Interviews in 2024

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This page lists interviews in 2024.

From Gosho Aoyama To All Readers - DC 30th Anniversary

Date: January 10th, 2024
Published in: Weekly Shonen Sunday Issue 7/2024

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Raw:

• 
  Magazine Cover
• 
  A Message From Aoyama-Sensei

名探偵コナン連載30周年

青山剛昌先生より読者の皆様へ

どーも青山です!
オレが30歳の時に始めた作品が
この度、30周年を迎えました!
・・・って事は･･･

オレの人生の半分がコナンです.
(笑)

ここまでついて来てくれたファンの皆さんへの 感謝を込めて、色々な企画を用意してるので おっ楽しみに~♪

Translated by: Manvel

Detective Conan – 30th Anniversary of Serialization

From Gosho Aoyama to all readers

Hi, Aoyama here!
The series I started when I was 30 years old
has now reached its 30th anniversary!
…which means…

Half of my life has been Conan.
(Laughs)

To show my gratitude to all the fans who have stayed with me until now, we’ve prepared all sorts of projects— so please look forward to them~♪

Gosho Aoyama Special Interview for the Detective Conan 30th Anniversary Exhibition

Date: January 12th, 2024
Published in: Conan Exhibition Official Guidebook – 30th Anniversary of Serialization 2024

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Source: Raw

Raw:

Translated by: Manvel

Gosho Aoyama Special Exhibition Room
30 years of drawing Detective Conan! We were granted special access to report from Gosho Aoyama’s workroom.

Page: 26
Gosho Aoyama
Special Interview
Aoyama-sensei himself spoke about many of his memories connected to Conan.

On Memorable Lines

— Interviewer: Detective Conan has so many unforgettable lines that really sink into your heart. How do lines like those come about? For example, I love the scene where Heiji says to Kazuha, when she is about to fall from a cliff, “If you move... I’ll kill you...” (Volume 28, “And Then There Were No Mermaids”)

Aoyama: It is cool, in a way, to say the opposite of what you really mean. There was an old drama called Danjo Shichinin Natsu Monogatari (The Summer Story of Seven Men and Women), and I loved the scene where the heroine, played by Shinobu Otake, says to the protagonist, played by Sanma Akashiya, “I hate you.” Lines that run contrary to someone’s true feelings can really hit you emotionally. So I had him say it with the meaning of, “I’m going to save you.”

— At the 30th anniversary exhibition, a variety of memorable lines were also collected and displayed. Was there any particular line among them that you felt especially attached to?

Aoyama: Yes “when a detective sinks their teeth into a case, they keep driving in the sharp fangs of evidence until the other side finally gives up. That’s what a detective is...” (Volume 84, “Shinichi Kudo Aquarium Case”) That line was really written to make the phrase “That’s what a detective is” sound cool. Since the scene involved a shark, I played around with that image and gave it a lot of thought.

— So you put a lot of care into the buildup leading up to those signature lines as well.

Aoyama: Yes, working out the phrasing was difficult. Also, there’s a line where Shinichi says, “The truth is always... there’s only ever one...” (Volume 10, “The Diplomat Murder Case”). It’s very similar to Conan’s anime catchphrase, “There is only one truth.” The original manga had me writing a line along those same lines too. The wording is a little different, of course, but it was just a coincidence.

— So the message you wanted to convey was the same.



Aoyama: Yes, that’s right. I also put a lot of thought into the line Shinichi says in New York: “I don’t care what reason someone might have for killing another person... but when it comes to saving someone, there’s no such thing as logical reasoning behind it, is there?” (Volume 35, “Shinichi Kudo’s New York Case”) When I went to Germany, a Conan fan showed me that page and said, “This is the bible of my life!” I was really surprised (laughs). That was the line they meant.

— That’s a very weighty line.

Aoyama: One line I’m especially fond of is:
“Once you eliminate the impossible, whatever remains... no matter how unbelievable it may seem... that is the truth!!”
(Volume 28, “And Then There Were No Mermaids”) I wrote that line with my beloved Conan Doyle’s Sherlock Holmes in mind.

Page: 27

— So in other words, a detective has to face even truths they may not want to believe.

Aoyama: Right. There’s also Conan’s line:
“A detective who corners a culprit with deductions, only to let them kill themselves right before his eyes... is no different from a murderer...”
(Volume 16, “The Ill-Fated Family” / “Distinguished Family’s Consecutive Accidental Death Case”) That was a line I felt I needed to say at least once. There are a lot of mysteries that end with the culprit committing suicide, but personally, I really didn’t want to do that.

— Does that mean Narumi-sensei’s presence has continued to stay with Conan ever since?

Aoyama: Narumi-sensei was the only one I ended up letting die, after all. And another line that brings back memories is the one Conan says to Haibara: “Don’t run, Haibara... Don’t run from your fate...” (Volume 29, “The Mysterious Passenger”)

— From that point on, Ai Haibara really changed in a major way, didn’t she?

Aoyama: Ran has a line I’d recommend too: “Courage is a word meant to inspire people to do what is right... It should never be used as an excuse to kill someone...” (Volume 31, “The Mystery Caught in the Net”)

— In the manga, Ai Haibara says that same line again on the very next page.

Aoyama: When that line was recorded for the anime, Megumi Hayashibara, Haibara Ai’s voice actress, apparently had everyone else leave the studio and recorded it alone. I think it was because she wanted to concentrate that deeply on it. I heard that a very long time ago, so I might be remembering it wrong, but I’m pretty sure that’s what I was told.

— That really hits hard.

Aoyama: Another line that brings back memories is, “If it were Shinichi, he would never let anyone die! Never!!” (Volume 73, “The Detective Agency Barricade Incident”) That line really shows what is so good about Ran.

— Do lines like that come to you naturally as you work out the story?

Aoyama: Not naturally, no. I pace around, or watch all kinds of movies. I’m also very fond of Ayumi’s line, “You can’t win if all you do is run away!! Never ever!!!” (Volume 43, “Find the Buttock Mark”) Yukiko Iwai, Ayumi’s voice actress, told me she was really nervous when she had to say it because it was such a good line. So really, I’m the one who should be thanking her.

— That line is what triggers a change in Ai-chan’s feelings, after all. Ai-chan really is moved by the words of many different people, isn’t she?

Aoyama: I’m a Giants fan, and there used to be a pitcher on the team named Okajima. One time, when he came in as the closer, he kept walking batters and they ended up losing. I actually wrote that line with the feeling of, You can’t win if all you do is run away, directed at Okajima (laughs). Back then, my editor was a Giants fan too, so all we ever talked about in meetings was the Giants. Sorry, Okajima. Though having said that, he went on to the Major Leagues and did really well there.

— Maybe it reached him after all.

Aoyama: I don’t think that was the case (laughs). As for Sato Miwako’s line, “Justice isn’t something you casually throw around and brandish...” (Volume 21, “Metropolitan Police Detective Love Story”), that comes from the tv drama Odoru Daisousasen (Bayside Shakedown). Waku-keiji, played by Ikariya Chosuke-san, says something like that. Don’t go brandishing it around — keep it in your heart. It’s less outright copying and more of an homage, I’d say (laughs).

— I never would have guessed that line was based on something Ikariya Chosuke-san said. Out of all of these, is there one line you like the most?

Aoyama: In the end, it has to be Ran’s line: “The word courage is a righteous word that gives people the strength to rise up.” That one is completely original. When I wrote it, I couldn’t help grinning to myself. I remember thinking, Yeah, this one really works.

— It’s such a wonderful line. It makes me want to carry it around with me just as it is — like one of those tear-off daily calendars.

Aoyama: Like a daily saying, you mean. Very much in that Ningen da mono style (laughs).
Note: This is a cultural reference to Mitsuo Aida’s well-known phrase Ningen da mono (“Because We’re Human”), often associated with short, heartfelt sayings.

— It would definitely make life richer. There are so many wonderful lines, but is there any character you especially empathized with?

Aoyama: Kogoro, I’d say. There are parts of his personality that are similar to mine, so he’s the easiest for me to relate to. And then probably Haibara. A lot of the lines Haibara says are words I’ve put my own feelings into, so she’s easy to write. I end up writing her lines almost as if they were my own words.

On Rom-Com and Romance

— Next, I’d like to ask about the romance side of the series. From the time you first started drawing it, were you already thinking that the love-comedy elements would be important as well?

Aoyama: Yes. Right from the very beginning.

— There are so many different pairings now, but did you ever imagine it would grow to this extent?

Aoyama: No, not at all. That part was completely unplanned. I do think it turned out surprisingly well, though (laughs). There really aren’t many couples that follow the exact same pattern, are there? They all more or less have their own different feel.

— There are a lot of childhood-friend pairings, aren’t there?

Aoyama: There are, but Heiji and Kazuha and Shinichi and Ran are a little different, aren’t they? So I try to distinguish them in that respect. Sometimes I’ll watch a drama on TV and think, That kind of couple is nice, and then work something like that in too. Though I’m not going to say which ones.

— Is there any particular couple you especially root for?

Aoyama: I’d really like everyone to watch over Shinichi and Ran. And then there’s Sato and Takagi, and Heiji and Kazuha as well.

Page: 28

On Mystery

— There have been so many cases throughout the series, but how have you gone about coming up with them?

Aoyama: Every time, my editor and I toss around ideas back and forth. Sometimes nothing comes to me at all, though.

— It’s not exactly the kind of thing you can try out in real life, after all.

Aoyama: Not when it comes to methods of murder, no (laughs). But if it’s a trick for erasing evidence or something like that, then I do test it.

— For example, among the cases so far, is there one that comes to mind?

Aoyama: In a recent case (Weekly Shonen Sunday 2023 Issue #41), there was that trick where you roll hanshi paper into a tube, light it, and it sort of floats up. I actually tried that out in the bathroom. When I tested it, a lot of ash was left behind — in the shape of the tube, too. I thought that if that were left at the scene, the trick would be exposed right away, so I figured it would have to be washed away with water. I try things out like that because it helps me come up with those details. As for tricks that can’t really be tested in real life, well, then I just rely on imagination.

— Are there any cases that have particularly stayed with you?

Aoyama: The code-and-cipher ones, I guess. I was good at math and arithmetic, so I’m good at coming up with ciphers.

— Was that one something you came up with yourself?

Aoyama: For the most part, yes. Holmes’ Revelation (Volume 71) was actually something I came up with while I was on a research trip in London. There were buildings there shaped like things such as a liqueur glass and a wedding cake, and I thought, I can use this. I figured it might be interesting if connecting buildings shaped like food with lines would form a tennis racket.

— So it was something born on location.

Aoyama: We actually held a story meeting in my hotel room there. We spread out a map of London, went over things like this goes here, that goes there, and set down things like a liqueur bottle as we worked it out — and meanwhile my editor had fallen asleep (laughs). That one was really tough. Everything had to tie back to Holmes. I also mentioned this in the comic volume’s flap, but I used a tennis match between Graf (Steffi Graf) and Date (Kimiko Date) as inspiration too, thinking, This could work really well.

