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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.
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.
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).
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…)
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:
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).
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