publisher: Weekly Shonen Sunday (Shogakukan)
Guest: Gosho Aoyama and Rumiko Takahashi
Hosts: Kenta Otsuka (editor)

Summary of Key Points

Overview

• 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.

Takahiro Okura, Yuhei Okada M29 Interview

Date: March 10, 2026
Published in: Animage Magazine, April And May 2026 Issues

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Source: Raw

Raw:

Gosho Aoyama Shu-ichi Interview 2026

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

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Source: (Link) - (Video)

• 
  Soya Igari & Gosho Aoyama & Rina Sato
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• 

Translated by: Manvel
Special Thanks to @ZIRISh7 for the help

Key points from the video

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.

• 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

• 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.

• 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.

M29 Interview with the Screenwriter, Composer, Cast, and Producers

Date: April 3, 2026
Published in: Nikkei Entertainment Issue 5 2026

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Source: Raw

Raw:

Translated by: Manvel

Page: 72

Detective Conan: Fallen Angel of the Highway
3 Straight Years of 10 Billion Yen at the Box Office: The Latest Detective Conan Film Spotlights Chihaya Hagiwara, the Motorcycle Officer Known as the “Goddess of the Wind”
Since Black Iron Submarine in 2023, the Detective Conan film series has posted box-office revenues of over 10 billion yen for three consecutive releases. Its latest installment, the 29th film, Fallen Angel of the Highway, opens on April 10 in 526 theaters nationwide—the widest release in the series’ history. This feature takes a closer look at the film’s appeal through interviews with director Takahiro Hasui and other key creators, as well as Miyuki Sawashiro, who voices the film’s central character Chihaya Hagiwara, and the producers.

Gosho Aoyama’s Detective Conan, the blockbuster comic currently serialized in Weekly Shonen Sunday (Shogakukan) and boasting over 270 million copies in circulation worldwide, is set to return to theaters with the latest installment in its film series, Detective Conan: Fallen Angel of the Highway, opening on April 10.
The Detective Conan theatrical series began in 1997, the year after the TV anime first aired. Since then, a new original film has been released every year during Golden Week.(*) In recent years, the franchise’s popularity has continued to surge. The 26th film, Black Iron Submarine (2023), became the first in the series to surpass 10 billion yen at the box office, and it was followed by the 27th film, The Million-dollar Pentagram (2024), and the 28th film, One-eyed Flashback (2025). With three consecutive films earning over 10 billion yen and two straight years drawing more than 10 million moviegoers, the series set a new record for Japanese live-action and animated domestic cinema alike, the first achievement of its kind, according to Kogyo Tsushinsha.
Now that Detective Conan has firmly established itself as a household-name national anime, this latest film shines the spotlight on a character making her first appearance in the movie series: Chihaya Hagiwara of the Kanagawa Prefectural Police traffic division, a motorcycle officer known as the “Goddess of the Wind.” While Conan, Ran, and Masumi Sera are on their way to the Kanagawa Motorcycle Festival, they suddenly encounter a mysterious black motorcycle speeding out of control. In pursuit of it is none other than Chihaya Hagiwara—the “Goddess of the Wind” Ran once saw in the past. Later, at the festival grounds, a new “White Bike Angel” equipped with cutting-edge technology is unveiled. But when it becomes clear that the black motorcycle bears a striking resemblance to this Angel machine, the mystery deepens, and the team begins pursuing the so-called “Black Angel = Lucifer.”
With Chihaya’s past and present intertwining, and with bike action on a scale never before seen in the series, the film unfolds as a first-rate mystery centered on the enigmatic black motorcycle, set against the backdrop of Yokohama in Kanagawa Prefecture.

interviews with director Takahiro Hasui

A richly layered human drama unfolds
The film is directed by Takahiro Hasui, who previously worked as a director on Black Iron Submarine and also served as director of the TV anime Shin Samurai Den YAIBA (2025), another adaptation of a Gosho Aoyama work.
Looking back, Hasui says he was surprised to be approached by a producer about directing this film at the wrap party for Black Iron Submarine. He also describes himself as being part of the Detective Conan generation. It was a work that had always been part of my life, so of course I was happy. At the same time, I felt a sense of pressure that, for the people coming to see the movie, I had to deliver something that offered more than the TV anime, something unique to the theatrical version. But I took that pressure as motivation when approaching this film,” Hasui says. (All following quotes are his.) The screenplay was written by Takeharu Sakurai, for whom this marks his fifth contribution to the theatrical series, following works such as The Crimson Love Letter (2017) and The Million-dollar Pentagram. What kind of impression did the script leave on the director.

Page: 73

In recent years, the theatrical films have kept getting bigger and bigger in scale, especially when it comes to things like explosions. Compared to those, this one struck me as being much more focused on human drama, with Chihaya at the center of it all. As we continued revising the script from there, Aoyama-sensei gave us direction on the romantic-comedy angle between Chihaya and Jugo Yokomizo, as well as on the episode involving Kenji Hagiwara and Jinpei Matsuda, and I felt that helped bring out even more of that distinctive Detective Conan flavor.

As for Chihaya Hagiwara, he describes her in a single phrase as an unknown quantity.
Since she’s a character who still hasn’t been explored very much in either the original manga or the anime, I felt it was important to preserve that sense of first encountering her when deciding how to portray her in the film. At the same time, I had to make sure her presence never undermined Conan, the protagonist. I was very conscious of balancing those two things.

Conan is the main character and the hero. If Chihaya were the one to solve the whole case, then it would stop being Detective Conan. So when it came to moments like sudden flashes of insight or lines that cut to the heart of the matter, I made sure Conan was the one who provided the trigger that moved things to the next stage. I was careful about that balance.

Personally, I still feel like I haven’t fully grasped Chihaya even now. It’s true that she’s a character with a very dramatic backstory and a strikingly vivid personality, but the information I had about her was probably at about the same level as readers who have been following the original manga. That said, Sensei did tell me a little bit of information that hasn’t been revealed yet, and I incorporated that into the film.

The full appeal of the bike action on display

He also says that one of the aspects he especially focused on in creating the animation—and one of this film’s major highlights—is its action scenes.

When it came to crafting the visuals, I wanted to bring out a stronger action flavor than in previous works. This time, motorcycles are especially central, so that was something we really had to focus on. I felt it was the part of the film that needed to be made the most visually compelling. And given that people would be watching it in theaters, I thought it was a perfect match for the big screen.

Hasui himself apparently rides motorcycles, and that attention to detail shows throughout.
We really pushed the 3DCG team hard. Not just with the bikes themselves, but with the people riding them as well

Creator Interview 1: Screenwriter Takeharu Sakurai

I want the audience to feel as if they’re riding alongside Chihaya on the motorcycle

The screenplay for Detective Conan: Fallen Angel of the Highway was written by mystery novelist and screenwriter Takeharu Sakurai.

As usual, the anime staff first told me, ‘The main character this time is Chihaya.’ I remember thinking, So that’s the direction they’re going with? I went back to reread the original manga, but at that point there were still only two episodes featuring her: The Goddess of the Wind, Chihaya Hagiwara and Chihaya and Jugo’s Marriage-Hunting Party. Even so, although she had only appeared briefly, Chihaya’s character was already clearly defined, so I never felt uncertain about how to handle her.

Since she belongs to the Kanagawa Prefectural Police, Yokohama naturally became the setting. Since she’s a motorcycle officer, bike action was a given. And of course, Jugo who has close ties to her and her younger brother Kenji had to appear as well. Once I decided to include Kenji, I started wondering what kind of conversations he and his sister might have had. From there, the basic line of the story came together very quickly. Because the information available on Chihaya was so limited, it actually felt less confusing than writing a character like Kaito Kid, who can do just about anything. It was more a case of: this is the only way to do it.”

“The overall setup came to me quickly, but when it came to portraying Chihaya’s inner side, it was difficult because so little of it had been shown before, and I did find myself wavering a bit. At heart, I saw her as someone who is both mentally and physically very strong. At one point I even wondered if she might be somewhat like Toru Amuro. But because she has gone through the experience of losing her younger brother in the line of duty, I felt she couldn’t possibly be completely flawless. So I wanted to let glimpses show, at key moments, that behind her brightness and strength she also has shadows and vulnerabilities as a human being. Then, as I went back and forth with Aoyama-sensei, I realized that her character setting wasn’t actually quite as strong in that sense as I had first assumed. I was given the image that when she’s on a motorcycle, she’s invincible but once she gets off, she can be a little absentminded or careless. So I worked that into the screenplay.

For the romantic-comedy scenes with Jugo, I came up with the situations, and Sensei thought through the actual content, which turned them into moments where his awkwardness comes off as genuinely endearing. As for Kenji and Matsuda, I wanted to show sides of them in private that haven’t really been depicted before. I think those scenes ended up being especially memorable.

I wanted to make an action film

The central idea or rather, the axis of the story this time was that motorcycles would always be at its core. And as a result, it naturally became a story with Chihaya at the center. What I really wanted to do was motorcycle action. I was hoping it could have the kind of bright, spirited action movie feel you get in something like 007. Since Chihaya’s riding skills are second to none, I decided to make an assisted driving system the key element serving as her rival this time. When I looked into it, I found that the technology is already only about two steps away from practical use, so we incorporated it in a more advanced form.

That allowed us to fully deliver action scenes featuring two stylish, near-futuristic motorcycles. I’d be happy if audiences could experience that sense of unity, as though they were riding alongside Chihaya and racing through Yokohama with her.

Page: 74

Creator Interview 2: Music — Yugo Kanno

A new kind of Detective Conan film score, possible only now after five years on the series

Having taken over from Katsuo Ono, who had been involved with the franchise since the anime began, Yugo Kanno has been composing the background music for the theatrical series since its 25th film, The Bride of Halloween (2022). How has he approached the work?

There were definitely times when I had to feel my way forward, and I was prepared for the fact that there would probably be criticism over me taking over the role. I’ve always been making the music while constantly thinking about that balance—how much I should change, and conversely, how much of the series’ history and tradition I ought to carry on.
Only recently have I finally started to feel that I might be able to create a Detective Conan that, in a good way, betrays people’s expectations.

Whose emotions the music should stay close to
For Fallen Angel of the Highway, he says the arrangement was crafted with a strong sense of “chase” and “driving” in mind. But Kanno, who moves freely between symphonic music and digital sound, approached this film’s score with what kind of overall image in mind?
When I work on a film score, I want to use film scoring to raise the overall quality, so no matter the project, the first thing I ask for is the video storyboard animatic.(※) This time there were a lot of action scenes, so I thought carefully about how to create enough variety within them to keep the audience from getting bored, and also how to shape the overall rhythm of the film through shifts in intensity.

Just because a scene is a chase sequence doesn’t mean you can give every single one the same hard-driving energy—that would get repetitive. So for each scene, I analyzed what genre it should lean toward, what kind of speed it needed, and whose emotions the music should stay close to. I wrote theme music for both the main character, Chihaya, and for her opponent, Lucifer—the black motorcycle. Rather than going for something overly macho, I wanted to express a sense of elegance. On top of that, for Chihaya, I wanted the music to convey a sharp, distinctly feminine coolness, as well as her resolve, while also retaining that lightness and sense of entertainment that feels true to Detective Conan. For Lucifer, I wanted to bring out an air of mystery.