— Shinichi-kun and Ran-chan were united in London, did you actually visit that location as well?

Aoyama: I did. The time shown on the clock tower was the exact time when I was really there taking photos. The phone booth where Shinichi appeared also actually existed. It might be gone by now, though.

— If it had been set in Japan, people could go on all kinds of pilgrimage trips to the real-life locations, but I guess London has those kinds of spots too.

On Culprits

— Next, I’d like to ask about the culprits. The librarian in “The Library Murder Case” (Volume 10) was pure horror.

Aoyama: With that one, I was deliberately trying to do horror. Isn’t it one of the scariest cases in the whole past thirty years? (laughs) The scene where Genta-kun turns on the light and the librarian is staring right at them — I have to say, even I thought that came out really well (laughs). As for the culprit in “The Stradivarius Discord [Prelude / Interlude / Postlude]” (Volume 46), that one is the coolest, I think. For the anime, I even specifically requested Yamadera Koichi-san for the voice. And then there’s the fake Shinichi. I drew him just slightly uncool on purpose, so that when the real one appears, people would instantly think, That’s the real one!

— By the way, do you draw Shinichi-kun and Kid differently in any way?

Aoyama: I distinguish them by their hairstyle, but other than that, I really don’t draw them differently at all.

— Narumi-sensei in “The Moonlight Sonata Murder Case” (Volume 7) is such a heartbreaking character.

Aoyama: That’s the only culprit I ended up letting die, after all. That case was really written so I could have Conan say the line that a detective who corners a culprit with deductions and drives them to death is no different from a murderer (laughs). As for “The Karaoke Box Murder Case” (Volume 5), there’s that scene where someone drinks potassium cyanide and coughs up blood, but my younger brother, who’s a doctor, told me, “You don’t cough up blood from potassium cyanide” (laughs). I’d been watching the drama Furuhata Ninzaburo, and in it someone drank potassium cyanide and coughed up blood. So I thought, Oh, so that does happen, and drew it that way. Then my brother told me, “If you drink potassium cyanide, you die of suffocation because you can’t breathe.” So I ended up drawing something inaccurate (laughs).

— The first Detective Conan case I ever read was “The Roller Coaster Murder Case” (Volume 1), and it was quite a shock.

Aoyama: That one was deliberate — I wanted to depict a really outrageous way of being killed. I figured I should start with the most extreme one. It might still be the flashiest case in the entire 30 years of the series (laughs). Back then, I also thought, It’d be bad if someone tried to copy these crimes, so I think I was consciously coming up with things that couldn’t actually be done in real life. “The Haunted House Murder Case” (Volume 2) was the first time I tried doing full-on horror. Locking your own son up in an underground cell is pretty insane when you think about it (laughs). Looking back on it now, the stuff I’m doing these days feels pretty tame by comparison (laughs). The early cases were intense.

Page: 29

— Osaka often becomes the setting too, like in “The Naniwa Serial Murder Case” (Volume 19).

Aoyama: I went to Osaka for research. I also go to USJ every year. It makes me happy to see events being created around my own characters. As for “The Tottori Spider Mansion Demon” (Volume 25), I made that one into a scary case with Kindaichi Kosuke in mind. At the time, I used the Tottori dialect from my hometown, but readers told me they had no idea what people were saying. Kansai dialect is fine because everyone knows it, but Tottori dialect just doesn’t work, I guess (laughs). In that story, I also included the misunderstanding of reading "shine" (light) as “shine” (“die”), and my assistants got angry at me, saying, Why would you draw something this unpleasant? I remember thinking I’d gone too far. But around that same time, at the wrap party for a Conan movie, everyone was telling me it had been really good, and that made me realize people really do see things differently (laughs).

— By the way, which culprit has left the strongest impression on you?

Aoyama: It’s got to be the librarian from “The Library Murder Case” (laughs).

— He’s even been turned into merchandise for the 30th anniversary exhibition.

Aoyama: Seriously!? (laughs)


On the Police Academy Group

— Hagiwara-san, Matsuda-san, Morofushi-san, and Date-san from the Police Academy Group were not characters who appeared very often in the manga, but now they are extremely popular. Did you foresee that happening?

Aoyama: Not at all — I never imagined they would become this popular. (police) detective Matsuda was already popular to begin with, though. Hagiwara only appeared in the anime, but he ended up becoming popular too, so I thought, Well, I guess I’ll draw him then. And his voice was done by Miki Shinichiro-san, so he sounded cool too. That character is really something else.

— Is there any one character in the Police Academy Group that you feel especially attached to?

Aoyama: All five of them, really. Though if I had to choose, maybe Matsuda. I’m a fan of Matsuda Yusaku-san, who served as the model for him. And Shinichi’s father’s name, “Yusaku,” also comes from Matsuda Yusaku-san.

— The members of the Police Academy Group who have died are connected to the story in many different ways, aren’t they?

Aoyama: I had Hagiwara’s older sister in mind from the start. I had never drawn a police officer on a white motorcycle before, so I thought that if I were ever going to introduce one, Hagiwara’s older sister would be a good choice. As for that scene where she looks like she has wings, I blurred it a bit in the manga so it would feel more like an image or impression, but in the anime I remember thinking, Wow, she really does have wings there (laughs).

— They all have very strong personalities, don’t they? And each of them has their own particular skill. Is that something you paid special attention to?

Aoyama: I thought it would be better if they each had some kind of specialty. Like Hagiwara having exceptional driving skills. The surprising one was Furuya, who didn’t really have one specific thing — he absorbs something from all the others. The other four each have a standout strength, so their abilities are a bit uneven, but Furuya is completely well-balanced, almost perfectly round.

On Kaito Kid

— Why did you decide to bring Kaito Kid, who originally appeared in Magic Kaito, into Conan as well?

Aoyama: Just like how Edogawa Ranpo’s Akechi Kogoro series has the Fiend with Twenty Faces as an opposing figure, I wanted an adversary too, and I thought a thief with similar kinds of abilities would be good. Then I realized, Oh right, I’d already drawn someone like that before. So I thought he was just perfect and brought him in (laughs).

— What kind of presence is Kaito Kid to you personally, Sensei?

Aoyama: He’s the sort of person I kind of wished I could be myself. I even made his birthday the same as mine. I liked Arsène Lupin and Lupin the Third, so there was always something about that kind of thief that felt cool to me. Not that I’d ever become a thief, of course — just that he has that kind of coolness to him (laughs).

Page: 30

On the Black Organization

— Was the Black Organization based on any particular model?

Aoyama: No, not really. It just sort of came into being naturally. The code names being alcohol names was also just something that happened naturally. I don’t even drink that much myself.

— Vermouth is a character surrounded by many mysteries, but are there plans for those mysteries to be revealed in the future?

Aoyama: They will be a lot of things, in fact. Her model was Fujiko-chan from Lupin the Third. A “bad” Fujiko-chan, you could say. Conan’s mother, Yukiko, is the “good” Fujiko-chan. It feels like those two sides have been split between them.

— So Fujiko-chan is a special presence for you, Sensei?

Aoyama: Yes, definitely. Back when I was in the lower grades of elementary school, while everyone else was saying they liked Himitsu no Akko-chan, I was the one saying, I like Fujiko-chan better.

— And that eventually took shape as Vermouth and Yukiko-san?

Aoyama: That’s right (laughs).

On the Great Detective Encyclopedia (Detective Picture Book)

— I’d like to ask about the Great Detective Encyclopedia (Detective Picture Book) in the back of the comic volumes.

Aoyama: The most recent one I drew, Yasuko Sawaguchi-san (Volume 104), doesn’t look like her at all (laughs). I just didn’t have enough time. I’m sorry — it really doesn’t look like her at all. I’d almost want to redraw it as revenge, that’s how bad it is (laughs).

— Who is your favorite detective of all?

Aoyama: Sherlock Holmes (Volume 1). But I like other detectives too. When I drew Furuhata Ninzaburo (Volume 23), I got permission from Tamura Masakazu-san, and he told me, “I’ll check it, so let me see it,” so I drew it like my life depended on it (laughs). The one I personally put the most effort into drawing was Matsuda Yusaku-san (Volume 18). Mizutani Yutaka-san (Volume 48) is one I’d recommend too. For Inspector Zenigata (Volume 64), I got permission from Monkey Punch-sensei and drew him in the style of the original work, and for Gregory House (Volume 71), I really liked the overseas drama House, so I drew him to resemble that version closely.

— Do you ever struggle over who to feature next?

Aoyama: I do. I really want the actual person to see it, so I always look into it beforehand and get permission first. For people like Sakurai Sho-kun and Ishihara Satomi-san, I worked really hard on those.

On the Birth of Conan

— Finally, what first led you to start drawing Detective Conan?

Aoyama: After my series YAIBA ended and I was thinking about what to do next, the Sunday editorial department told me, “The Kindaichi Case Files is really popular right now, so why not try drawing a mystery?” My first reaction was, A mystery... what a pain (laughs). At first, I was thinking of making the protagonist a demonic detective who could learn an object’s memories just by touching it. That way I wouldn’t have to think too hard about the tricks, so it would’ve been easier, right? But then they told me they wanted it to be a more orthodox detective story, and that made me remember how much I used to love Holmes. Back in elementary school, I had even written in my graduation booklet that I wanted to draw manga about a private detective. Once I remembered that, I got really into the idea, and that’s how Conan was born.

— It feels like you stayed true to your original ambition.

Aoyama: But it’s not like I had been consciously thinking, Someday I’m definitely going to draw it. I had completely forgotten about that, actually (laughs).

— Did you ever imagine it would become a series that ran this long?

Aoyama: I thought it would end in three months (laughs). I figured no one would read a manga with this much text in it, but surprisingly, everyone really got into it. When I read fan letters and see people writing things like, That scene was great or It made my heart race, I’ll go pull out that particular volume of the manga and look at it thinking, Oh, so it was this part. I really enjoy that.

— Do you ever look at X (formerly Twitter) and things like that?

Aoyama: Sometimes. If I feel like, Yeah, I really nailed it this time, then I’ll look. If I feel like, Uh-oh, this one might be bad, then I don’t (laughs). After the chapter where Shinichi and Ran kissed at Kiyomizudera, though, I checked it a lot. Everyone was praising it, after all (laughs).

Page: 31

Question Box for Aoyama Gosho-sensei

In addition to the interview, he also answered a variety of other questions for us!

Question: Which manga artists influenced you?

Aoyama: I was greatly influenced by Chiba Tetsuya-sensei, known for Ashita no Joe and Ore wa Teppei; Adachi Mitsuru-sensei, known for Touch and H2; and Monkey Punch-sensei, known for Lupin the Third. I also liked shoujo manga.

Question: Was there any profession other than manga artist that you wanted to pursue?

Aoyama: I originally wanted to become an animator. But there was an upperclassman in my university’s manga club who was an animator, and that person told me, “A manga artist makes more money,” so I became a manga artist instead.

Question: What was the hardest part of your life as a manga artist?

