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

  Show spoilers »

Source: (Link)

Raw:

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」

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

  Show spoilers »

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

  Show spoilers »

Source: (Link)

• 
  Podcast at Gosho Aoyama’s Home
• 
  Podcast Announcement
• 
  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

  Show spoilers »

Source: Raw

Raw:

Shonen Sunday Speech Bubbles: Gosho Aoyama x Rumiko Takahashi

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

  Show spoilers »

Source: (Link)

• 
  Podcast Announcement
• 
  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 M29 Interview

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

  Show spoilers »

Source: Raw

Raw:

Gosho Aoyama Shu-ichi Interview 2026

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

  Show spoilers »

Source: (Link) - (Video)

• 
  Soya Igari & Gosho Aoyama & Rina Sato
• 
• 

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

  Show spoilers »

Source: Raw

Raw:

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.