And this is something I can do now precisely because it’s my fifth year on the series: by remaking pieces I composed myself, I want to leave a stronger impression of what feels distinctly Detective Conan-like. I’m very fond of the action music I wrote for Black Iron Submarine, and in the films since then, I’ve been weaving fragments of that melody into key action scenes. I hope people will pay attention to details like that as well, and I’d like to keep working on creating new signature pieces going forward.
Kanno is a composer who has worked on many hit productions, including the NHK historical drama Gunshi Kanbei and the anime PSYCHO-PASS. So what does he value most when creating a score?

It’s almost like I’m in dialogue with my fifteen-year-old self—I’m always asking him. I discovered music during that sensitive, impressionable time in my life, and my career as a composer began from the feeling that there wasn’t any music out there that fully satisfied me, so I had no choice but to make it myself. That’s why I want my fifteen-year-old self to be blown away by what I create—to say, ‘This is incredible.’ Though he doesn’t praise me very easily,” he adds with a laugh. Making the fans happy is the absolute foundation, of course, but I also feel very strongly that I’d like the music I create to become part of someone’s formative experience.

A great many scenes were created in 3DCG. That includes not just the motorcycles themselves, but also how they’re ridden and how the riders shift their weight. Everything was depicted with no compromises, without anything feeling off or falling apart, so I think there’s a tremendous amount to take in visually.

That said, even if you aim for that uncompromising level of detail, if you cling too tightly to realism, it stops being fun as animation. Motorcycles are vehicles with a lot of limitations to begin with. Compared with cars, they only have two tires, and in reality there isn’t all that much they can do dynamically. For example, a motorcycle can’t really go flying through the air in real life. So that’s where we let our imagination expand and blended in a fantasy element.

He also said that the Kanagawa Prefectural Police were very cooperative, allowing the team to tour police facilities and interview members of the women’s motorcycle unit, the White Angels. The knowledge gained through that research was reflected down to the finest details, so viewers should also pay attention to things like the interior design of the police station and the design details of the police motorcycles.

The animation staff know the established Detective Conan style much better than I do, so I think the main difference this time was simply that there are a lot more motorcycle scenes than usual. I made sure to tell them that those needed to be depicted properly, and I believe the result is a film with real visual impact.

On site, I strongly felt that there’s still a shared spirit of not forgetting the series’ beginnings. Masatomo Sudo, the character designer, is still there, and many of the core staff who have been involved since the early days remain as well. I think that’s why the series has been able to preserve the aspects that never change, and after joining the production myself, I really felt that they are protecting the Detective Conan anime.”

Fallen Angel of the Highway is his second film in the series. How does he see the reason the Detective Conan movie series has remained beloved for so long?

As the production moved forward, I found myself constantly aware of Aoyama-sensei. And what I really felt through that was just how broad the range of his interests is. Whether he’s coming up with ideas about the past or about the present, he’s incredibly knowledgeable, and he has a remarkable understanding of what captures people’s interest, regardless of age or gender. More than that, he actively tries to understand it. I think that is one of the reasons the series is loved by such a wide audience. Sensei has an extraordinary breadth of tolerance, and at the same time, his sensibilities never feel too high-minded or out of reach—they remain approachable. I feel that is what lies at the very core of the work’s appeal.

Page: 75
Cast Interview
Miyuki Sawashiro as Chihaya Hagiwara
You get to understand Chihaya one step more deeply
Miyuki Sawashiro plays Chihaya Hagiwara, who makes her first appearance in the theatrical series and serves as this film’s main character. In this interview, Sawashiro sheds light on Chihaya’s appeal, including sides of the character that have not yet been explored much in the anime
Miyuki Sawashiro, known for her commanding presence in numerous popular anime roles, including Fujiko Mine in the Lupin the 3rd series, plays Chihaya Hagiwara—the character Ran refers to as the “Goddess of the Wind.” The role had previously been played by Atsuko Tanaka, but in August 2025 it was announced that Sawashiro would succeed her in the part. First, she was asked how she felt when she learned she would be appearing in Detective Conan.

After Atsuko Tanaka passed away, I was approached about auditioning for the role of Chihaya. When I was told I had gotten the part, I was initially told it would only be for the regular TV broadcast. But not long after that, I was told, “We’ll be recording the trailer for the movie.” I never imagined she would end up appearing in the film as a main character... and I remember thinking, This has turned into something huge.

There was of course a tremendous sense of pressure in being allowed to take part in Detective Conan, one of Japan’s defining anime works, but there was also joy. More than anything, though, what outweighed everything else for me was the feeling that—even knowing my place—I wanted to take on a role that had been played by Atsuko-san, whom I had admired deeply since I was a teenager. And so I decided to challenge myself.

The acting and vocal tone of Atsuko-san, whom I had watched for so long, are part of my DNA as a voice actress. It may be hard to explain in words, but her voice had a quality that pierced straight into your brain—just hearing her first line could make your knees give way. It was elegant, cool, and carried a sensuality as well; a truly one-of-a-kind voice. So after that, I simply made sure to read the original work properly, understand the character, and face the microphone honestly and directly. I approached it believing that if I did that, then somewhere beyond that effort, I would surely be able to meet Atsuko-san’s Chihaya.

The many sides of Chihaya as portrayed in the film

How does she view the role of Chihaya, and with what mindset did she approach the recording?

I think Chihaya’s appeal really lies in the gap between her appearance and who she is inside. She’s such a striking beauty that people turn to look at her, yet her personality is bold and almost boyish. As I played her, she felt to me like someone with a very strong sense of self-confidence. Since I’m the complete opposite, it felt as though I was starting from a distance where, if I wanted to get close to her, the best I could do at first was make small talk about the weather.

In the film, though, we get to see Chihaya from many different angles: her private side when she’s with her younger brother, the way she is at work with Jugo and with her senior and junior colleagues, and also how she behaves in moments of crisis. Through that, I feel I was able to get to know her one step more deeply. Because the film portrays her as such a multifaceted character, I’ve been very conscious, scene by scene, of how each face she shows is a little different.

There are scene after scene where, on the page, I can understand what’s written in the script, but then I find myself thinking, What is this actually going to look like once it’s animated? And when it comes to Chihaya in particular, it’s one jaw-dropping visual after another. There’s even a moment right at the start that makes you want to say, “Kids, absolutely do not try this at home.” When I first read the script, though, it made me happy, because I could already imagine audiences in the theater being amazed by it.

During the recording sessions, what struck me most was how the regular cast carefully checked even the smallest details—things that may be subtle, but really matter—while moving through the work. Minami Takayama not only had a deep grasp of Conan himself, but of the story as a whole, and I could see her going over anything she noticed with the director. The exchanges between Ran and Sonoko were so perfectly in sync that it almost felt as if Wakana Yamazaki and Naoko Matsui were simply speaking as themselves. And Noriko Hidaka, who plays Sera, was incredibly cool in the action scenes—I was sitting right beside her, and just listening to her performance gave me chills.

This is the 20th film in the theatrical series, and this year marks the 30th anniversary of the TV anime. What does she feel is the reason this work has continued to be loved by so many people for so long.

Speaking from what I can see on my side, I think one of the greatest charms of the series is that the regular cast—led by Minami-san—still perform each new installment while clearly enjoying themselves and finding it genuinely fun. That vivid, lively energy is probably something that naturally carries over to the audience as well.

Recently, I went back and started rewatching the TV series from the beginning, and I was surprised to find that the next-episode previews were extremely serious for about the first cour or so. That part has such a unique appeal now precisely because it feels like the adults are having fun with it.

Page: 76
Producers’ Roundtable
Shogakukan / Yomiuri Telecasting Corporation / TMS Entertainment

Shuho Kondo × Takeshi Yoshida × Yuhei Okada
Publishing, television, and studio producers discuss how the new film has evolved
The Detective Conan theatrical film series has grown into a franchise whose last three installments have each surpassed 10 billion yen at the box office. Ahead of the release of the latest film, Detective Conan: Fallen Angel of the Highway, three producers working on the front lines of the series speak about how they approach the production and what the work means to them.

Now in its 29th installment in 2026, the theatrical Detective Conan series, which began in 1997, has become a nationally beloved anime franchise and an overwhelming Golden Week movie staple. In recent years, its momentum has shown no sign of slowing, even becoming the first Japanese film series ever to surpass 10 billion yen at the box office for three consecutive years.
What kind of thinking guides the three producers at the center of the production committee—Shogakukan’s Shuho Kondo, representing the original source; Takeshi Yoshida of Yomiuri Telecasting, which airs the TV anime; and Yuhei Okada of TMS Entertainment, which handles the animation production as they continue making these films? This discussion takes a closer look at the reasons behind the series’ popularity.

The strength lies in 30 years of accumulation

——How do you view the growing popularity of the theatrical film series?
Yuhei Okada:

If we’re talking about changes in the audience, I think one major factor is that the series has been running for nearly 30 years, so it’s now being passed down from parents to children. That means it’s being watched by a broad audience spanning two generations. I think that has also been one of the reasons the films have started surpassing 10 billion yen at the box office. Takeshi Yoshida:

We’re very grateful, of course. By the time I became a producer, the films had already crossed that mark, so I think the people who really went through the hardest part were Kondo-san, who has been involved since the early days, and the producers who came before us. Shuho Kondo:

I think a big part of it is that we were able to build a system where fans and moviegoers can look forward every year to a new Detective Conan film. Another factor is the change in the movie theater landscape itself. When the theatrical series first began, the films were shown in single-screen theaters, but now multiplex cinemas have become the norm, and families who are already out shopping at malls can come see them as well. And as Okada said, people who watched the series as students in the past have now become parents and are watching it together with their children. On top of that—and this may sound self-congratulatory—I think the production side has continued to make and deliver works that live up to expectations. No matter how long a series runs, if people start to think it isn’t interesting, it would naturally keep shrinking. Yoshida:

It really has become part of the culture. We’ve been doing this for nearly 30 years—airing the TV anime every week for a full year, then releasing a theatrical film in the spring. I think there’s real strength in that accumulation. There are very few films that can be released every single year, after all.

——What have you considered most important when making the theatrical films?
Okada: As I often say in interviews, we place great importance on keeping the fans’ perspective in mind. But from the production side, what matters most is expressing through animation the things that cannot be done in the manga. I think Gosho Aoyama-sensei probably feels the same way. Things like action, explosions, the timing between lines, or scenes with no dialogue at all those are all areas where animation can do something unique, and that is something we stay conscious of on site as well. Aoyama-sensei supervises the work, but as long as we follow the rules and it is interesting, he basically takes the stance of saying it is fine, so he gives us a great deal of freedom.
Kondo: Whenever something is being made, TMS always has it checked by Aoyama-sensei through the editorial department, and there is also close communication, such as the director and Sensei directly exchanging messages on LINE.
In the past, we used to think of the original manga and the theatrical films as separate things, and there were detailed boundaries about what we did not want the films to do. But now the theatrical films are drawing over 10 million moviegoers, and the feeling is that what matters most is whether the audience who comes to see them enjoys them. Sensei and his editor now share the idea that the films should try doing things the original manga cannot. One example of that was the depiction in The Million-dollar Pentagram two years ago, where the relationship between the first Kaito Kid and Shinichi’s father was revealed.