Aoyama: Around the time the anime started, things were truly hectic and difficult. The manga had color pages almost every week as well, but the deadlines did not get extended because of that. Even so, I was genuinely very happy that it was adapted into an anime and later into films.

Question: What are the key points when drawing Conan?

Aoyama: One characteristic of my art is giving the characters sparkling eyes. And then there are the little marks on the cheeks. Adding those makes them look cuter. Though of course, there are also characters like Gin who just do not suit that at all.

Image translation:
Hello, it’s Aoyama!
I’ve prepared all sorts of exhibits and materials from the past 30 years so that everyone at the venue can enjoy themselves. Please come and check it out♪

Gosho Aoyama’s Comment on the Film The Million-Dollar Pentagram

Date: March 1, 2024
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!
今回の舞台は北海道の五稜郭!
コナン・キッド・平次と悪いヤツらが土方歳三にまつわる刀を巡っての壮大なお宝探し!
そんな最中ついに平次は和葉に...♡ ... とまぁ、色々盛りだくさんなお話だけど、
ヒジとカタの力を抜いて
気楽に楽しんでくださいね♪ (笑)。

Translated by: Manvel

Original Story: Gosho Aoyama

Hey there—Aoyama here!
This time, the story takes place at Goryokaku in Hokkaido!
Conan, Kid, Heiji—and a bunch of bad guys—are all thrown into a grand treasure hunt revolving around a sword connected to Toshizo Hijikata!
And right in the middle of all that, Heiji finally makes his move with Kazuha… ♡
So yes, it’s a story packed with all kinds of excitement, but don’t tense up—relax your shoulders and elbows,
sit back, and enjoy it at your own pace ♪ (laughs)

Da Vinci Magazine 2024 Interview

Date: April 6, 2024
Published in: Da Vinci Magazine, May 2024 issue

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Source:
Link - Link2
Print Scan

Raw:

Detective Conan Story Guide

Interviews

Long Interview

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

Page: 26
Favorite character: Everyone / All of them
[Trigger / Reason] Well… various things.

[Appeal / Charm] Aoyama: Well, well… various things.

Episode that left the strongest impression: Aoyama : “Ran GIRL” and “Shinichi BOY”
(Example: Volume 1, Chapter 1: “Heisei no Holmes”) ※ Please specify using the original manga’s volume number, chapter number, and title.

[Reason / Highlight] Aoyama: Because this is the one story I thought I wanted to leave behind in this world (Laugh).

The appeal of Detective Conan Aoyama: Well… (laughs)

Message to Gosho Aoyama-sensei Aoyama: Well, do your best. (laughs)

Page: 27
Furigana: Aoyama Gōshō
Pen name (for publication): Gosho Aoyama
Age: Full (60) years old
Gender*: Male

Year	Detective Conan History
1994	Serialization begins! I thought it would end in 3 months…
1996	It became a TV anime, and I was shocked!
1997	It became a movie, and I was even more shocked!!
2001	I received the Shogakukan Manga Award for Conan ♪
2006	Live-action drama adaptation! Oguri-kun was smoking while dressed as Shinichi (Laughs)
2007	The Gosho Aoyama Manga Factory opened! The name is a bit embarrassing…
2015	“Tottori Airport” ended up becoming “Tottori Sand Dunes Conan Airport” lol
2017	In the 1000th-episode storyline, Ran kisses Shinichi ♥
2021	Finally reached Volume 100! The “Umizarujima island series” was tough… lol
2024	Reached the 30th anniversary of serialization! So long!!! (Laughs)

Page: 48
Gosho Aoyama — Long Interview

No matter when you interview him, Aoyama-san never changes. He smiles as if drawing manga is something he simply can’t get enough of, then starts to say something only to grin mischievously and add, “Ah—this is something I’m not allowed to say yet!” So even though we know it’s pointless just to ask, we decided to ask him again anyway. Now, as the series marks its 30th anniversary—and as you’ve spent half of your life running alongside Detective Conan—how do you feel at this moment?

Interview & text: Momo Tachibana Photography: Hiroyuki Yamaguchi

It has been 30 years since the first chapter was published in Weekly Shōnen Sunday Issue No. 5, released on January 5, 1994. Gosho Aoyama, who was 30 years old at the time, celebrated his 60th birthday last June—meaning he has spent exactly half of his life walking alongside Detective Conan.

“Honestly, in terms of how it feels to me, it’s only been about 8 years (laughs),” he said at the 15th anniversary. 5 years have passed since then. So how does it feel now, frankly?

“Hmm… maybe about 12 years, I guess (laughs). It feels like it suddenly turned into 30 years before I even realized it. It’s a strange feeling—like I’m moved, but also not, at the same time. When I tried to have Sonoko say a line like, ‘If you say that, I’ll sulk,’ and a young editor in charge told me, ‘I don’t understand what that means,’ that’s when I thought, ‘Wow, I’ve gotten old’ (laughs). the stance with which I face the work has really not changed at all since the very first chapter of the serialization.”

‎”It’s nice to be recognized, but it doesn’t mean the work itself changes.”

What was expected to be a short run that would end in three months ended up drawing a far greater response than anticipated. Just when he was starting to feel like quitting, plans for an anime adaptation and then a film adaptation were decided, and he continued on, buoyed by that support. He has spoken about that episode in past interviews, so readers are referred to the reprinted version (from p.124). This time, drawing on the Detective Conan “résumé” that Aoyama-sensei filled out (p.26), we would like to ask about his memories of receiving the Shogakukan Manga Award.

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“I had already received an award for YAIBA, so it wasn’t like I was jumping for joy. Still, being recognized is, after all, something that made me happy. But you see, when a work is nominated, on the day the results are announced all the editors gather at my house and wait. We sit there eating convenience-store rice balls, and then a call comes in saying, ‘We missed it this time,’ and everyone quickly heads home (laughs). I’ve got deadlines, so I have to get back to work, and everyone’s busy too, so there’s no special ‘consolation party’ or anything. That went on for about three years, so I finally said, ‘That’s enough—come over after I actually win.’”

Certainly, being left behind in that situation sounds rather heartbreaking.
“It’s not so much about being left behind—it was that I didn’t like watching everyone sit there waiting at my place. And having them look disappointed made me feel bad, too. For me, if anything, the anime adaptation and the film adaptation were much bigger turning points. In the early days, the editorial department often made all sorts of requests—like ‘you should do this more,’ or ‘we want you to introduce this kind of character.’ But after it was made into a movie, they stopped saying anything, and they let me draw the way I wanted to draw. Of course, even now I still consult with them when necessary. But perhaps they came to trust me. When I say that I haven’t changed at all, I think it’s from around that time.”
That is why, when it came to manga awards, while he would be happy to receive one, it was not something he felt he had to obtain at any cost. The result—
In terms of how it feels, it’s only about twelve years at last (laughs). It doesn’t feel like anything has changed.”

That’s because he knows that such things don’t determine the work itself.

“Just like the fact that even after 30 years, nothing has really changed. After I told them they didn’t need to wait anymore, no one actually came at all, so even when I won the award in 2001, I just kept drawing my manuscript without paying it any mind. When the editor-in-chief at the time suddenly came to visit me and said, ‘Aoyama-san, you won it!’ my response was, ‘Won what?’”

‎Even to the airport’s name… Conan became a national work

Requiem Prologue
In contrast to Aoyama-sensei’s unchanging nature, the Detective Conan phenomenon continued to grow larger with each passing year. In the autumn of 2006, when the theatrical film Detectives’ Requiem surpassed 3 billion yen at the box office, the live-action drama Challenge to Shinichi Kudo Prologue to Farewell was broadcast. Set before Conan’s birth, during Shinichi’s days as a high-school detective, it was an original story starring Shun Oguri as Shinichi and Tomoka Kurokawa as Ran.
“The production team came to me saying they couldn’t find an actor who could play Shinichi, so I recommended Oguri-kun.
When I watched the movie Robocon, I thought, ‘That’s it—I’ve found him!’ He’s tall, has a sharp, refined presence, looks intelligent—he was exactly Shinichi.
He probably wasn’t trying to look cool himself, but just standing there, he naturally had the right look. It fit the image perfectly.
Apparently he had played baseball before, but had never played soccer. Even so, when I heard that he practiced juggling tirelessly for the drama, that made me really happy.
Come to think of it, before the drama adaptation, the four of us once went out to eat together—Takayama Minami-san, Yamazaki Wakana-san, Oguri-kun, and me. While we were eating tai-meshi, Oguri-kun suddenly said, ‘Honestly, I wanted to play Kaito!’ And afterward I thought… yeah, maybe he is even more Kaito-like than Shinichi.”
The drama was well received, and the following year a second installment was broadcast with the same cast.
“Yuu Kashii-san played Haibara, and apparently she’d wanted to play the role for a long time. Thinking that she was able to make her dream come true through my work was honestly a bit moving.
Then in 2011, there was another version with Junpei Mizobata-kun and Shiori Kutsuna-san. That brings back memories.
If there’s another live-action adaptation someday, I’d like Kazuya Kamenashi-kun to play Akai. I told him that myself in a previous discussion—I think he really resembles him.”
Then in 2007, in Hokuei Town, Tōhaku District, Tottori Prefecture—Aoyama-sensei’s hometown—the Gosho Aoyama Manga Museum opened. In his résumé, he wrote: “The name is a bit embarrassing…”
“It is embarrassing (laughs). At first it was supposed to be called ‘Conan Village,’ but I asked them to scrap that—Conan Village being in Tokyo instead of Tottori wouldn’t make sense.
Then they went with my name instead, which… well, it’s fine, but it makes you feel kind of itchy, you know?
When it first opened, I was too busy to visit, and it wasn’t until ten years later that I finally went. A talk event called Hanashō Day started being held every year, and that finally gave me a work-related excuse to make time.
At the museum, my old work desk has been recreated exactly as it was, so I think visitors enjoy seeing it and thinking, ‘So this is the kind of place where Conan is drawn.’
But like I wrote in the résumé, ever since 2015, every time I get on a plane and hear, ‘We will soon arrive at Tottori Sand Dunes Conan Airport,’ it makes me embarrassed (laughs). I still haven’t gotten used to it.
That said, Tottori also has Yonago Kitaro Airport, right?

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In one TV drama, the heroine and the man she’s with realize they’re both from Tottori, and they go, So which airport?
‘I’m Kitaro!’
‘I’m Conan!’
When I saw that, I was really happy!”

‎A Theatrical Film Worthy of the 30th Anniversary, Crossing Three Works
For Aoyama-sensei, the most memorable episode is Volume 87’s “Ran GIRL / Shinichi BOY.” It is the story of the two characters’ first meeting: young Ran tears her kindergarten name tag, desperately tries to fix it while crying, and Shinichi reaches out his hand to her.
“I’ve said this in the 30th anniversary book as well, but this is one episode I felt I absolutely had to draw.
These days Shinichi can come across as cocky and a bit slick, but he wasn’t born that way. He learned that skipping the reasoning process and jumping straight to the conclusion may be cheap, but it does have the effect of surprising people—and he tried putting that into practice, though at first it didn’t go the way he expected.
Still, I wanted to properly depict how, by using his powers of observation and desperately reasoning things through in his own way, he gradually blossomed into someone with the makings of a great detective. If people can think that’s cool too, taking all of that into account, I’d be happy.”
For Ran, it was a memorable day when she encountered the awkward kindness of a boy she hadn’t liked from the very first meeting.
For Shinichi, it was the first day he put his deductive abilities to use in order to protect Ran.
By shifting perspectives, not only do the personalities and relationship that lead to their present selves come into focus, but the fact that the story also delivers a proper mystery twist works very well.
“It’s good, right? (laughs)
I like this episode, including the fact that it also shows how Ran and Sonoko’s friendship begins around this time.
And of course, you can’t leave out the 1,000th-episode storyline where Ran kisses Shinichi. It took twenty years of serialization to finally get there.
More recently, I’m also fond of the episode scheduled to be included in Volume 105. You think it’s going to be a confrontation between Hakuba and Kid, but it turns out to be a romantic comedy about Shinichi and Ran—that structure worked out nicely, I think.”
Aoyama-sensei often says that his strength lies in being able to balance mystery and romantic comedy.
“Normally, if there’s been a murder, it’s not really the time for rom-com,”
he says with a laugh. During a commemorative dialogue with Eiichiro Oda for the publication of Volume 100, he also remarked that “on the other hand, it’s difficult to depict friendship dramas.”
“It’s not that I can’t draw them,” he said, “but they don’t quite reach that ‘this is intense’ feeling.”

And yet, the mutual trust between Shinichi and Heiji often conveys a strong sense of heated friendship.
The same can be said of the relationships between the female characters as well—Ran and Sonoko, Ran and Kazuha, and others.
That’s true—I do draw them (laughs). So I’ll take back that comment. I’d feel bad toward readers who say they like the way I portray friendships.
Still, it’s definitely embarrassing to draw. I love stories about friendship—of course the ones Mitsuru Adachi-sensei draws, and Yowamushi Pedal really gets to me too. There are tons of works I love reading. But when it comes to drawing it myself, I start to feel awkward and self-conscious.
I’ve never once felt embarrassed drawing romantic comedy, though, which makes it a bit strange even to me.”
The theatrical film Detective Conan: The Million-Dollar Pentagram, opening this month, is a dense and ambitious story that, in addition to romance and friendship, incorporates elements of a historical mystery revolving around Hijikata Toshizō’s Japanese sword. Alongside Kaito Kid, who targets the blade, Sōji Okita, the young swordsman, also appears, and the story intertwines with Magic Kaito and YAIBA as well—making it a work truly worthy of the 30th anniversary.
“Now that you mention it, I guess that’s true. It actually started when I suddenly thought, ‘Maybe it’s time to have Kid and Heiji face off directly.’ I wasn’t consciously thinking about the anniversary at all.”
While not to the same extent as Conan,

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Heiji, too, has a past connection with Kid. In Volume 96, “Kid vs. Takaaki: The Targeted Lips,” Heiji—without realizing Kid was disguised as Kazuha—cornered him against a wall and nearly kissed him.
When Kazuha is involved, Heiji tends to lose his composure a bit, but will he be able to corner Kid this time?
Expectations are high, especially since screenwriter Takahiro Ōkura also handled The Fist of Blue Sapphire, which depicted Kid’s showdown in Singapore, as well as The Crimson Love Letter, which focused on Heiji and Kazuha’s romance.
“As usual, I left the overall story framework to Ōkura-san, and I handled the romantic-comedy parts. Honestly, it made me laugh. When the script came in, Heiji’s lines were completely blank—there were just instructions saying, ‘Write something for this situation’ (laughs).
The trick involving the Japanese sword was also my idea. And after the first draft of the script was done, I even asked to have a certain character from one of my other manga be more deeply woven into the story. I really hope people enjoy every last detail.”
Not only does the film revisit material from Volume 96, but it also resolves many long-laid plot threads from the original manga. Before watching, viewers would do well to reread—thoroughly—the episodes related to the characters whose appearances have already been revealed.

“The final chapter’s storyboard—want to see it?
Shall I show it to you?”
‎The storyboard for the final chapter is already done
In his résumé, the message Aoyama-sensei wrote to himself was, “Well, hang in there (laughs).”
To close, we asked about what he really meant by that.
“All you can do is hang in there without killing yourself (laughs). I said earlier that nothing has changed, but these days, after finishing a single episode, I make sure to take a certain amount of time off.
If I could time-slip back, I’d tell my younger self: after drawing one case, take at least a week off. That’s how strongly I feel rest is necessary. Time for input is important too.”
Aoyama-sensei is known for thoroughly keeping up not only with manga, but also novels and TV dramas. What has he found particularly interesting lately?
“For dramas, Ishiko and Haneo. You think it’s a legal drama, and then it turns out to be a full-on romantic comedy—that’s what makes it great. I still rewatch it over and over, and I never get tired of it.
For manga, Isekai Ojisan stands out as exceptionally entertaining among reincarnation stories. And I was really struck by Power-chan from Chainsaw Man. When she’s asked how she felt after a companion was killed, she just answers, ‘I thought, “They died!”’—that’s all.
There wasn’t even a hint of emotional padding in that line. It was incredible. I could never draw something like that. Having the mental space to enjoy all kinds of works like that is absolutely essential if you want to keep going for a long time.”
“By the way, this magazine also reaches its 30th anniversary this April. As a fellow of the same age, please give us a few words of encouragement.”
“Huh—long, huh? (laughs) But I guess it’s the same as what I wrote in the résumé. Let’s keep at it. From here on out too, for the fans.
I still want to write about Akai’s father, and in the April 10 issue of Weekly Shōnen Sunday, I’ll be resuming Magic Kaito after a seven-year break. There’s still a lot I have to do.
Readers might start wondering, ‘Does he really plan to end it at all?’ But the storyboard for the final chapter is already done, so I’ll keep moving forward little by little.
・・・・・・Want to see the storyboard for the final chapter? Should I show it to you?”
As for that, we absolutely must decline!
“Heh heh heh. Well then, until that day someday comes, everyone, please wait while looking forward to it.”

Cinema Guide 2024 Interview

Date: April 10, 2024

  Show spoilers »

Source: Raw - Print Scan

Raw:

Translated by: Manvel

Page: 33

Gosho Aoyama Interview

I was the one who said from the very beginning that it should be a showdown between these two

—— In the second theatrical film, “The Million-dollar Pentagram,” Kaito Kid and Hattori Heiji take center stage. Could you tell us how it came about that the two of them would serve as co-leads?
Aoyama: Neither of them had appeared in a while, so I felt the timing was perfect. In the original manga, there’s a bit of interaction between them, and there’s also that setup where Heiji harbors a grudge (※1). I thought that might make for an interesting dynamic, and that’s essentially how it started.

——Both Kid and Heiji are hugely popular characters who can easily carry a film on their own. Was it decided from the beginning that they would headline it together?

Aoyama: Yes—I was the one who said from the start that it should be a showdown between the two of them. I figured it would make things even more exciting (laughs).

——Could you tell us how it was decided that this film would be set in Hakodate, Hokkaido?

Aoyama: A showdown is great, of course—but with these characters, the romantic comedy elements naturally come into play as well. And when you think about that, you start wanting a truly stunning backdrop. So I said, “We need a spectacular view.” That led to the idea of using the famous million-dollar night view, and that’s how we settled on Hakodate in Hokkaido.
From there, it snowballed—“Well, Goryokaku is there, so we could incorporate that… and maybe bring in Hijikata, too…”—and that’s how everything gradually fell into place.

——Have you ever been to Hokkaido or Hakodate, Aoyama Sensei?

Aoyama: I’ve never actually been to Hakodate. As for Hokkaido, I went about four years ago to visit Shimamoto Sensei (※2), and that’s when I went to Sapporo.
And quite a long time ago, I also went skiing there with my assistants—if I remember correctly, it was at Hoshino Resort Tomamu (※3).

——Was there any Hokkaido cuisine that you particularly liked?

Aoyama: There’s a curry place called “Indian” (※4) that was really good. And of course, the jingisukan there is delicious as well. Last year, I tried salted jingisukan for the first time—Adachi Sensei (※5) had recommended it—and it was unbelievably good

——What were your impressions when you read the screenplay for “The Million-dollar Pentagram”?

Aoyama: The idea was to create a kind of treasure hunt we hadn’t really done before, so I was glad it actually turned out to be a proper treasure-hunting story!
The reason we went with a treasure hunt in the first place was that, in our stories, someone usually ends up dying—so I thought, for once, it might be nice to have a case where no one dies. But in the end… well, people die as usual (laughs). I suppose that part just can’t be helped.

——This marks Okura Takahiro-san’s fourth time writing a screenplay for the theatrical series. Did you make any specific requests regarding the script?

Aoyama: I think I did say that I wanted it to be a treasure hunt. And in the script Okura-san sent me, there was a note that simply said, “Heiji’s romantic-comedy scene goes here.” I was like, “Wait—what!?” (laughs). So I ended up coming up with that entire part myself, right from scratch. There was even something written along the lines of, “Sensei, please help!” (laughs).

——How did it come about that you decided to feature the real historical figure Hijikata Toshizo?

Aoyama: Since the setting was Goryokaku, I thought Hijikata Toshizo would be a natural fit. And bringing in the Shinsengumi felt like it would really heighten the excitement. That said, I did have one concern. Hokkaido, a treasure hunt, Hijikata… I caught myself thinking, “Wait a second—haven’t we heard this somewhere before?” It felt very similar to Golden Kamuy (※6), so I wondered whether that might be a problem. But what’s being sought is completely different, and in our case, it’s not Hijikata himself going on a treasure hunt—we’re simply searching for something connected to him—so I figured it would be fine.
Now that I think about it, this might be the first time a real historical figure has appeared in a Conan film. Still, I didn’t feel all that much pressure (laughs). I did an enormous amount of research, though. Since Hijikata has lines that reference Tennen Rishin-ryu (※7), I looked extensively into its teachings and principles. Some of it I already knew, but I made sure to incorporate that knowledge carefully into his dialogue. It was a lot of work.

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 I drew quite a lot this time.
In total, I worked on 29 key animation cuts—across 12 different scenes.

——Every year, fans look forward to the key animation cuts you personally draw, Aoyama Sensei. Which characters did you work on this time, and roughly how many drawings did you create?

Aoyama: There are a few characters I can’t mention because it would be a spoiler—but aside from them, I drew Heiji, Kazuha, Ran, Shinichi, Conan, Kawazoe, and Kid.
I ended up drawing quite a lot this time. In total, I did 29 key animation cuts, including some that were more movement-focused sequences. Altogether, that came to 12 different scenes. Since I was drawing the characters appearing in those scenes, the number naturally added up.
This might actually be the film where I drew the most key animation so far.