Page: 77

——Was there something that prompted that change in thinking?
Kondo: I think Sensei genuinely enjoys having large numbers of people see the things he comes up with. He’s the sort of person who is almost fan service incarnate, so if it means making people happy, he keeps coming up with more and more ideas, thinking, Then next I want to do something like this.
Yoshida: On the TV anime side, we air episodes that tie in with the theatrical films, and it’s the television team that builds the schedule around them. For example, with last year’s One-eyed Flashback, we broadcast Furinkazan, the past episode involving the Nagano Prefectural Police team that becomes key in the film, just before the movie’s release. The spin-off we make every year was positioned as an epilogue to the film, and instead of airing it around the release date, we broadcast it during Golden Week after the film had opened. The hope is that the original manga, the TV anime, and the theatrical film can all build excitement together.

——Aoyama-sensei, the original creator, is deeply involved in the theatrical films.
Kondo: He has been for a long time, but what Sensei actually does on the films includes participating in the scriptwriting, drawing key animation frames, and giving input on the work as a whole—he’s involved almost like a chief director. It’s just that he doesn’t want to be credited that way.

(turning to Okada) In The Million-dollar Pentagram, how many cuts did Sensei draw again?
Okada: Twelve cuts. The editorial department actually scolded us, saying, “You’re making him draw too much,” he says with a laugh. When we ask him to check the storyboards, he’ll leave notes saying things like, Maybe I should draw this one myself, and that gets the directors excited too—they’ll say, If you’re willing to draw it, then absolutely!
Recently, he’s started drawing not just still cuts, but also several drawings showing the flow of movement. And in Fallen Angel of the Highway as well, there are many cuts that Sensei drew himself.
Yoshida: They’re really wonderful scenes.

The latest film, Fallen Angel of the Highway
——When and how was it decided that this film would feature Chihaya Hagiwara?
Kondo: Right now, the production schedule is packed years in advance, and the directors’ schedules are also booked far ahead, so in order to make it easier to choose a director who fits the content, we decide on the featured character quite a long way ahead. By around the time The Bride of Halloween was released, it had already been decided that Chihaya would be the focus.
Okada: When Sensei gave us the idea, I was personally very happy because she was already a character I liked. She’s cool, a little tomboyish, and I had always thought she would look great in animation, so I felt she would be a perfect fit for a theatrical film.
Yoshida: I joined the production site as an assistant producer in 2023, which was right when Chihaya made her first appearance in the TV anime, so I feel a personal connection to her as someone from the same “generation” of Detective Conan. After nearly 30 years, it was surprising in itself that such a new character could still appear, and I remember being excited that we would get to make a theatrical film together with Chihaya at the center.
Because Atsuko Tanaka had been voicing the role, there was naturally some anxiety about the cast change. But Miyuki Sawashiro really worked hard to carry the role forward. Seeing the passion she brought to the recording of Chihaya’s first TV anime episode last December, The Kidnapping Culprit Who Vanished at the Red Brick Warehouse, and then hearing how excellent her actual performance was, made me feel confident that the theatrical film would be in good hands too.

——Was the response to Chihaya’s appearance a strong one?
Kondo: It seemed that Aoyama-sensei himself felt a real sense of confidence about her. Whenever he talks about Chihaya, he always looks like he’s having fun. You can tell he probably really wants to draw her more.

——The theatrical series has recently continued appointing younger directors. Why was Takahiro Hasui chosen this time?
Okada: From the production side, we really want younger creators to take on these films. Since this is a series that has been going on for so long, I think it risks becoming stale if we do not keep trying new things. Aoyama-sensei also gives us a lot of ideas, so I felt that the people most able to keep up with that would be a younger generation on the verge of becoming mid career professionals people who understand newer styles of animation and are probably at the height of their creative energy. Watching Hasui’s work as episode director on Black Iron Submarine, I felt that if he directed a film himself, it would become something very interesting, so I recommended him.
As a creator, he gives the impression of being very attentive to the characters’ subtle acting, and he works carefully. He is also able to express his own opinions, so I think he is the kind of director who can properly reflect what he wants to do in the finished film.
Kondo: I had originally also been involved in the anime adaptation of our company’s Mob Psycho 100, and Yuzuru Tachikawa who directed Black Iron Submarine was the director for that adaptation. When it came time to make the third season, Tachikawa strongly recommended Hasui to direct it, so I was already familiar with the way he works. As expected, Okada really has a good eye, he says with a laugh.
Yoshida: Director Hasui also worked as the director on Shin Samurai Den YAIBA, so it was a big plus that he was already able to communicate well both with Aoyama-sensei and with Minami Takayama, who plays both Conan and Yaiba. Minami-san herself even said, If it’s Hasui, then it’ll be fine.

——A message ahead of the release of Fallen Angel of the Highway.
Kondo: Over the past few years, we have been putting effort into featuring the real names of the cities, buildings, and local characteristics that serve as the setting, while also working together with local tourism associations and municipalities to build excitement for both the film and the region itself. Following Nagano last year and Hakodate the year before, this time we are collaborating with Yokohama, a city of 3.6 million people about ten times larger in population and planning a variety of projects together. People who have been to Yokohama before will probably recognize places and think, Ah, it’s that spot. And I think people who see the film will want to visit Yokohama themselves. I would be very happy if that created a kind of cycle where people then want to come back and watch the movie again as well.
Okada: It has turned into a film with a real sense of speed and an exhilarating feel. The final scene was something Aoyama-sensei came up with, so I hope people will be surprised by it.
Yoshida: This year also marks the 30th anniversary period of the TV anime, so the television team is preparing a variety of ideas to help make it a truly memorable year for the Detective Conan anime. As the starting point for that, we want to build excitement around the theatrical film.

Key Aoyama-related highlights from the M29 interviews:

• The interviews make it clear that Gosho Aoyama was deeply involved in Detective Conan: Fallen Angel of the Highway and played a major creative role in shaping the film.

• One of the biggest takeaways is that the film places strong emphasis on human drama centered on Chihaya Hagiwara, rather than simply trying to outdo previous entries in spectacle alone. According to director Takahiro Hasui, the more character-driven direction of the film became even more distinct as Aoyama provided guidance during revisions, especially regarding the romantic-comedy dynamic between Chihaya and Jugo Yokomizo and the material involving Kenji Hagiwara and Jinpei Matsuda.

• The screenwriter also revealed that when Aoyama proposed making Chihaya the main character, she had only appeared in two manga cases, which meant there was still very limited source material about her. Because of that, developing the film was somewhat difficult. Aoyama reportedly explained that Chihaya is essentially unbeatable while on a motorcycle, but once she gets off the bike, she can be a little absentminded and careless. That interpretation was then reflected in the screenplay.

• Another major point is that the Chihaya–Jugo romantic-comedy scenes were fundamentally shaped by Aoyama. While the screenwriter came up with the situations, the actual dialogue and interactions were written by Aoyama himself. The same applies to the Kenji Hagiwara and Matsuda material, including more personal glimpses and episodes that had not been shown before. The writer specifically suggested that these scenes would likely leave a strong impression on fans.

• The producers’ interview further highlights how central Aoyama is to the film series as a whole. They explained that he has long been involved almost like a general director, participating in script discussions, giving overall creative input, drawing key animation frames, and even contributing to storyboards and movement layouts. However, they also noted that Aoyama himself does not want to be officially credited in that kind of role.

• His hands-on contribution to the movies appears to be substantial. The producers said that for Movie 27, Aoyama drew so many keyframes that the Shonen Sunday editorial department reportedly complained that the anime staff were overworking him, though in reality he had volunteered to draw them himself. For Movie 29, they confirmed that he again drew multiple keyframes and also contributed action layouts / movement guides for certain scenes.

• The interviews also reveal that Aoyama’s influence extends to major story decisions. The producers stated that the final scene of Movie 29 was conceived by Aoyama, suggesting that the ending contains one of the film’s key surprises.

• Finally, the producers explained that because the Conan films are planned years in advance, the featured character is chosen early so that the appropriate writer and director can be secured. In Chihaya’s case, they said she had already been decided as the focus of Movie 29 around the time Movie 25 was released in 2022.

Cine Magazine 2026 Interviews

Date: April 8, 2026

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Page: 33

スペシャルインタビュー：青山剛昌

千速と重悟がちょっといい感じだから、そこも見せれるしね(笑)

——劇場版第2作「ハイウェイの堕天使」で、神奈川県警の萩原千速と横溝重悟が メインを務めることになった経緯を教え てください。

青山: 千速が人気なんで、「千速が主人公の やつをやるか!」ってことで決まりまし た。あと、千速と重悟がちょっといい 感じだから、そこも見せれるしね(笑)。 それに、オレの今の担当編集者が横 浜出身であのあたり詳しいんで、ちょ うどいいなと。それで、横浜がメイン 舞台に決まりました。

——すでに殉職している萩原研二と松田 陣平や、世良真純が久しぶりに登場する ことになった経緯については?

青山: バイクに乗ってるから、やっぱり世 良ちゃんは出したいねってことになり まして。平次もバイクに乗ってますけ ど、平次は最近出したから(※1)、世良 ちゃんにしたいなと思いました。 松田と萩原については、まぁ、千速 が出てくると彼らは大体出てきますね。 回想とかで･･･。

——警視庁からは交通課の宮本由美と 三池苗子が登場しています。
 青山: 最初は、高木刑事と佐藤刑事にす ることも考えたんですよ。でも、千速 が交通機動隊だし、せっかくだから交 通関係のキャラを出したいなと思って、 由美と苗子ちゃんに変えました。高木 &佐藤ファンは悲しむかもしれないけ ど、彼らは赤レンガの話 (※2)にも出て るからね。

——今作の舞台は神奈川県ですが、神奈川県の印象を教えてください。好きな スポットやグルメはありますか。 ありますか。

青山: またカレーになっちゃうけど(※3)、横浜にあるサンアロハ (※4)っていう店 のビーフカレーが美味しい。あまりに も美味しくて、オレのサイン色紙を店 に置いてきたという。以前のメニュー にあって、たまに復活するらしいイカ スミカレーをいつか食べてみたい。 あと、漫画にも前に描いた赤レンガ 倉庫のbills(※5)。あそこのバン ケーキがうまい。

——千速さん達も食べていた･･･。

青山: そうそう。パンケーキもだけど、入 口とか内装もそっくりに描きましたよ。 この店は漫画家のよしまさこ先生(※6) に連れて行ってもらったんですよ。遊 びに行ったときに。 それと、赤レンガ倉庫のクリスマス マーケットにも行ったけど、誰にも全 然バレなかった。すごい人がいっぱい いて混雑してたんで(笑)。 中華街でもいろいろ食べるよ。どこ に行っても何を食べても美味しいよね。

——横浜にある観覧車(※7)やロープブ ウェイ (※8) に乗ったことはありますか。

青山: 観覧車はないけど、ロープウェイは 乗りましたね。せっかくだから何かの 事件に使おうかなって思ったけど、結 局使わなかった。背景がめんどくせえ なと思って(笑)。

——「ハイウェイの堕天使」のシナリオ を最初に読んだ印象を教えてください。

青山: 最初かぁ･･･もうずっと前になるから なぁ(笑)。でも、面白そうだって思い ましたよ。ラストのラブコメとかはオ レが考えました。松田とかの回想シー ンもまるまるオレですね。なんかオレ自慢になってんな(笑)。

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——脚本は今回で5作目となる大倉崇裕さんですが、シナリオについて何か オーダーされましたか?