——That’s something to look forward to. What about the storyboards? In the previous film, “Black Iron Submarine,” you drew the scene where Conan-kun and Haibara slowly rise up from beneath the sea.

Aoyama: This time, I worked a bit on the part just before the ending credits, and also on the scene at the beginning where Kazuha first meets Hijiri-kun.
I’d say the overall amount is about the same as the previous film. Though… I didn’t draw anything quite as long as that underwater scene this time.

——Which characters did you personally handle for the character designs?

Aoyama: Hijikata Toshizo (featured on page 25), Kawazoe, Kadokura, and Seikun. I actually drew Seikun first. I gave him a face that’s almost like a main protagonist’s—something that would work even if he were the lead. After all, he’s supposed to be very popular with the girls (laughs).
I didn’t draw his father, Ryoe, but I did say, “At least make them resemble each other a bit.” In the end, their eyebrows turned out quite similar.

——Regarding the teaser poster for this film (also used as the cover of this book), was there anything in particular you paid close attention to while drawing it?

Aoyama: First of all, I knew the focal point should be Heiji and Kazuha. The tricky part was deciding how large to make them. In The Fist of Blue Sapphire, Sonoko and Kyogoku were placed in the center, but they were drawn relatively small. This time, I wanted the central pair to stand out more than that. After that, I added Conan and Kid around them to balance the composition. And since we were setting it in Hakodate, I definitely wanted to include Goryokaku as well. Later, when I saw the official theatrical poster (on the inside cover of this book), it featured a sword. I remember thinking, “Ah, I should’ve gone with a sword too!” (laughs).

——Following The Fist of Blue Sapphire (Film 23) and The Scarlet Bullet (Film 24), Tomoka Nagaoka is serving as director for the third time with this film. What kind of discussions did you have with Director Nagaoka?

Aoyama: She would send over the storyboards for me to review. I’d respond with my notes via LINE, and if something couldn’t quite be conveyed over messages, we’d talk it through directly over the phone and make decisions that way.
We had particularly detailed exchanges about how Hijikata’s lines should come in during the scene where he confronts his attackers, as well as around Heiji’s romantic-comedy moment near the end.
Also, the storyboard for the post-ending sequence was really impressive. I wrote back, “This is insanely cool!!!” and sent it off—only for the director to reply, “I drew that part myself!” (laughs).

——Regarding Kaito Kid, one of the main characters of this film—what do you see as his appeal this time, and what do you pay attention to when writing or drawing him?

Aoyama: When he’s around Conan or Heiji, he speaks like a regular high schooler—basically just as Kaito. But in front of Ran or ordinary people, he switches to a slightly more gentlemanly tone. That’s probably the main thing I’m careful about.

——And what about Kid’s true identity—Kuroba Kaito?

Aoyama: Like Conan, he has a dual nature. I think what makes him compelling is that he carries two faces: his true identity and his life as an ordinary high school student. Kaito also has a clear goal. He’s after the jewel Pandora—the same gem sought by the people who killed his father. His purpose is to destroy it before they can obtain it.

——And what about Kaito’s father—the original Kaito Kid, Kuroba Toichi?

Aoyama: He’s a tricky character to handle, but I make sure to portray him as really cool. In fact, I draw him with something of an Arsène Lupin vibe (※8).

——Let’s talk about the other main character, Hattori Heiji. What stands out about him in this film, and what do you keep in mind when portraying him?

Aoyama: Unlike Shinichi, he’s endlessly cheerful. He’s got all the best traits of an Osaka guy rolled into one, you could say. Some people might find his boldness—his tendency to push right into someone’s space a bit overwhelming—but I think that kind of assertiveness is cool, so that’s how I like to portray him (laughs).

——What about Toyama Kazuha, Heiji’s childhood friend? Is there anything you’re especially mindful of when portraying her?

Aoyama: The one thing that absolutely never wavers is that she loves Heiji. No matter how cool another guy might be, Heiji is always number one for her—that’s something that will never change. And… she’s pretty dense (laughs). Though the same could be said for Heiji. They’re both a bit oblivious.
Well, most of the characters I write tend to be pretty slow when it comes to romance. I think that’s part of what makes it fun.

——Inspector Nishimura of the Hokkaido Police (※9) appears in this film. What are your thoughts on him as a character?

Aoyama: He might actually be the very first “wild” character I ever drew. You don’t usually see a detective like that. Nowadays, there are characters like Yamato Kansuke (※10) and Yokomizo Jugo (※11), but Nishimura came before them—he was my original tough-looking detective.

——What about Ooka Momiji from Kyoto?

Aoyama: This time, Momiji and her group play more of a comic-relief role, but at her core, she’s completely devoted. She’s single-mindedly in love with Heiji. And Iori is always right there supporting her.
Someday, I’d like to have her face off against Sonoko. Momiji is basically the “Sonoko of the West”—at least in terms of financial power (laughs). As for her design, I gave her a broader forehead, and to give her another distinguishing feature, I made sure to give her a large bust.

——When Momiji links arms with Heiji, he gets flustered because her chest presses against him.

Aoyama: Well, Heiji reacted the same way when Kid—disguised as Kazuha—linked arms with him. Even though those were fake, padded breasts (laughs).
When Kid disguises himself as (Nakamori) Aoko, he pads his chest too. Aoko is actually quite flat-chested, but he does it to avoid being disrespectful. Though honestly, I’m not sure which would be more disrespectful (laughs).

——What about Iori Muga, who serves Momiji?

Aoyama: Okita is basically Heiji. If anything, he might be a bit more of an idiot than Heiji (laughs). He doesn’t have Heiji’s level of deductive ability, but when it comes to kendo, he’s absolutely strong.

In terms of backstory, he’s set up as the sixth-generation successor of the historical Okita Soshiof the Shinsengumi. Even though I’m well aware that the real Okita likely didn’t have children or direct descendants, I went with that setting anyway. Perhaps there’s some distant relative somewhere, with a shared bloodline.

In fact, I’ve included a small hint of that connection in this film—so please look forward to it.

——What about Okita Soshi, who makes his first appearance in a Conan film?

Aoyama: Okita is basically Heiji. If anything, he might be a bit more of an idiot than Heiji (laughs). He doesn’t have Heiji’s level of deductive ability, but when it comes to kendo, he’s absolutely strong. In terms of backstory, he’s set up as the sixth-generation successor of the historical Okita Soshi of the Shinsengumi. Even though I’m well aware that the real Okita likely didn’t have children or direct descendants, I went with that setting anyway. Perhaps there’s some distant relative somewhere, with a shared bloodline. In fact, I’ve included a small hint of that connection in this film—so please look forward to it.

——Kaito Kid was originally the protagonist of Magic Kaito. And from YAIBA (※12), characters like Okita Soshi, Namako-Otoko, and Onimaru have appeared in Detective Conan. How do you feel about crossing over characters from your own works?

Aoyama: First of all, it’s just fun. In the Galaxy Express 999 movie, characters like Captain Harlock and Emeraldas show up, right? (※13). I thought that was really cool, and it made me want to try something like that myself.
They’re not exactly the same as the “original” Harlock or Emeraldas—there are slight differences—but I think that’s part of the appeal too.

Page: 35

——What inspired you to turn Namako-Otoko into a cellphone strap mascot?

Aoyama: I couldn’t think of a cute mascot character that would suit Ran-chan, so I figured, “Ah, Namako-Otoko will do” (laughs). I also thought fans of YAIBA might get a kick out of it.

——The Koshien championship game from 4th Base Third taking place in the background of a Conan case (※14) is another crossover moment fans won’t want to miss.

Aoyama: Thank you. That’s a collaboration too, in a way. I honestly have a blast drawing those.

——Looking ahead, is there any chance we might see someone like Phantom Lady (※15) appear in Conan?

Aoyama: Hmm… who knows? (laughs) Koizumi Akako (※16) definitely won’t appear. She’s a witch, after all, and that would completely break the world-building. So she’s out. But Phantom Lady? Maybe she could at least be mentioned in passing at some point…? I can’t say for sure, though.

——This year marks the 30th anniversary of the Detective Conan manga. Over these three decades, what has made you happiest in relation to Conan?

Aoyama: The film adaptation, without a doubt. When the first movie, The Time-Bombed Skyscraper, was made, I honestly thought it would be a one-time thing—that there would never be another. So I gave it everything I had.
I originally wanted to become an animator, so when it was turned into a movie, it truly felt like a dream come true.

——What were your impressions after seeing the Conan Exhibition (※17) held to commemorate the manga’s 30th anniversary?

Aoyama: Well, after 30 years, you really notice how different my drawings used to look. There were moments when I thought, “Hmm, this part isn’t quite the same as now,” and even times when I felt, “Actually, the older version was better.” On the other hand, I also spotted areas where I thought, “I still had a long way to go back then.”
30 years is a long time, so it naturally stirred up a lot of emotions. At each stage, there were certain artistic trends that influenced me—periods when I drew hair with very fine detail, and other times when I kept it more loose and rough. Looking back, those shifts over time are fascinating in their own way.

The film adaptation made me the happiest. I truly thought it might never happen again, so I gave it everything I had.

——How do you personally feel about your recent artwork, Aoyama Sensei?

Aoyama: I don’t think it’s changed all that much over the past 15 years or so. If there’s something relatively recent, it would be when I drew wings in Chihaya’s (※18) debut scene. That was a bit of an experiment for me.

——The previous film, Black Iron Submarine, surpassed the 10-billion-yen milestone at the box office and went on to exceed 13.8 billion yen—the highest gross in the series’ history. What were your thoughts on that incredible success?

Aoyama: I was honestly surprised. And, of course, genuinely happy. It made me realize that when something really takes off, it can go far beyond expectations. Haibara’s popularity is truly remarkable.

——From your perspective, Aoyama Sensei, what are the key highlights of “The Million-dollar Pentagram”? What should audiences pay special attention to?

Aoyama: It’s already hinted at on the teaser poster (※19), but in this film, a secret about Kid that no one has known until now will finally be revealed. At our very first planning meeting—with the staff, the director, and Okura-san, who wrote the script—I said, “Kid is actually like this, so let’s go ahead and reveal it!” Everyone responded with, “Wait—are you sure that’s okay?” (laughs). But there aren’t many chances to address something like that, so I thought a theatrical film would be the perfect place to do it. Another major highlight is the climactic scene right before the ending theme. The romantic-comedy moment between Heiji and Kazuha is definitely something to watch for.

——Finally, could you share a message with the fans who love Detective Conan?

Aoyama: Thank you for these past 30 years. No, really—thank you so much. And I hope you’ll continue to support us from here on out as well.
As for “The Million-dollar Pentagram,” many characters from across my various manga works come together in this film, so I hope you’ll fully enjoy the world of Gosho Aoyama.
In the original manga, a major incident is planned to take place in Osaka (laughs). And a key figure who has remained shrouded in mystery until now will finally appear. It’ll probably happen sometime in the summer or fall—so please look forward to it!

Notes: ※
※1 The setup where Heiji harbors a grudge:
Episodes 983–984, “Kid vs. Komei: The Targeted Lips (Part 1 / Part 2)” (Volume 96 of the manga). Heiji, failing to realize that Kid was disguised as Kazuha, nearly leaned in to kiss “her.”

※2 Shimamoto Sensei:
Kazuhiko Shimamoto, a manga artist residing in Sapporo, Hokkaido. His major works include Blazing Transfer Student, Gyakkyo Nine, Moeyo Pen, and Aoi Honoo, among others.

※3 Hoshino Resort Tomamu:
A ski resort located near Tomamu Station on the JR Sekisho Line. It is approximately 1 hour and 40 minutes by car from New Chitose Airport Station.

※4 Indian:
A beloved curry shop chain in Obihiro City. Its first store opened in Obihiro in 1968.

※5 Adachi Sensei:
Mitsuru Adachi, a manga artist known for works such as Touch, H2, Miyuki, and MIX.

※6 Golden Kamuy:
A manga by Satoru Noda. The story follows Saichi Sugimoto, who gathers tattooed codes carved onto prisoners’ bodies in order to locate a hidden stash of Ainu gold. Hijikata Toshizo appears as the leader of a group of prisoners and also pursues the gold.

※7 Tennen Rishin-ryu:
A traditional Japanese martial arts school encompassing comprehensive combat techniques. Isami Kondo, commander of the Shinsengumi, served as its fourth-generation headmaster. Among its disciples were Hijikata Toshizo and Soshi Okita.

※8 Arsène Lupin:
The gentleman thief who appears in detective novels written by French author Maurice Leblanc.

※9 Inspector Nishimura:
An inspector with the Hokkaido Prefectural Police who appeared in Episodes 144–145, “The North Star No. 3 Leaving Ueno” (Volume 22 of the manga).

※10 Yamato Kansuke:
A one-eyed inspector from the Nagano Prefectural Police who walks with a cane.

※11 Yokomizo Jugo:
An inspector with the Kanagawa Prefectural Police and the younger twin brother. His older brother, Yokomizo Sango, is an inspector with the Shizuoka Prefectural Police.

※12 YAIBA:
An adventure action manga drawn by Aoyama Gosho Sensei prior to Detective Conan. Okita is portrayed as a descendant of the historical Okita of the Shinsengumi; Namako-Otoko is an ally of the protagonist Yaiba; and Onimaru appears as an antagonist who transforms into a demon. It was adapted into a TV anime in 1993 under the title Kenyū Densetsu YAIBA.

※13 Regarding the Galaxy Express 999 film:
The 1979 theatrical film was based on the hugely popular manga by Leiji Matsumoto. It features characters such as Captain Harlock, the protagonist of Space Pirate Captain Harlock, and Emeraldas, the heroine of Queen Emeraldas, also created by Matsumoto.

※14 “4th Base Third and the Shared Universe:
A baseball manga by Aoyama Gosho Sensei. In Episode 383, “The Miracle of Koshien! Refusing to Lose to the Invisible Devil” (2-hour special; Volumes 4 and 3), the Koshien final one year later between Konan High School and Daikin High School is depicted. Additionally, the singer Okino Yoko and soccer player Higo Ryusuke are alumni of Konan High School.

※15 Phantom Lady (Kaitō Shukujo):
A character from Magic Kaito. A female phantom thief who was active until 18 years ago. Her true identity is Kuroba Chikage, Kaito (Kid)’s mother.

※16 Koizumi Akako:
A character from Magic Kaito. She is Kaito’s classmate who knows Kid’s true identity and is a witch who uses red magic.

※17 “Conan Exhibition”:
Officially titled “Detective Conan 30th Anniversary Exhibition.” The exhibition began in Tokyo in January 2024 and is scheduled to tour various locations across Japan over the course of about one year.

※18 Hagiwara Chihaya:
The leader of the Kanagawa Prefectural Police motorcycle unit. In Episode 1098, “The Goddess of the Wind: Hagiwara Chihaya (Part 1)” (Volume 101 of the manga), angel-like wings were depicted behind her when she leapt into the air on her motorcycle to rescue Conan.

※19 “As depicted on the teaser poster”:
Be sure to take a close look at what Kaito Kid is holding in his hand.

Comments Celebrating Detective Conan Films Reaching 100 Million Viewers

Date: April 30, 2024
Published in: Eiga (映画.com)

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Source: Link - Video

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◆青山剛昌（原作者）
どーも 青山です！
映画観客動員1億人、おめでとう&ありがとうございます！
偶然にも今年の映画のタイトルの「100万ドル」が大体1億円なので、そういう運命だったのかも♪
…え？円安だから1億円以上だって？そうカタいこと言わないで（笑）

◆高山みなみ（江戸川コナン役）
皆様、いつも熱い応援をありがとうございます。
1億人突破？突然の吉報に、一瞬固まってしまいました。
真に国民的アニメの証をいただいたようで、本当に本当に感激です。
コナンファミリーは皆様の「コナン愛」に支えられて走り続けています。
来年も再来年もその先も…、
「何度でも観たい」、「この世界にいつまでも浸っていたい」と思っていただける作品をお届けできるよう
力を尽くし、愛を込めてまいります。
どうかこれからも「コナン愛」のキャッチボール、お相手よろしくお願いいたします。
27作分の感謝をこめて。

◆近藤秀峰・汐口武史・岡田悠平（プロデューサー）
観客動員1億人突破！誠におめでとうございます。
メモリアルムービーを見ても歴史、そして今まで積み上げた作品への愛を感じます。
私たちが幼少期から大好きで見ていた名探偵コナン、大人になってスタッフの一員として
劇場制作に携わらせていただいているということはとても感慨深いです。
子供から大人まで楽しんでいただける映画を作れるよう、これからも誠心誠意努めて参ります！

Translated by: Manvel

Detective Conan Film Series Reaches 100 Million Admissions
Translation of the comments:

Gosho Aoyama (Original Creator)

Hi there—Aoyama here! Congratulations, and thank you so much, on reaching 100 million viewers!

By sheer coincidence, this year’s film title includes “One Million Dollars,” which works out to roughly 100 million yen—so maybe this milestone was fate after all ♪ …Huh? With the weak yen it’s actually more than 100 million yen now? Come on, don’t be so technical! (laughs)

Minami Takayama (Voice of Conan Edogawa)

To everyone who always supports us with such passion—thank you from the bottom of my heart.

Surpassing 100 million viewers? The sudden good news left me frozen for a moment.

It truly feels like we’ve been given proof that Detective Conan has become a genuine national treasure, and I am deeply, deeply moved.

The entire Conan family keeps running forward, supported by all of your love for Conan. Next year, the year after that, and far beyond… We will continue to pour our hearts and souls into creating works that make you think, “I want to watch this again,” “I want to stay in this world forever.”

Please continue to toss that “Conan love” back and forth with us. With heartfelt gratitude for all 27 films.

Hideho Kondo, Takeshi Shioguchi, and Yuhei Okada (Producers)

Congratulations on surpassing 100 million viewers!

Watching the memorial video, we were reminded of the long history of the series and the immense love that has gone into each and every film.

Detective Conan was something we loved and watched dearly as children, and now, to be involved in its theatrical productions as staff members—it’s incredibly moving.

We will continue to devote ourselves wholeheartedly to creating films that audiences of all ages, from children to adults, can truly enjoy!

1100 Chapters Comemorative Q&A

Date: October 2022; April 10, 2024
Published in: Twitter; republished in Detective Conan Volume 105

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Raw Text and Translation: Questions & Answers
Source: https://x.com/conan_file?s=21 And search the page using this hashtag: #剛昌に聞け

Q: 景光と零は喧嘩しますか？
A:くだらないことで、喧嘩してそう！すぐ仲直りするけどね（笑）

Q: Do Hiromitsu and Rei fight?
A: They probably fight over silly things! But they make up right away (lol)

Q:ウォッカはジンのどこを一番尊敬してますか？
A: 全部！！(笑)。
ジンが言ってた事を、後で復唱してそう(笑)

Q: What does Vodka respect most about Gin?
A: Everything!! (lol).
He probably repeats what Gin says later on (lol).

Q: 零と景光、松田と萩原はそれぞれ中高大も一緒なのでしょうか？
A:大学は萩原と松田、ヒロと安室が一緒！伊達は別の所かなぁ？

Q: Did Rei and Hiromitsu, and Matsuda and Hagiwara all attend the same middle school, high school, and university?
A: In university, Hagiwara and Matsuda, and Hiro and Amuro were together! Date was probably at a different place?

Q:名探偵コナンといえば張り巡らされた伏線！というイメージですが、 どの伏線を張ったか、回収したか、というのはメモとかで残している のでしょうか…？
A: コミックスにバリバリ付箋が貼ってある(笑)

Q: Detective Conan is known for being full of intricately woven foreshadowing! Do you keep records, like memos, of which foreshadowing you’ve set up and which ones you’ve resolved?
A: The manga volumes are covered with sticky notes! (laughs)

Q: 英理は37で蘭が17ってことは英理は20で蘭を産んだことになりますが、 英理は蘭を身ごもった状態で大学に通っていたのですか？
A: たしかに…(笑)

Q: Eri is 37 and Ran is 17, which means Eri gave birth to Ran at 20.
Does that mean Eri was attending university while pregnant with Ran?
A: That’s true... (laughs)

Q: 安室さんはコーヒーは微糖派ですか？ブラック派ですか？
A: ミルク入り砂糖抜きですね(笑)

Q: Does Amuro like his coffee mildly sweetened or black?
A: He takes it with milk but no sugar (laughs).

Q: ライ、バーボン、スコッチが行動を共にしていた瞬間がありますが、雰囲気は緊迫していたのでしょうか？
A:バーボンだけが勝手に緊迫してる（笑) スコッチとライは仲良さそうだけど、バーボンはライの事をいけすかないヤツだと思ってた！

Q: There was a moment when Ray, Bourbon, and Scotch were working together — was the atmosphere tense?
A: Only Bourbon was tense on his own (laughs).
Scotch and Ray seemed to get along well, but Bourbon thought Ray was an insufferable guy!

Q: 零が高明と会う時に緊張していたのはなぜでしょうか？
A:ヒロから色々聞いてて、言われることわざ分かるかなぁ…って（笑）

Q: Why was Rei nervous when meeting Taka’aki?
A: He had heard a lot about him from Hiro, and was like, Will I even understand the proverbs he’s going to say (laughs)

Q: 景光はどれくらいの頻度で高明に電話してたのでしょうか？
A: 1ヶ月に1回ぐらいかなぁ。あんまり電話すると、ことわざで怒られる（笑）

Q: How often did Hiromitsu call Taka’aki?
A: About once a month, I guess. If he called too often, he'd get scolded with a proverb (laughs)

Q: 萩原姉弟は神奈川県出身ですか？仮に神奈川県出身だとしたら 松田も神奈川県出身なのでしょうか？
A: 東京と神奈川の境目なんじゃないかなぁ(笑)

Q: Are the Hagiwara siblings from Kanagawa Prefecture? If they are, would that mean Matsuda is also from Kanagawa?
A: I think they’re probably from around the Tokyo and Kanagawa border (laughs)

Q:蘭ちゃんが前田さんに憧れたのは6年前とのことなので、空手を習い出したのは小学校高学年からですか？ それとも中学校に入って部活で始めたのですか？
A: 小学生高学年から習い始めた！

Q: Ran-chan said that she first admired Maeda-san six years ago, so did you start learning karate in the upper grades of elementary school? Or did you start as part of a club when you entered junior high school?
A: she started learning in the upper grades of elementary school!