青山: ベイブリッジでド派手アクションや りたいって最初に言ったかな。やっぱ り象徴ですからね、横浜の。そこでの アクションはオレのアイディアを活か してもらって･･･。あとは、千速と重悟 のラブコメ入れたいってことと、コナ ン君がバイクに2人乗りで乗る意味を 持たせたいってことをお願いしました ね。例えば、バイク走行中にコナン君 が爆弾解体するのがいいんじゃない? とか･･･。バイクに乗ってる最中にも緊 迫感があったり、協力したりするほう が面白いでしょ。

ベイブリッジでド派手アクションやりたいって最初に言ったかな そこでのアクションはオレのアイディアを活かしてもらって･･･

——劇場版初監督の蓮井隆弘監督の印 象は? 監督とはどのようなお話をされ ましたか。

青山: 「YAIBA」(※9)の監督もやってく れたんですよね。アクションに長けた 監督なので、かなりテンポも良くて、 やりやすいです。いろいろと物語を端 折るためのアドバイスはしたけど、バ イクアクションとかはもうおまかせで すよ。実際、アクションシーンって漫 画家のオレがコンテ見てもよくわかん ない(笑)。あ、でも一箇所お願いした ことがありました。蘭ちゃんのアクショ ンシーンの空手技が、最初は普通の上 段蹴りだったんだけど、それをある技 に変えてもらったんだった。それが何 の技なのかは、劇場でのお楽しみって ことで。

——「ハイウェイの堕天使」のタイトル はどのように決定しましたか?

青山: なんかすんなり決まったよね。最初、 オレが「何とかの堕天使」とか言ってて、それじゃあハイウェイでいいかなって。 外国人は高速道路をハイウェイって言 わないみたいだけど、まあ日本だしいいんじゃないってことになりました。

——毎年ファンが楽しみにしている青山 先生の原画について。今作ではどのキャラクターを何枚描きましたか? お描きましたか?

青山: 千速が3カット。萩原と松田が、萩原単体、松田単体を1カットずつ描い て、2人一緒が1カットあるから、全 部で3カット。由美と苗子ちゃんコン ビで1カット。あとは重悟のシーンと コナン君がそれぞれ1カットで、多分 9カットになるかな。でも、動画のよ うな枚数多いところもあるから、そこ は大変でしたね。オレは本職のアニメー ターじゃないから「動画大丈夫かな?」 大丈夫かな?」 という思いも･･･。

——キャラクターデザインは描かれま したか?

青山: 今回、結構描きました。エンジニア の大前さんとか、千速の先輩の浅葱さ んとか、他にも数人描いてます。ラフ 描きですけどね。

——ティザーポスター(本書の表紙にも 使用)について。描かれる際、気を使っ たところを教えてください。

青山: 千速をメインに描くのはもちろんな んだけど、松田と萩原もガンと見せた いなと。人気だしね。そしたらコナン 丸だしね。そしたらコナン 君を入れるとこがなくなっちゃったか ら「千速のバイクに乗せちゃえ!」って思って、あんな感じになりました。

——描いてて難しかったところは?

青山: バイクがやっぱり大変だった。あと、千速はいちいちめんどくさいんですよ。 髪型もそうだけど、腕に付いてるワッペンとか警部補の階級章とか、あの制 服がね。なにげにめんどくさい塊なん ですよ、アイツ(笑)。

——今作は神奈川県警が初めてメイン で劇場版に登場します。メインキャラク ターの萩原千速の魅力や、描く際に気を つけていることを教えてください。

青山: 千速はとにかく美人に描かなきゃな と。あと、まつ毛が他のキャラより長い。 垂れ目なんだけど、上まつ毛の目尻にあ るちょんってやつが長いんですよ(※10). 性格はちょっとお姉さんキャラ。松 田が惚れてるから絶対美人にしなきゃ なと思いまして。あと、「コナン」の世 界では一番胸が大きくてスタイル抜群 なんです♥

——佐藤刑事と洋服を交換した赤レン ガの回で、佐藤刑事の服を着た千速が 「少々胸がキツいが･･･問題はないだろう ･･･」って言ってましたね。

青山: 佐藤刑事もスタイル良くてナイスバ ティなんだけど、胸の大きさでいった きさでいった ら、千速と紅葉(※11)でワンツーフィニッ シュです。千速は不二子ちゃん(※12)に 張るかもしれない。あ、ベルモットもデカそう♥

——千速の声は田中敦子さんから沢城 みゆきさんに引き継がれましたが、印象 を教えてください。

青山: 田中さんは「攻殻機動隊」(※13)の草 薙素子だから、バトーだった大塚(明夫) さんとの相性も良くて、千速にぴった りハマってました。 引き継いでくれた沢城さんも不二子 ちゃんだし、遜色ないというか違和感 なくて、バッチリ適任だと思います。

——横溝重悟について。重悟の魅力や描く際に気をつけていることは?

青山: 刑事でワイルドのやつって長野県警 の(大和)敢助ぐらいしかいないんですよ。「100万ドルの五稜星」にも出た 北海道警察の西村警部もワイルドだけ ど、北海道は遠いからね。身近にいる ワイルドキャラは、ほぼほぼ横溝。小 五郎を煙たがってる刑事ってアイツぐ らいなんで。

——「眠りの小五郎」を揶揄して、「煙の 小五郎」とよく言ってますね。

青山: そうそう、ちょっと小馬鹿にしてる。 だからか、すごい描きやすいです。い つか双子の犯罪者ネタ(※14)をやりた いって思ってたから、双子の刑事をそ れとなく出しときたいなと。最初に参 悟(※15)を描いてたんで、参悟、重悟、 3×5=15でちょうどいいなと思って。 あとから出した割には良いキャラにな りましたね。ラブコメメンバーにも昇 格しましたし(笑)。
両方の声をやってる大塚さんが言っ てたけど、参悟より重悟のほうがやり やすいって言ってましたよ。オレも描 きやすいのは圧倒的に重悟ですね。髪 の毛も重悟のが簡単だから。

——重悟&千速カップルについては?

青山: 千速は重悟の気持ちを知っててはぐ ちを知っててはぐ らかしてるんで、描いてて面白いです。 そんなキャラはなかなかいない。オレ の漫画は鈍感キャラのほうが多いから ･･･。結構カップルが成立してるけど、 してるけど、 長野県警の敢助と由衣もまだくっつい てないし、どうせならどこかの県警で、 もう1カップルぐらい出したいところ だな(笑)。

——第25作「ハロウィンの花嫁」ぶりに、 萩原研二と松田陣平も登場しますが、こ の2人については?

青山: 相棒感がずっと出るように描いてま す。松田がアクセルで、萩原がブレー キな感じで。普段、萩原は松田のこ とを「陣平ちゃん」って呼ぶんだけど、ちょっと怒ったりマジになったときは 「松田」っていうのは、オレの中で決め てます。あとは、もう本当に2人とも めちゃくちゃカッコ良く描いてますよ。 ちょっとはネジが外れた2人だけどね。

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——「警察学校編」のメンバーは安室透(降谷零)以外、みんな亡くなってますが、 彼らが人気なことについては、どのように感じていますか?

青山: 「なんで?」って思ってます。なんか、人気なんですよね(笑)。松田に関して 言えば、最初から「コイツは死なせよ う」って思ってたから、思いきりカッコ よく描いたんですよ。でも、他のメン ツも人気なんだよね。

千速と松田と萩原のシーンは見どころです 当時の状況がわかって面白いんじゃないかな

——第24作「緋色の弾丸」ぶりに登場する、世良真純については?

青山: 女子探偵の中では一番頭が切れる キャラ。佐藤刑事とか除いて、女子高 生の中じゃダントツです。バイクにも 乗れるし、そして強いというスーパー キャラ。お母さん･･･メアリーのことも あって、コナンの事情もいろいろと察し ろいろと察し てるしね。世良ちゃん的には小っちゃいコナン君のほうがでっかい新」より好き。

——警視庁交通課のコンビ、宮本由美と三池苗子については? いては?

青山: 2人とも彼氏がいるし(※16)、どっち も可愛く美人に描いてますよ。あ、今 やってるネームが2人が出てきます。 ャームが2人が出てきます。 「サンデー」に載るのは4月くらいかな。 由美とチュウ吉、苗子と千葉、佐藤と 高木も出てきて、もうすごいカップルばっかりですね。お楽しみに。

——劇場版コナンは3作連続で興行収入100億越え。毎年盛り上がっていま すが、劇場版コナンの魅力はどんなとこ ろだと思いますか?

青山: やっぱりスケールがでかい。それに、 漫画ではできないすごいアクションが できる。そこですよね。あと、漫画と 比べて違うのは、音がついてる。アニ メだと音があっていいよね。爆発もあるし、劇場の大きい スクリーンで見たら、 よりダイナミックに 楽しめるんじゃない かな。

——昨年は日本テレ ビ系列「24時間テレビ 「愛は地球を救う」」に て、第48回(2025 年)のチャリTシャツ のデザインを担当され ました。コナンや灰原 も含めた少年探偵団を 描いてみてどうでした か?

青山: すごい良かったで すね。「DayDay」(※17)のインタ ビューなんかもあっ て、水にちゃんがここの仕事場に来てく れたりして･･･。
チャリティのT シャツだったから、 少年探偵団が可愛く て良いかなって思っ て描きました。売れ行きもすごかったらしくて、良かった です。

——ズバリ、「ハイウェイの堕天使」の青 山先生からみた見どころは?

青山: まずラブコメ。あと、回想シーンと 最後のアクション!
千速と松田と萩原の、3人のシーン は見どころです。人によっては苦しく なっちゃうかもだけど、その当時の状 況がわかって面白いんじゃないかな。
あとは珍しくカーチェイスもあるか らね。安室の『ゼロの執行人』以来になるかな。それに、平次以外のバイクアクションはレアになるから、その辺も お楽しみに。

——最後に、「名探偵コナン」を愛するファンに向けてメッセージをお願いします。

青山: 劇場はもう、今回で29弾になりまし たが、長く応援していただいて本当に ありがとうございます。これからもど うぞよろしくお願いします。
漫画のほうも、まだまだくっついて ないカップルもいるし、解けていない 謎もあるんで、引き続きお楽しみにし てください。

※1 平次は最近出した: 第27作「100万ドルの五「後星(みちしるべ)」2024年4月12日公開。

※2 赤レンガの話: TVシリーズ1184~1185話「赤レンガ倉庫 消えた誘拐犯(前編/後編)」マンガ105~106巷。

※3 またカレーに~: 青山先生はカレー通。「100万ドルの五種星 (みちしる べ)」の本誌インタビューでも、北海道のカレー屋さんを紹介。

※4 サンアロハ: 1997年にオープンした、サンアロハみなとみらい山下公園本店。ハワイアンレストランだが、青山先生オススメのビーフカレーを含むカレーは創業以来の名物。

※5 bills(ビルズ): オーストラリア・シドニー発のオールデイダイニングカフェで、横浜赤レンガ倉庫の店舗は国内2号店。千速と重悟が食べていたのは、人気のリコッタパンケーキ。

※6 よしまさこ先生: 横浜市出身の少女漫画家。 1979年「週刊少女マーガレット」増刊号にてデビュー。代表作は「うてな の結婚」「横浜迷宮(ラビリンス)」「BooBoo」など。

※7 観覧車: よこはまコスモワールド内にある大観覧車「コスモクロック21」。みなとみらいが一望できる横浜のシンボル。

※8 ロープウェイ: 2021年開業のYOKOHAMA AIR CABIN (ヨコハマエアキャビン)。全長1260m(片道630m)。桜木町駅から新港地区の運河パーク駅まで、片道約5分。

※9「YAIBA」:青山剛昌先生の漫画作品で代表作のひとつ。1993年「剣勇伝説YAIBA」の題名でアニメ化。2025年「真・侍伝YAIBA」の題名で再びアニメ化し、 監督は蓮井隆弘が務める。主人公の鉄刃 (くろがねやいば) 役は高山みなみが続投。

※10 上まつ毛の目尻にあるちょんってやつが長い: 青山先生のラフ画参照。 上は榎本梓、下が千速。

※11 紅葉: 大岡紅葉は、平次に恋する京都弁の高校生かるた女王(クイー ン)。劇場版は、第21作「から紅の恋歌(ラブレター)」、第27作「100万ドルの五後屋(みちしるべ)」に登場。

※12 不二子ちゃん: 峰不二子は、「ルパン三世」シリーズにおけるルパン一味のグラマー美女。2011年から峰不二子を沢城みゆき、 2021年から次元大介を大塚明夫が声を担当。

※13「攻殻機動隊」: 士郎正宗の漫画作品。1995年「GHOST IN THE SHELL\攻殼機動隊」の題名で劇場アニメ化。 監督は押井守。

※14 双子の犯罪者ネタ: TVシリーズ415~417話「仏滅に出る悪霊(事件編\疑惑編\解決編)」漫画48巻。横溝参悟がメインで、重悟も登場。

※15 参悟: 横溝参悟は、埼玉県警から静岡県警に異動した警部で温厚な性格。双子の兄弟の兄。弟は神奈川県警の横溝重悟。 弟が煙たがっている毛利小五郎を尊敬している。

※16 2人とも彼氏がいる: 宮本由美の彼は、将棋界の有名棋士である羽田秀吉、三池苗子の彼は、警視庁捜査一課の千葉和仲刑事。

※17「DayDay」: 日本テレビ系列の生放送情一報番組。2025年4月25日の放送では、水卜麻美(みうらあさみ)アナウンサーがチャリTシャツの件で青山先生に直撃インタビュー。

Translated by: Manvel

Page: 33

Gosho Aoyama Interview

Chihaya and Jugo have a bit of chemistry going on, so we can show that off too. (laughs)

—— Please tell us how it came about that Kanagawa Prefectural Police’s Chihaya Hagiwara and Jugo Yokomizo ended up taking the lead roles in the second theatrical film, Highway Fallen Angel.

Aoyama: Chihaya is popular, so we decided, “Why not do one with Chihaya as the main character?” Also, Chihaya and Jugo have a bit of chemistry going on, so we can show that off too. (laughs) On top of that, my current editor is from Yokohama and knows the area well, so I thought it was just right. That’s how Yokohama ended up being chosen as the main setting.

——What led to the decision to bring back Kenji Hagiwara and Jinpei Matsuda, who had already died in the line of duty, as well as Masumi Sera after a long absence?

Aoyama: Since the story involves motorcycles, we felt we definitely wanted to include Sera-chan. Heiji rides a motorcycle too, but Heiji had appeared recently (※1), so I wanted to go with Sera-chan instead. As for Matsuda and Hagiwara, well, whenever Chihaya appears, they more or less tend to show up too, usually in flashbacks and things like that…

——Yumi Miyamoto and Naeko Miike from the Traffic Department also appear from the Tokyo Metropolitan Police Department.

Aoyama: At first, I did consider using Detective Takagi and Detective Sato. But since Chihaya is part of the Traffic Mobile Unit, I thought it would be better to make the most of that and bring in characters connected to traffic, so I changed it to Yumi and Naeko-chan.
Takagi and Sato fans might be disappointed, but those two appear in the Red Brick Warehouse story too (※2).

——The film is set in Kanagawa Prefecture. What is your impression of Kanagawa? Are there any spots or local foods you like?

Aoyama: This ends up being about curry again (※3), but the beef curry at a restaurant in Yokohama called Sun Aloha (※4) is delicious. It was so good that I even left one of my autograph boards at the restaurant. There used to be a squid ink curry on the menu, and apparently they bring it back from time to time, so I’d like to try it someday.
Also, there’s the bills at the Red Brick Warehouse (※5), which I drew in the manga before. Their pancakes are really good.

——The place where Chihaya and the others were eating…

Aoyama: Right, exactly. It wasn’t just the pancakes; I drew the entrance and the interior to look almost exactly like the real place too. I was taken to that restaurant by the manga artist Masako Yoshi (*6) when we went out together.
I also went to the Christmas market at the Red Brick Warehouse, but no one noticed me at all. There were so many people there, and it was really crowded. (laughs)
I eat all kinds of things in Chinatown too. No matter where you go or what you eat, it’s delicious.

——Have you ever ridden the Ferris wheel (※7) or the ropeway (※8) in Yokohama?

Aoyama: I haven’t been on the Ferris wheel, but I have ridden the ropeway. Since I had the chance, I thought maybe I could use it for some case, but in the end I didn’t. I figured the backgrounds would be a pain to draw. (laughs).

——What was your first impression when you read the scenario for Highway Fallen Angel?

Aoyama: My first impression? That was such a long time ago now. (laughs) But I did think it sounded interesting. I came up with the romantic-comedy part at the end, and the flashback scenes with Matsuda and the others were entirely mine too. This is starting to sound like I’m bragging about myself (laughs).


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——This is Takahiro Okura’s fifth time writing the screenplay. Did you give him any specific requests regarding the scenario?

Aoyama: I think the first thing I said was that I wanted to do a really flashy action scene on the Bay Bridge. It’s such a symbol of Yokohama, after all. For the action there, they made use of my idea. Other than that, I asked for the romantic-comedy element between Chihaya and Jugo to be included, and I also wanted there to be a real reason for Conan-kun to ride tandem on the motorcycle. For example, I suggested that it might be good to have Conan-kun defuse a bomb while the bike is moving… It’s more interesting if there’s tension even while they’re riding, and if they have to work together, right?

I think the first thing I said was that I wanted to do a really flashy action scene on the Bay Bridge. They used my idea for the action there…

——What was your impression of director Takahiro Hasui, who is making his theatrical film directorial debut? What kinds of things did you discuss with him?

Aoyama: He also directed YAIBA (※9), didn’t he? He’s a director who’s really good with action, so the pacing is very strong, and he’s easy to work with. I did give various bits of advice on how to streamline the story, but when it came to the motorcycle action and things like that, I left it entirely to him. Honestly, even when I, as a manga artist, look at storyboards for action scenes, I don’t really understand them. (laughs) Oh, but there was one thing I asked for. In Ran-chan’s action scene, her karate move was originally just a regular high kick, but I had them change it to a certain technique. As for what technique it is, you’ll have to look forward to seeing it in theaters.

——How was the title Highway Fallen Angel decided?

Aoyama: It came together pretty smoothly, I think. At first, I was saying something like “Fallen Angel of Something-or-Other,” and then we figured, “Highway” should work. Apparently, people overseas don’t really call expressways “highways,” but since this is Japan, we decided it was fine.

——Every year, fans look forward to the original key animation drawings by Aoyama-sensei. Which characters did you draw for this film, and how many cuts did you draw?

Aoyama: 3 cuts of Chihaya. For Hagiwara and Matsuda, I drew 1 cut of Hagiwara alone, 1 of Matsuda alone, and 1 cut with the two of them together, so that makes 3 cuts in total. There’s one cut of Yumi and Naeko-chan as a pair. Then there’s one scene with Jugo and one with Conan-kun, so I think it probably comes to 9 cuts altogether. But some of them involved a lot of frames, almost like animation footage, so those were tough. I’m not a professional animator, so part of me was thinking, “Will the in-between animation be okay?”

——Did you draw any character designs?

Aoyama: I drew quite a few this time. I drew Omae-san, the engineer, Asagi-san, Chihaya’s senior colleague, and a few others as well. They were just rough sketches, though.

——About the teaser poster, which is also used for the cover of this book: what did you pay attention to while drawing it?

Aoyama: Of course, I wanted to make Chihaya the main focus, but I also wanted Matsuda and Hagiwara to stand out clearly. They’re popular, after all. Then I ended up with no place to put Conan-kun, so I thought, “Just stick him on Chihaya’s motorcycle!” And that’s how it ended up looking like that.

——What was difficult to draw?

Aoyama: The motorcycle was definitely tough. And Chihaya is such a pain to draw in every little detail. Her hairstyle, of course, but also the patch on her arm, the assistant inspector rank insignia, and that whole uniform. She’s secretly just one big bundle of troublesome details. (laughs)

——This is the first time the Kanagawa Prefectural Police have taken a main role in a theatrical film. What is the appeal of the main character, Chihaya Hagiwara, and what do you pay attention to when drawing her?

Aoyama: With Chihaya, I feel like I absolutely have to draw her as a beauty. Also, her eyelashes are longer than the other characters’. She has droopy eyes, but the little flick at the outer corner of her upper lashes is long (※10). Personality-wise, she’s a bit of an older-sister type. Since Matsuda is in love with her, I figured I had to make her beautiful no matter what. Also, in the world of Conan, she has the biggest chest and an outstanding figure♥

——In the Red Brick Warehouse story, where she swapped clothes with Detective Sato, Chihaya wore Sato’s clothes and said, “It’s a little tight around the chest… but it shouldn’t be a problem…”

Aoyama: Detective Sato has a great figure and a nice body too, but when it comes to chest size, Chihaya and Momiji (※11) are the top two. Chihaya might even be able to rival Fujiko-chan (※12). Oh, and Vermouth seems pretty big too♥

——Chihaya’s voice role was passed on from Atsuko Tanaka to Miyuki Sawashiro. What are your impressions of that?