Q: 瑛祐くんは元気にやってますか？
A: やってます！

Q: Is Eisuke-kun doing well?
A: He is doing well!

Q: 数多いる警察官の中から風見が降谷さんの部下に抜擢された経緯、理由ってこの先描かれますか？知りたいです…！
A: 偶然というか運命ですね(笑)

Q: Among the many police officers, will the reason and circumstances behind Kazami being chosen as Furuya-san's subordinate be depicted in the future? I'd really like to know…!
A: It was coincidence or rather fate (laughs)

Q: 京極さんと園子は普段どんなデートをしてるんですか？
A: なかなか会えないから、みんなが知ってる数ぐらいしかデートしてないと思うよ。電話はしてるけどね(笑)

Q: What kind of dates do Kyogoku-san and Sonoko usually go on?
A: Since they rarely get to see each other, I think they've only gone on as many dates as everyone knows about. They do talk on the phone though (laughs)

Q: 一緒にお酒を飲みたいコナンキャラは誰ですか？☺️
A: 小五郎(笑)

Q: Which Conan character would you like to have a drink with? ☺️
A: Kogoro (laughs)

Q: 青山先生が蘭ちゃんの手料理で食べたいものは何でしょうか？
A: カレー♪(笑)

Q: What dish would Aoyama-sensei like to eat from Ran-chan’s home cooking?
A: Curry ♪ (laughs)

Q: 千速に松田はいつ告白したんですか? また、千速は松田に好かれてると気づいてたんですか？それとも告白された?
A: いつというか、事あるごとに「付き合ってくれよ」と言ってた。何回もフラレてると思う(笑)

Q: When did Matsuda confess to Chihaya?
Also, did Chihaya realize that Matsuda liked her, or was she actually confessed to?
A: Rather than a specific time, he would say “Go out with me” whenever he had the chance. I think he got rejected many times (laughs)

Q: 佐藤刑事が乗っているRX-7のグローブBOXの内側に、松田刑事が書いた落書きがある…なんてことありません？（笑）
A: それ面白いね(笑)

Q: Is there any chance that inside the glove box of the RX-7 that Detective Sato drives, there’s a graffiti drawn by Detective Matsuda? (laughs)
A: That’s funny (laughs)

Q: ハロ嫁で佐藤刑事が「松田は警視庁に配属されてから泊まり込みで事件のことを捜査をしていた」と話していましたが、その間ちゃんとお風呂に入っていたんでしょうか？
A: 入ってなさそう(笑)

Q: In the Halloween Bride movie, Detective Sato mentioned that Matsuda stayed overnight at the station to investigate a case after being assigned to the MPD. During that time, was he properly taking baths?
A: Doesn’t seem like it (laughs)

Q: 新一と蘭ちゃんは時々電話をしてると思うのですが、最新のお電話内容を教えてください
A: 「元気？」「ちゃんと食べてる？」とか当たり障りのないことを話すけど、二人とも照れて核心に触れようとしない(笑)

Q: I assume Shinichi and Ran-chan talk on the phone from time to time, but could you tell us what their most recent phone conversation was about?
A: They talk about harmless things like “How are you?” or “Are you eating well?”, but both of them get shy and avoid getting to the heart of the matter (laughs)

Q: 以前雑誌のインタビューで伏線は後付けが多いと仰っていたと思いますが、 逆にこれは最初から考えてた！という伏線を教えてください！
A: 後付けもあるけど、だいたい最初から考えてるよ(笑)

Q: In a previous magazine interview, I believe you mentioned that many of the foreshadowed elements were added later.
On the flip side, could you tell us about some foreshadowing that you had planned from the beginning?
A: While there are some added later, I actually plan most of them from the start (laughs)

Q: 怪盗キッドが「どーもあの手の顔には弱くってね…」と言っていますが、蘭ちゃんと青子ちゃんのお顔は実際どのくらい似ていますか? 中森警部は蘭ちゃんと対面しても反応してなかったので
A:「すげー似てるけど、胸の大きさがぜんぜん違う(笑)」

Q: Kaitou Kid says "Somehow, I’m weak against that kind of face..." but just how much do Ran-chan and Aoko-chan actually look alike?
Even Inspector Nakamori didn’t react when he met Ran-chan.
A: "They look really similar, but their chest sizes are totally different (lol)."

Q: ベルモットがわざわざ口移しでメアリー母さんに薬を飲ませるという英断な行動を取った理由が知りたいです!
A: メアリーの虚を突きたかった！

Q: I want to know why Vermouth went out of her way to give the drug to Mary-mother mouth-to-mouth—it was such a bold move!
A: She wanted to catch Mary off guard!

Q: 蘭ちゃんは料理が超・下手な英理さんの娘なのになぜあんなに料理上手 なんですか？ 誰かに教わったりしたのでしょうか？
A: 英理が下手だから自分ががんばんなきゃと思って、いろいろ勉強した！(笑)

Q: Ran-chan is the daughter of Eri-san, who's super bad at cooking, so why is she so good at it?
Did someone teach her?
A: Because Eri was so bad at it, Ran thought she had to step up and do her best, so she studied a lot! (lol)

Q: 諸伏高明さんと景光さんではどちらが身長高いですか？
A: 高明！ 高っていう字が入ってるし(笑)

Q: Between Hiromitsu Morofushi and Takaaki Morofushi, who is taller?
A: Takaaki! His name even has the character for "tall" (高) in it! (lol)

Q: 青山先生は刑事ドラマや刑事映画観る時に犯人すぐにわかりますか？
A: わりと分かるかな？

Q: Aoyama-sensei, do you figure out who the culprit is right away when you watch detective dramas or movies?
A: I think I can usually tell?

Q: マスタングはウィンカーが日本車と逆ですが、赤井さんが沖矢昴としてスバル360を運転している時、ウィンカーと間違えたことはありますか？
A: あるかも…誰か同乗してたら「いやワイパーがちゃんと起動するかどうか確かめたんだ」と言ってると思う(笑)

Q: The Mustang’s turn signal is on the opposite side compared to Japanese cars, but has Akai ever accidentally used the wrong one while driving the Subaru 360 as Subaru Okiya?
A: Maybe… If someone was riding with him, I think he’d say, “Nah, I was just checking if the wipers work properly” (lol).

Q: 青山先生が最近ハマっている事は何ですか？
A: 『トップガン マーヴェリック』が面白かった！(笑)

Q: Aoyama-sensei, what have you been into lately?
A: “Top Gun: Maverick” was really fun! (lol)

Translated by: Manvel
Image Translation

Gosho Aoyama Documentary 2024

Date: April 28, 2024
Published in: NHK General

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Source: The full video is translated into English. Video
For more information, please visit this Page

1983 Romantic Comedy Youth Interview

Date: July 25, 2024
Published in: 1983 “Romantic Comedy Youth” — Shonen Sunday’s Bookshelf

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Source:
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Translated by: Manvel

Interview with Gosho Aoyama

Page 316
1983 Romantic Comedy Youth – Shonen Sunday

[Illustration, title lettering]
Gosho Aoyama – (Minami, Lum, Romantic Comedy Youth)
Rumiko Takahashi – (Kotatsu Neko, “of 1983”)
Mitsuru Adachi – (Punch, Shonen Sunday)

Page 317
Gõsho Aoyama 青山剛昌

Being a manga artist is an amazing profession. It’s been fun ever since I was a rookie, and even now I still think, [It’s incredibly lucky ♪] that I get paid just for drawing pictures.

Born on June 21, 1963. From Tottori Prefecture. Gemini. Blood type B. Debuted in 1986. Has many notable works. His motto is “Nowhere and everywhere” (Shinshutsu-kibotsu). Likes: “The Giants, curry rice, Shigeo Nagashima.” Dislikes: “Natto, raisins, soba.” Currently serializing Detective Conan in Shonen Sunday.

Interview date: January 19, 2024 Interview location: Gosho Aoyama’s studio

Page 318
Hey, your drawing’s gotten worse!” — The one and only time I ever cut corners in my art
Q: From here on, we bring you a special feature spanning the Showa, Heisei, and Reiwa eras. In 2009 (Heisei 21), we asked Rumiko Takahashi the question: “If you could say one thing to yourself in 1983 (Showa 58), what would it be?
Aoyama: I see. So that was a question looking back on the time when Adachi-sensei was drawing Touch and Takahashi-sensei was working on Urusei Yatsura, right?
Q: Exactly. So we’d like to ask you the same question, Aoyama-san. If you could say one thing to yourself in 1983, what words would you choose?
Aoyama: Eh—!? Well, I was still a university student back then. But yeah, I guess I’d say… [Detective manga are tough, so don’t do it!]
Q: Hahahahaha

Page 319
Aoyama: I’m joking, of course. (laughs)
Q: For you, Aoyama-san, what kind of impression did Weekly Shonen Sunday have in 1983?
Aoyama: Romantic comedy
Q: It was an immediate answer
Aoyama: No, when it comes to Sunday, it’s definitely Romantic comedies. I’d always been more of a Weekly Shonen Magazine kid, but there was one time I bought Sunday. I really liked the idol Momoko Kikuchi (see note 1), and she happened to appear in a Sunday gravure feature. That issue had Touch as the opening color pages. At the time, Minami was about to compete in the Kanto Rhythmic Gymnastics Tournament, and there was this scene where she was changing clothes in the clubroom while sulking and saying, “Hmph, whatever…” I remember thinking, “She’s so cute ♡” (laughs). I’d already read all of Touch in the collected volumes before that, but that was the first time I actually bought Sunday, the magazine where it was serialized.
Q: Aoyama-san’s serialization debut was in 1987. His first serialized work was Magic Kaito in Weekly Shonen Sunday. At that time, what was the most important thing for you when it came to creating manga?

Page 320
Aoyama: Is that the same question you asked the other two as well?
Q: That was the question we asked Takahashi-san. She said that although it was a very busy period for her, with other work overlapping her weekly serialization of Urusei Yatsura, “my theme at the time was never to cut corners. I want to believe I never compromised on the storyboards (names)…”
Aoyama: Ah, that’s the same for me. In my case, it’s not just about the storyboards — it includes the art as well. “Never cutting corners” has always been something I’ve truly valued. Actually, there was one time I did cut corners, and an editor noticed… or rather, he pointed it out to me. He said, “Hey, your drawing’s gotten worse.” At that time, I was doing an irregular serialization of Magic Kaito in Sunday while also drawing another manga called Detective George’s Mini-Mini Operations, so I really was busy and short on time. Because of that, there was one chapter where I kind of rushed through the drawings. But when that person pointed it out to me, I thought, “That’s not good!” From then on, I decided that no matter how much time it took, I’d draw properly and never cut corners again.