Aoyama: Since Tanaka-san voiced Motoko Kusanagi in Ghost in the Shell (※13), she also had great chemistry with Akio Otsuka-san, who played Batou, and she fit Chihaya perfectly. Sawashiro-san, who took over the role, also voices Fujiko-chan, so she’s every bit as good. There’s no sense of anything feeling off, and I think she’s absolutely perfect for the role.

——About Jugo Yokomizo: what is his appeal, and what do you pay attention to when drawing him?

Aoyama: There really aren’t many wild, rugged detective types, aside from Kansuke Yamato of the Nagano Prefectural Police. Inspector Nishimura from the Hokkaido Prefectural Police, who appeared in The Million-dollar Pentagram, is wild too, but Hokkaido is far away. So the wild character who’s close at hand is pretty much Yokomizo. He’s about the only detective who finds Kogoro annoying.

——He often mocks “Sleeping Kogoro” by calling him “Smoking Kogoro,” doesn’t he?

Aoyama: Right, exactly. He’s kind of looking down on him. Maybe that’s why he’s really easy to draw. I’d always wanted to do a story involving twin criminals (※14), so I thought I should casually introduce twin detectives first. I had drawn Sango (※15) first, so with Sango and Jugo, “3 × 5 = 15” worked out nicely. Even though Jugo was introduced later, he turned into a good character. He’s even been promoted into the romantic-comedy group now. (laughs)
Otsuka-san, who voices both of them, said Jugo is easier to perform than Sango. For me too, Jugo is overwhelmingly easier to draw. His hair is simpler as well.

——What about the Jugo and Chihaya pairing?

Aoyama: Chihaya knows how Jugo feels about her and keeps dodging it, so they’re fun to write. There aren’t many characters like that. In my manga, there are more characters who are dense about that sort of thing… A fair number of couples have gotten together by now, but Kansuke and Yui from the Nagano Prefectural Police still haven’t, and while I’m at it, I’d kind of like to add one more couple from some other prefectural police department too (laughs).

——Kenji Hagiwara and Jinpei Matsuda are also appearing again for the first time since the 25th film, The Bride of Halloween. What can you tell us about those two?

Aoyama: I draw them in a way that always gives off that “partners” feeling. Matsuda is like the accelerator, while Hagiwara is like the brake. Normally, Hagiwara calls Matsuda “Jinpei-chan,” but I’ve decided in my mind that when he’s a little angry or getting serious, he calls him “Matsuda.” Other than that, I’m really drawing both of them as incredibly cool. Though the two of them are a little unhinged.

Page: 35

——All of the Police Academy Arc members, aside from Toru Amuro/Rei Furuya, have passed away. How do you feel about how popular they are?

Aoyama: Honestly, I’m like, “Why?” They really are popular, aren’t they? (laughs) As for Matsuda, I knew from the start, “I’m going to kill this guy off,” so I went all out and drew him as cool as possible. But the other guys are popular too.

The scenes with Chihaya, Matsuda, and Hagiwara are one of the highlights. I think they’re interesting because you get to see what the situation was like back then.

——About Masumi Sera, who is appearing for the first time since the 24th film, The Scarlet Bullet?

Aoyama: Among the female detectives, she’s the sharpest. Leaving aside people like Detective Sato, she’s far and away the smartest among the high school girls. She can ride a motorcycle, and she’s strong too, so she’s a real super character. Because of her mother… Mary, she’s also picked up on quite a lot about Conan’s situation. As far as Sera-chan is concerned, she likes little Conan-kun more than big Shinichi.

——What about the Metropolitan Police Traffic Department duo, Yumi Miyamoto and Naeko Miike?

Aoyama: They both have boyfriends (※16), and I draw both of them as cute and beautiful. Oh, the storyboard I’m working on right now features the two of them. I think it’ll appear in Sunday around April. Yumi and Chukichi, Naeko and Chiba, and Sato and Takagi all appear too, so it’s absolutely packed with couples. Look forward to it.

——The Detective Conan films have surpassed 10 billion yen at the box office for three consecutive entries, and the excitement grows every year. What do you think is the appeal of the Detective Conan films?

Aoyama: The scale is definitely huge. And you can do incredible action scenes that just aren’t possible in the manga. That’s the big thing. Another difference from the manga is that the films have sound. Sound really adds something in anime, doesn’t it? There are explosions too, and when you see them on a big theater screen, I think you can enjoy them in an even more dynamic way.

——Last year, for Nippon TV’s 24-Hour Television: Love Saves the Earth, you designed the charity T-shirt for the 48th broadcast in 2025. How did it feel to draw the Detective Boys, including Conan and Haibara?

Aoyama: It was really great. There was also an interview for DayDay (※17), and Mito-chan even came here to my studio for it…
Since it was a charity T-shirt, I thought the Detective Boys would be cute and fitting, so that’s what I drew. Apparently, the shirts sold really well too, so I’m glad.

——To put it plainly, what are the highlights of Highway Fallen Angel from your perspective, Aoyama-sensei?

Aoyama: First, the romantic comedy. Then the flashback scenes and the final action sequence!
The scenes with Chihaya, Matsuda, and Hagiwara are definitely a highlight. They might be painful for some people to watch, but I think they’re interesting because you get to understand what the situation was like back then.
There’s also a car chase, which is rare. I think the last one was probably since Amuro’s Zero the Enforcer. And motorcycle action involving someone other than Heiji is rare too, so please look forward to that as well.

——Finally, please give a message to the fans who love Detective Conan.

Aoyama: This is already the 29th theatrical film, but thank you so much for supporting us for such a long time. I hope you’ll continue to stick with us.
As for the manga, there are still couples who haven’t gotten together yet, and there are still mysteries that haven’t been solved, so please continue to look forward to what’s coming.

Notes: ※
※1 Heiji had appeared recently:
Refers to the 27th film, The Million-dollar Pentagram, released on April 12, 2024.

※2 The Red Brick Warehouse story:
TV anime Episodes 1184–1185, “The Kidnapper Disappeared at the Red Brick Warehouse” (Part 1/Part 2), corresponding to manga Volumes 105–106.

※3 “Curry again”:
Aoyama-sensei is a curry connoisseur. In the main magazine interview for The Million-dollar Pentagram, he also introduced a curry restaurant in Hokkaido.

※4 Sun Aloha:
Sun Aloha Minato Mirai Yamashita Park Main Branch, which opened in 1997. Although it is a Hawaiian restaurant, its curries, including the beef curry recommended by Aoyama-sensei, have been a specialty since the restaurant first opened.

※5 bills:
An all-day dining café originally from Sydney, Australia. Its Yokohama Red Brick Warehouse location is the second branch in Japan. The dish Chihaya and Jugo were eating was the popular ricotta pancakes.

※6 Masako Yoshi-sensei:
A shōjo manga artist from Yokohama. She debuted in 1979 in a special issue of Weekly Shōjo Margaret. Her representative works include Utena no Kekkon, Yokohama Labyrinth, and BooBoo.

※7 Ferris wheel:
The giant Ferris wheel “Cosmo Clock 21” located inside Yokohama Cosmo World. It is a symbol of Yokohama, offering a panoramic view of Minato Mirai.

※8 Ropeway:
The YOKOHAMA AIR CABIN, which opened in 2021. It runs for a total length of 1,260 meters, with a one-way distance of 630 meters. The ride from Sakuragichō Station to Unga Park Station in the Shinkō district takes about five minutes one way.

※9 YAIBA:
One of Gosho Aoyama-sensei’s representative manga works. It was adapted into an anime in 1993 under the title Kenyū Densetsu YAIBA. In 2025, it was adapted into anime again under the title Shin Samurai-den YAIBA, with Takahiro Hasui serving as director. Minami Takayama continues to voice the protagonist, Yaiba Kurogane.

※10 The little flick at the outer corner of her upper eyelashes is long:
See Aoyama-sensei’s rough sketch. The upper example is Azusa Enomoto, and the lower one is Chihaya.

※11 Momiji:
Momiji Ooka is a high school karuta Queen who speaks in a Kyoto dialect and is in love with Heiji. She appears in the 21st film, The Crimson Love Letter, and the 27th film, The Million-dollar Pentagram.

※12 Fujiko-chan:
Fujiko Mine is the glamorous beauty of Lupin’s gang in the Lupin the Third series. Miyuki Sawashiro has voiced Fujiko Mine since 2011, and Akio Otsuka has voiced Daisuke Jigen since 2021.

※13 Ghost in the Shell:
A manga by Masamune Shirow. In 1995, it was adapted into a theatrical anime film under the title GHOST IN THE SHELL / Ghost in the Shell. It was directed by Mamoru Oshii.

※14 The twin-criminal story:
TV anime Episodes 415–417, “The Evil Spirit Appears on an Unlucky Day” (The Case / The Suspicion / The Resolution), corresponding to manga Volume 48. Sango Yokomizo is the main focus, and Jugo also appears.

※15 Sango:
Sango Yokomizo is a mild-mannered inspector who transferred from the Saitama Prefectural Police to the Shizuoka Prefectural Police. He is the older brother of the twin siblings. Unlike his younger brother, who finds Kogoro annoying, Sango respects Sleeping Kogoro.

※16 They both have boyfriends:
Yumi Miyamoto’s boyfriend is Shukichi Haneda, a famous shogi player. Naeko Miike’s boyfriend is Detective Kazunobu Chiba of the Tokyo Metropolitan Police Department’s First Investigation Division.

※17 DayDay:
A live information program broadcast on the Nippon TV network. In the episode aired on April 25, 2025, announcer Asami Miura conducted a direct interview with Aoyama-sensei about the charity T-shirt.

TV Anime Episodes Selected by Gosho Aoyama

Date: April 16, 2026
Published in: Dime Magazine Issue June 2026

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Source: Raw

Raw:

Translated by: Manvel

TV Anime Episodes Chosen by the Original Creator and Conan Fans

7 Selected Episodes

Here, we introduce recommended anime adapted episodes chosen by the original creator, Gosho Aoyama, together with his comments. It is a perfect lineup both for those watching the Detective Conan anime for the first time and for anyone who wants a refresher before the movie Highway’s Fallen Angel.

Gosho Aoyama’s Comments on Selected Episodes:

Aoyama-sensei VOICE

“Ran GIRL” and “Shinichi BOY” were both really good. They were cute. “Shinichi BOY” would have been even better if it had included Shinichi’s inner monologue from Volume 87, File 8, page 127, but I guess it works as it is (laughs).

• See Memories from Sakura Class

Aoyama-sensei VOICE

I think we were able to nicely add in things we couldn’t say back in the original first episode. Like the Organization being after the land rather than the money, Chianti and Korn’s romantic comedy bit, and Yusaku and Yukiko coming to Japan. As for choosing Opening “Mune ga Dokidoki” (The Pounding of My Heart), that was my own idea! (laughs).

• See Episode One: The Great Detective Turned Small
• See Mune ga Dokidoki

Aoyama-sensei VOICE

Matsuda was really cool, wasn’t he? Since I hadn’t drawn Hagiwara in the original manga, I redesigned him myself because I wanted to make him look cool. I never expected him to become this popular later on (laughs).

• See The Trembling Police Headquarters: 12 Million Hostages

Aoyama-sensei VOICE

The animation and direction were both so good that I watched it over and over again (laughs). Since the original manga ends on an unsettling note, we decided to give the anime a happier ending. The director came up with Ran rolling around on the bed in agony at the end, but I came up with the direction before and after that scene.

• See The Scarlet School Trip

Other Selected Episodes:

• See Shinichi Kudo's Childhood Adventure
• See The Locked Room in the Sky: Shinichi Kudo's First Case
• See Holmes' Revelation

Special Conan Movie 29 Staff interview

Date: May 25, 2026
Published in: Shonen Sunday Super Issue 7/2026

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Raw:

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Translated by: Manvel

Note: The translation below only covers Gosho Aoyama’s questions and answers.

Questionnaire Items

1 Please tell us your top recommended scene from this film.

2 Whether it was something positive or something difficult, please share any behind-the-scenes stories from production.

3 If there are any points viewers should pay attention to when watching the film for a second time or more, please tell us.

4 Please tell us your recommended character from this film.

Original Creator / Gosho Aoyama

1 The princess carry at the end, I guess. (laughs)

2 How to convey to the staff just how amazing the action using the Bay Bridge should be, I guess. (laughs)

3 Those two who kick through the front windshield of the mini patrol car with the roof torn off, then say “Of course!” to Jugo. (laughs)

4 Obviously Chihaya! (laughs)

Gosho Aoyama × Chanmina × Taiga Kyomoto: The Meaning Behind the Charity T-Shirt

Date: July 31, 2026
Published in: ZIP! and DayDay Program Live

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Source: Video - Video
Link - Link

Some photos

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  Gosho Aoyama × Chanmina × Taiga Kyomoto
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Translated by: Manvel

Summary & Key Points:

Taiga Kyomoto and CHANMINA, both devoted Detective Conan fans, visit Gosho Aoyama’s studio and meet him for the first time. They are overwhelmed with excitement, shake his hand, and examine rare items such as first-edition books, original manuscripts, and rough sketches.

Aoyama explains that the charity T-shirt reflects the idea that family is not limited to blood relatives. Although his initial design featured Shinichi’s parents, Yusaku and Yukiko, he changed it to Conan, Ran, Kogoro, and Eri to show that people can still be family even without being biologically related. He also emphasizes that real families sometimes argue but continue to care for one another.

At the end, Aoyama chooses pink for Kyomoto, knowing it is his SixTONES member color, and purple for CHANMINA. He closes by encouraging people to wear the T-shirt as a reminder to cherish their families.

Key Points:

• Taiga Kyomoto and Chanmina visit Gosho Aoyama’s studio as passionate Detective Conan fans.
• Both are extremely excited to meet Aoyama for the first time and shake his hand.
• They see valuable items, including first-edition books (Conan Manga Volumes), original manga pages, and rough sketches.
• Aoyama says an original drawing can take him an entire day to complete.
• The charity T-shirt’s main message is that family is not limited to blood relationships.
• Aoyama originally considered featuring Yusaku and Yukiko, but chose Conan, Ran, Kogoro, and Eri to express a broader idea of family.
• He explains that real families do not always get along and may argue, but they still care for one another.
• Aoyama chooses pink for Kyomoto because it is his SixTONES member color.
• He chooses purple for Chanmina, which she feels suits her perfectly.
• Aoyama’s final message is to wear the T-shirt as a reminder to cherish your family.

Gosho Aoyama × Chanmina × Taiga Kyomoto: The Detective Conan Finale Storyboard Exists

Date: August 16, 2026
Published in: ORICON NEWS

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Source: Link

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Translated by: Manvel

Gosho Aoyama Confirms a Storyboard for the Detective Conan Finale Exists: “It’s Good (laughs)”

Gosho Aoyama, creator of Detective Conan, appeared on 24-Hour Television Latest Information SP, a special preview program for Nippon TV’s 24-Hour Television 49: Love Saves the Earth. During the program, he addressed the existence of a storyboard for the final chapter of Detective Conan.

Aoyama designed the charity T-shirt for 24-Hour Television. CHANMINA and Taiga Kyomoto of SixTONES, both die-hard Detective Conan fans, visited Gosho Aoyama’s studio to interview him. CHANMINA has loved Conan ever since discovering the series in her teens, to the point that she says, “Detective Conan is practically built into my DNA.”

Kyomoto, who is also serving as a charity partner, is an equally devoted Conan fanatic and has even earned Level 1 of the notoriously difficult Detective Conan Certification Exam. At last, the two of them were able to fulfill their dream of interviewing Aoyama.

When CHANMINA asked, “Did you think from the very beginning that Conan would become this beloved?” Aoyama replied, “No. Not at all. I thought it would probably end pretty quickly.” He said the first time he truly realized how loved the series was came when it was adapted into a movie for the first time. “That was the first time I thought, ‘Wow, people really love this,’” he recalled.

These days, he seems delighted by the fact that “the anime is on every week (laughs).” Smiling, he added, “When I talked with Eiichiro Oda, the creator of One Piece, we said to each other, ‘We’re probably the only ones whose manga gets turned into an anime every single week, right?’”

CHANMINA then asked, “I’m the kind of person who starts by thinking about the ending. I even live my life with retirement in mind. Do you ever think about things that way?”

Aoyama responded with a mischievous grin, “I’ve already drawn the storyboard for the final chapter. Want to see it? (laughs),” firmly confirming that a storyboard for the Detective Conan finale does indeed exist.

Unable to contain herself, CHANMINA immediately leaned forward and asked, “Really? Is that okay?”

Kyomoto quickly shot back, “You’re not supposed to actually take him up on that!”

Watching the exchange, Aoyama playfully added, “It’s good, you know (laughs).”

Gosho Aoyama Interview on YAIBA: Samurai Legend (Animate Times, 2026)

Date: August 18, 2026
Published in: Animate Times Website

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Source: Link - Link

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Translated by: Manvel

“Please enjoy the Kaguya Arc with your heart racing from all the suspense and excitement” — Original Creator Gosho Aoyama Talks About the TV Anime Yaiba: Samurai Legend (Shin Samurai-den YAIBA)

The TV anime Yaiba: Samurai Legend is based on the work of Gosho Aoyama, creator of Detective Conan and YAIBA, who also serves as the series’ script supervisor. With production on a second season now officially confirmed, anticipation is already building for both the upcoming broadcast and further announcements about the new season.

YAIBA is a popular manga that was serialized in Shogakukan’s Weekly Shonen Sunday from 1988 to 1993. More than 30 years after the manga concluded, it returned in April 2025 as the TV anime Yaiba: Samurai Legend (Shin Samurai-den YAIBA). The first season aired for a total of 24 episodes.

To commemorate “YAIBA Day” on August 18, Animate Times sat down for an interview with original creator Gosho Aoyama. Looking back on episodes from the first season of Yaiba: Samurai Legend, Aoyama discussed the care and attention that went into the series, as well as behind the scenes stories about how certain episodes and ideas came to be all while carefully avoiding spoilers, at one point remarking, “There’s more I’d really like to say, but I can’t.”

The “Raised in the Jungle” Backstory Came from Wanting to Draw the Scene, “So This Is a Woman?!”

—When it comes to YAIBA, were there any particular aspects you were especially particular about or personally attached to?
Aoyama: Basically, I just drew whatever I felt like drawing. But if I had to name one thing, I’d say, “Make the boys cool and the girls cute.” These days, though, I’d especially add that the girls should be cool too. And since I’ve always liked romantic comedies, I naturally put a lot of effort into that side of the story as well.

—YAIBA has now been adapted into a TV anime once again in the Reiwa era as Yaiba: Samurai Legend. How did you feel seeing a character like Yaiba Kurogane brought to life and moving on screen in the present day?
Aoyama: You don’t really see many protagonists nowadays who look like they probably never take a bath, the way Yaiba does. (laughs) There used to be quite a few characters like that back in the day.

—We were surprised to learn that Yaiba was raised in the jungle. What made you decide on that backstory?
Aoyama: I wanted to do a scene where the protagonist, who knows absolutely nothing, sees a woman for the first time and reacts, “So this is a woman?!” To make that work, I needed a setup where he had never seen a woman before, so I decided he had been raised in the jungle.

—“So this is a woman?!” is the kind of line an ordinary character could hardly get away with saying.
Aoyama: Yeah, you really couldn’t. (Looking back on those days) Ah, that takes me back.

The Story Behind the Creation of the “Oda Nobunaga Tournament” Arc

—If it does get animated, I imagine it would come much later in the story, but personally, the “Oda Nobunaga Tournament” arc left a very strong impression on me.
Aoyama: When the anime adaptation of Kenyu Densetsu YAIBA was first decided, the manga was originally supposed to end with the defeat of Yamata no Orochi. But once the anime was set to begin, I added the “Oda Nobunaga Tournament” arc and extended the manga by about six months.
Nowadays, you do sometimes see a manga end while its anime adaptation is still airing Demon Slayer: Kimetsu no Yaiba, for example but I don’t think that was very common back then. Once the anime actually started airing, though, the manga’s popularity rose along with it.
So when the time finally came to end the manga’s serialization, members of the anime staff actually came all the way to my house and pleaded with me, “Please keep it going!”
Personally, I would have liked to continue it a little longer, but it had already been decided that the series would end after that six month extension. I still remember how disappointed everyone looked when they left.

—But I think it’s precisely because of the “Oda Nobunaga Tournament” arc that we get to see Onimaru’s humanity and the more human side of his character so clearly. The poignancy of that part of the story feels like one of the reasons he became so popular.
Aoyama: Exactly. I’d really love to see that part animated too.

Gekko’s Popularity — A Character Aoyama Created Thinking, “I’m Going to Make Him a Really Evil Guy”

—In the TV anime Yaiba: Samurai Legend, the first season ended with Kaguya making her appearance. Is there anything in particular you’d like fans to look forward to in the highly anticipated second season?
Aoyama: In Season 2, they’re fighting almost constantly to the point where there’s hardly an episode without a battle. There are so many fight scenes that there’s barely even room for the usual goofing around. There’s a lot I’d like to talk about, but it would all be spoilers. (laughs)

—Speaking of the “Kaguya Arc,” which will be covered in Season 2, Gekko is also very popular despite being a villain.
Aoyama: Right! Gekko was incredibly popular.

—Why do you think Gekko became so popular?
Aoyama: I have no idea. (laughs) As far as I was concerned, I created him thinking, “I’m going to make this guy really evil.”

—And yet, somehow, he’s still a character you can’t quite bring yourself to hate.
Aoyama: He’s a dangerous guy, and yet for some reason he ended up becoming hugely popular.

A YAIBA Pavilion at the Detective Conan Museum Too?! — Gosho Aoyama’s Dream

—Detective Conan remains hugely popular, and YAIBA has now received a new anime adaptation as well. Is there any dream or challenge you’d like to pursue in the future?
Aoyama: Once, when I was at some kind of party, a foreign guest came up to me and said, “Would you like to build a Conan Land in Dubai?” I turned them down and said, “No, I’ll pass.”

—If that had actually happened, there might have been a YAIBA area too.
Aoyama: A YAIBA area sounds great. Please build one at Universal Studios Japan. (laughs)

—Finally, could you give a message to all the fans who are looking forward to Season 2 of Shin Samurai-den YAIBA and the Kaguya Arc?
Aoyama: The Kaguya Arc is going to be one intense battle after another, and I think there’ll be quite a few shocking moments as well. But rest assured, it does ultimately reach a wonderful conclusion. I hope you’ll enjoy watching it each week, with all the suspense and excitement keeping you on the edge of your seat.
—Thank you very much!

Gosho Aoyama Answers Questions from Fans!

Question One
How did you come up with the idea of having a single sword gain different abilities by swapping out the orbs attached to it, rather than introducing a whole series of different swords?

(Saorin-San)
Aoyama: It started with me thinking that, if YAIBA were turned into a video game, it would be nice to have a sword with a system like that.
Nowadays, if you looked around, I’m sure you could find similar ideas, but games back then often introduced a new sword each time the story progressed—something like, first you get the Kusanagi Sword, and then the next one is Excalibur.
So I thought it might be interesting if, instead, the sword’s abilities changed depending on which orb you put into it.

—Were you playing a lot of video games back then?
Aoyama: Yes, I used to play games like Dragon Quest and Final Fantasy quite a lot. That’s what got me thinking, “It’d be great if there were a sword like this.”

Question Two
I love the relationships between Yaiba and Kagetora, and between Yaiba and Shonosuke. How do they each feel about one another?
(Hoshihoshi-San)
Aoyama: At first, Kagetora was actually trying to eat Yaiba. (laughs) But by now, they’re definitely partners, and the same goes for Shonosuke.
They’ve both been around since the very beginning, so I’d say they’re probably the animals Yaiba is closest to out of all the creatures that appear in the series. Also, since Yaiba is pretty small, riding Kagetora or Shonosuke lets him get around both on the ground and through the air. That was another reason I decided to introduce Kagetora and Shonosuke.

Question Three
Regarding the abilities of the “orbs” used with the Raijin Sword and Fujin Sword such as Water, Gold, and Fire were there any other abilities or unreleased “lost” orbs that you came up with at the time but ultimately scrapped?
(Arthur Hirai-San)
Aoyama: There might have been... but I’ve forgotten. (laughs) Still, I do feel like there were probably a few.
Back then, I was basically choosing kanji that seemed easy to make use of in a manga. For example, if you look at the days of the week—Moon, Fire, Water, Wood, Gold, Earth, and Sun, which are based on the Five Elements and the Seven Luminaries—we never got orbs for “Sun” or “Moon.”
Things like “Water” and “Fire” are easy to visualize, so for a moment I considered basing the orbs on the days of the week. But I realized they didn’t really fit neatly, so I dropped the idea.
We never got “Earth” or “Wood” orbs either. Thinking about it again now, there were actually quite a few elements I never used.
And the “Gold” orb was one I struggled with quite a bit. In the end, I made it so that it could transform you through a tanuki’s “kintama”—a pun, since kintama literally means “golden balls” and is also a slang term for testicles and that led me to bring in Kincho Tanuki as well.

Question Four
Do you have any advice for people aspiring to become character designers? If there are any tips or secrets to creating striking, instantly recognizable character designs like those in YAIBA, I’d love to hear them!
(Aria-San)
Aoyama: Make sure to include some solid black somewhere in the design.
For example, if you make both the hair and the clothes completely white, it can be hard to make out the character’s design at a glance. Even with a white haired character, you could make the inner layer of their outfit black, or add some black somewhere even if their outerwear is white.
Sonoko from Detective Conan is another example even just making her headband black gives the design a nice visual accent. So the advice I usually give is: “It’s better to work some solid black into the design somewhere.”

—Does the same principle apply to color illustrations as well?
Aoyama: With color, you can do things like make the headband red so that it stands out. You have more freedom when working in color, but adding a dark color somewhere helps give the design more definition.

—When designing a character, do you first think of them in black and white and decide on the colors afterward? Or do you already have a color image in mind from the beginning?
Aoyama: I think of the design in black and white first, then add the colors afterward. That’s generally how I do it when creating new characters as well.

Detective Conan × Back to the Future Collaboration

Date: August 25, 2026
Published in: ORICON NEWS

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Source: Link

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Translated by: Manvel

On August 25, 2026, Universal Studios Japan announced a special collaboration between Detective Conan and Back to the Future as part of the park's 25th anniversary celebrations.
The collaboration features Conan Edogawa and Professor Agasa in an illustration that pays homage to the iconic Back to the Future movie poster. Back to the Future had also returned to USJ as part of the 25th anniversary special event Universal Cars and Stars Collection.
Special collaboration merchandise featuring the illustration is scheduled to go on sale at Studio Style in Universal Studios Japan on September 9, 2026.
To commemorate the collaboration and USJ's 25th anniversary,
Gosho Aoyama provided the following comment:

Congratulations on USJ’s 25th anniversary～～～♪

I have a blast with the Detective Conan attractions every year～～～!
And now, to celebrate this 25th-anniversary milestone, there are collaboration goods with one of my all time favorites, Back to the Future!
I’m absolutely thrilled!

Takeharu Sakurai × Taihei Ogawa: Detective Conan Screenwriting Interview

Date: September 20, 2026
Published in: Official Soko made Itte Iinkai NP

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Source: (Video) - (Video)

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  Takeharu Sakurai
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  Takeharu Sakurai & Taihei Ogawa
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Translated by: Manvel

Interview with Takeharu Sakurai
Host: Taihei Ogawa
Taihei Ogawa: is a Japanese crime journalist and former Kanagawa Prefectural Police detective.

Q&A Format

Q Ogawa: When you were first given the themes for this project, what did you think of them?

Sakurai: Since we're dealing with a counterfeit-money case in Conan this time, I understood why counterfeiting was one of the themes.

Then there were two other criminal cases. One was the (300 Million Yen Robbery), and I could understand that too, since it also involved money. The other was an (unsolved murder case), and since we were dealing with murder, that also made sense to me.

But I kept wondering, "Why the Honnō-ji Incident?"

I carried that question with me the whole time, and even now, it still hasn't really been resolved for me.

Ogawa: I felt the same way as Sakurai-san about the Honnō-ji Incident. I also wondered, "Why this one?" But to be honest, it was probably the one I was least invested in. I wasn't particularly interested in it.

Q: Detective Conan has an enormous number of characters. Is there anything in particular you keep in mind when writing the story?

Sakurai: Because Detective Conan has so many characters, if I don't decide on a central theme before I start writing, all the characters will start moving in directions that have nothing to do with that theme. So I first establish the theme, then make sure each character is connected to that central core and acts in relation to it.

Q: Do you decide on the ending first and then work toward it?

Sakurai: There are many different ways of approaching a screenplay. Sometimes I start by working out the solution to the mystery. Other times, I set up a mystery that even I don't know how to solve yet.

Q: Even you don't know the answer?

Sakurai: Right. Sometimes I'll decide, "Let's use this trick," even though I haven't yet figured out how the mystery will ultimately be solved.

Q: So you figure out the solution as you write?

Sakurai: Yes. Sometimes I start from the culprit's point of view. I essentially commit the crime once from the criminal's perspective, and then I go through it again from the investigators' point of view and ask myself, "How could they solve this?"

Q: When you write a screenplay, there is naturally also a director involved. Does the director ever come back to you and suggest changes?

Sakurai: Of course. But even before that, there are quite a few times when I find myself thinking, "Wait... did I really write this?" Since the director is the one actually putting everything together, sometimes what they create surprises me even more.

For example, I may have written a scene that was supposed to be completely silent, with no dialogue at all, but then it ends up containing a lot of monologues and dialogue.

Q: As the screenwriter, are you okay with changes like that?

Sakurai: Not always. Sometimes I'm not particularly happy about them. But there are times when the first time I even find out about a change is while I'm watching the finished film at the preview screening. By then, it's already too late.

Q: Does the screenplay change further during production?

Sakurai: In the case of films, after the screenplay I write, there's another script prepared for the voice-recording sessions. Someone other than me writes that version.

When I see the recording script, I sometimes think, "Oh, this is quite different." At that stage, I can still point things out and ask for corrections.

But once the actual film is completed, it may have changed even further. So there are times when I notice things like, "That line is gone," "That was an important line," "They added a lot of dialogue here," or even, "I never wrote this scene." There are all kinds of changes.

Q: In something like Detective Conan, a single line can be extremely important—for example, a memorable line or one that serves as foreshadowing. Isn't it a serious problem if a line like that gets removed?

Sakurai: Yes, it can be a serious problem. That's why I'll tell them beforehand, "Please don't cut this line," or, "This is a line the original author wrote himself, so you're not going to cut it, right?" We discuss things like that in advance.

But sometimes there are things I forget to specifically point out because I assume, "Surely they wouldn't cut this," or, "This line is foreshadowing, so there's no way they'd remove it."

Q: In other words, you assume they'll understand how important the line is even without you having to explain it?

Sakurai: Exactly. But sometimes it gets cut anyway, which really surprises me. I'll be sitting there thinking, "Wait... the line that sets up the clue is gone."

Summary Points:

• Sakurai explained that because Detective Conan has a very large cast, he first establishes a central theme and then connects each character’s actions to it.
• He uses different methods when constructing mysteries: sometimes he starts from the solution, while at other times he creates the trick first without yet knowing how the case will be solved.
• In some cases, he writes the crime from the culprit’s perspective first, then switches to the investigators’ perspective and works out how they could solve it.
• Sakurai said directors sometimes alter scenes significantly from his original screenplay, including adding dialogue or monologues to scenes he had written as completely silent.
• He does not always approve of such changes, but sometimes only discovers them at the preview screening, when it is already too late to revise the film.
• After his screenplay is completed, a separate voice-recording script is prepared by someone else, which can introduce further changes.
• By the time the final film is completed, dialogue may have been removed or added, and even entirely new scenes may appear.
• Sakurai stressed that in Detective Conan, a single line can be very important, especially when it contains foreshadowing or a clue.
• He sometimes specifically tells the production staff not to remove certain lines, particularly lines written by Gosho Aoyama himself.
• Even so, lines containing important foreshadowing have occasionally been cut because Sakurai assumed their importance would be obvious without explicitly pointing it out.
• Sakurai also discussed researching real professionals for his scripts and the difficulty of maintaining appropriate relationships with interview subjects, including former criminals.
• He noted that he views appearances on programs like this partly as publicity for Conan projects and tries to cooperate with promotion because of his own past experience as a producer.
• Regarding the themes presented for the project, Sakurai said he understood the connections involving counterfeit money, the 300 Million Yen Robbery, and an unsolved murder case, but he remained puzzled by the inclusion of the Honnō-ji Incident.