Page 321
Q: Over your 35 years as a manga artist, if you had to choose the best single chapter you’ve ever drawn, which one would it be?
Aoyama: The Detective Conan story “Shinichi BOY (Part 1).”
Q: That was an immediate answer.
Aoyama: I completed it after being hospitalized. It’s a connected story with “Ran GIRL,” which was published just before it, and together they depict the episode of when Shinichi and Ran first met—each from their own point of view. As I talked about in detail in my 30th Anniversary Book (see note 2), I was inspired by the works of author Saeko Himuro (see note 3), and I had always wanted to try creating a linked story like that someday. But what I felt when I was in the hospital was the realization that maybe I’d never be able to draw manga again. So I thought, if that’s the case, I at least want to leave behind this story. That’s why, even if I’m asked from now on, “What’s your best episode?” I think I’ll always choose this one. That’s how satisfied I am with it. I also received a lot of feedback from readers. Since I had been on a long break at the time, maybe they had really been looking forward to its release— someone even posted online, saying, “I read it as if I were opening a treasure chest.” That made me truly happy.

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Q: That’s such a wonderful comment. But actually, since it seems your choice for “best episode” hasn’t changed since then, we prepared another question for you. So—what would be your second-best episode?
Aoyama: Eh——!? Maybe the Detective Conan one set at Kiyomizu Temple (see note 4). That’s the story where I finally, you know… gave Shinichi and Ran some sort of resolution. Including the setting, everything just came together really well. I actually went on location beforehand to do some research, but Kiyomizu Temple happened to be under renovation at the time, so I thought, “Oh no, this could be a problem.” Still, I gathered tons of photo books and reference materials from the internet and used them while drawing. The readers’ reactions to that one were really great too. I got lots of letters praising the episode.

Gosho Aoyama’s Romantic Comedy Theory — A Seven-Year-Late Apology to Kōki Mitani?
Q: Both your first and second choices were Romantic comedy episodes. What do you find to be the appeal and the difficulty of drawing Romantic comedies?

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Aoyama: The fun part is seeing the readers’ reactions. Even while I’m drawing, I’m eager to know what they’ll think, so I always feel like, “I can’t wait for everyone to see this!” That’s why, when I get responses like the ones for “Shinichi BOY (Part 1),” it makes me genuinely happy and motivates me a lot. The difficult part is my age. (laughs) Since I’m getting older, I sometimes worry—“The things I find interesting… do people today still find them interesting too?” It’s not exactly about matching the times, but that kind of uncertainty is always there.
Q: In your 30th Anniversary Book, you said: “(If I don’t stay in tune with the times, I’ll fall behind.) That fear is always with me.” You also said, “That’s why I try to incorporate new things; when I watch Nigeru wa Haji da ga Yaku ni Tatsu (We Married as a Job!) or Your Name., and feel ‘This is great!’—and see that many people out there feel the same way—it gives me a bit of relief.”
Aoyama: Yes, yes, exactly. But there’s actually something from that time I’d like to correct.
Q: Oh? What is it?
Aoyama: About Kōki Mitani! In that book, I talked about the Taiga drama Sanadamaru, which had a script written by Mitani-san. I really loved that drama, so I said, “That was incredible—”

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Aoyama: I said back then that it was “so incredibly entertaining!” and that “in terms of portraying human drama — from the dramatic elements to the gags and everything in between — it was amazing.” But I also added, “If I had to say one thing, maybe Romantic comedies aren’t his strong point?” — just speculating about Mitani-san’s strengths and weaknesses. I’d like to retract that statement about “maybe he’s not good at Romantic comedies.” Because the 2022 Taiga drama Kamakura-dono no 13-nin (The 13 Lords of the Shogun), for which Mitani-san wrote the script, had absolutely wonderful Romantic comedy elements. It was incredibly entertaining — so much so that I take back what I said! (laughs) The Romantic comedy parts were brilliant; it was far from being a weak point — I was like, “I stand corrected!” I laughed out loud so many times. That scene with “the woman and the mushrooms” (note 5), which had a perfect payoff in the final episode, was just masterful.
Q: Understood. We’ll make sure to publish that correction properly. Aside from that, are there any recent Romantic comedy works you’ve particularly enjoyed?
Aoyama: “Ishiko and Haneo: You Sue People for That!?” (note 6) was a truly wonderful Romantic comedy. At first, I thought it would just be a typical lawyer drama, but it turned out to be a pure Romantic comedy. Of course, the legal storylines were interesting too, but the conversations between the two main characters — played by Tomoya Nakamura and Kasumi Arimura — were absolutely exquisite. When I’m working on rough sketches for my manga, I often think back to my favorite scenes from shows I’ve watched before…

Page 325
Aoyama: When I’m drawing manga drafts, I sometimes replay dramas and just listen to the audio while I work — and “Ishiko and Haneo: You Sue People for That!?” was one of those. I replayed it over and over again (laughs). I definitely recommend it to anyone who loves Romantic comedies.
Q: Speaking of the Gosho Aoyama style of Romantic comedy, what do you think is the appeal of Mitsuru Adachi’s works?
Aoyama: I get completely drawn in — every single time, with every work. When a new series starts, I might initially think, “Hmm, I don’t really like these characters that much personally…” But as the story progresses, I suddenly find myself thinking, “This character’s great!” without even realizing it. That’s incredible. It might sound a little rude to say it this way, but being able to captivate readers like that — every time, with brand-new characters — that’s just too good. I mean, look at me — I’ve been using the same characters all along! (laughs)
Q: Then, what about Rumiko Takahashi’s works — what makes her Romantic comedies so special?
Aoyama: It all comes down to Kyoko Otonashi from Maison Ikkoku. No one can surpass her. She seems gentle and easygoing, yet deep down she has a jealous side — and that contrast is what makes her so cute. I think Kyoko-san is a one-of-a-kind, perfect character that only Takahashi-sensei could ever create. In my case, even other scriptwriters can write Conan episodes pretty well without me! (laughs)

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Q: Thank you very much. In the upcoming 2024 interviews with Takahashi-san and Adachi-san, we’ll also be asking them about their relationship with the Romantic comedy genre.
Aoyama: Yeah, I’m looking forward to that.
“Death” and “Genius” in Manga
Is the genius Conan-kun your ideal image of a detective?
Q: Aoyama-san, what are your thoughts on “death” in manga?
Aoyama: ………“Death,” huh. Well, I haven’t yet drawn a story where a main character dies, so honestly, I don’t really know how I’d feel about it. But when it comes to non-main characters — yeah, a lot of people die in my works. Victims in the cases die almost every time, after all. That’s why I feel very strongly about one thing: I never want to rely on the kind of ending where the culprit chooses suicide. I’ve intentionally written that kind of ending only once — but aside from that, I’ve always made sure not to kill off the culprit.

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Aoyama: I’ve always drawn with the belief that culprits should atone for their crimes. That ties into my idea of an ideal detective figure. If the story ends with the culprit committing suicide, it can look “clean” — it neatly wraps things up. It’s also the easier route to take. But I don’t want to take that easy way out. If we’re talking about “death in manga,” that’s the one thing I’ve always been particular about when drawing.
Q: Then what about “genius” in manga?
Aoyama: ………“Genius,” huh. There are quite a few geniuses in my works. I like portraying genius characters. If we’re talking about an obvious example — a genius in combat — then there’s Okita (Sōshi) in Conan. But of course, Conan-kun himself is a genius too. Actually, in the past, in the manga industry, it was said that “genius” or “good at studying” protagonists don’t work — because readers can’t empathize with them. So maybe you could say that Conan-kun overturned that old rule. But there’s a secret behind that, as one editor once analyzed: “The reason readers can still empathize with Conan even though he’s a genius is because he became small.” And that’s absolutely true. If he had stayed as Shinichi Kudō, the genius high school detective, readers might have thought, “What an annoying guy!” and wouldn’t have connected with him emotionally. Also, Kaito-kun from Magic Kaito is good at studying too (smart). So yeah, I really do enjoy drawing geniuses.

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Aoyama:(The rest of the sentence) I like drawing geniuses.
Q: Aoyama-san, do you consider yourself a genius as a manga artist?
Aoyama: No, no, not at all! (laughs) I’m absolutely not a genius. I do get fan letters saying things like “Aoyama-sensei, you’re a genius,” but… I’m just someone who’s been lucky and who works hard. (laughs)
Q: Then who, in your opinion, is a genius manga artist?
Aoyama: Adachi-sensei is a genius! Takahashi-sensei is a genius too! When it comes to Romantic comedies, I still can’t beat them. And you know what? I put in quite a bit of effort — but I’m pretty sure Adachi-sensei and Takahashi-sensei don’t even have to try! That’s why they’re geniuses.
Q: (laughs) I’ll make sure to ask them that question directly too.
Aoyama: Please do! And speaking of geniuses, in terms of art, I think Akira Toriyama (note 7) is an absolute genius. His drawing style doesn’t belong to any school or lineage — it’s like something from another planet. And Chiba Tetsuya-sensei — he’s not just a genius, he’s a divine all-rounder. For example, if you have Chiba-sensei’s Ore wa Teppei sitting on your desk and you think, “I’ll put this back on the shelf,” but then you just happen to flip it open—

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Aoyama: …you end up reading it. It’s so interesting you just can’t stop. That power to draw readers into a story — that’s divine.
Q: What about titles or labels? “Manga artist,” “shonen manga artist,” or “something else” — if you could choose, which would you prefer?
Aoyama: Manga artist.
Q: That was an immediate answer.
Aoyama: Well, because I want everyone to read my work — not just boys. In fact, I get fan letters that say things like, “I’m two years older than you, Aoyama-san, but I still Love Conan.” So I want people of all ages — from kids to grandparents — to read my manga. I think being a manga artist is an amazing job. Sure, there are tough moments, but ever since I was a rookie, it’s always been fun. And above all, the fact that I can draw pictures and get paid for it still makes me think, “Man, I’m so lucky♪.”
Q: Finally, if you were reborn, what profession would you want to have?
Aoyama: The Giants’ cleanup hitter! …No, actually, the Giants’ No. 3 batter. Because that’s what my favorite player, Shigeo Nagashima, was. If I’m reborn, I’d love to be the Giants’ No. 3 hitter. (laughs)

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Note 1: Momoko Kikuchi — Entered the entertainment industry in 1983 after passing the audition for the film Pants no Ana (A Hole in My Pants). She went on to enjoy immense popularity. Her 1985 concert at the Nippon Budokan set the record at the time for the youngest performer to hold a concert there.

Note 2: Refers to Gosho Aoyama 30th Anniversary Book (published by Shogakukan). The 256-page volume includes an interview exceeding 30,000 characters, a dialogue with Kazuhiko Shimamoto, Aoyama’s own selection of “The Best Episode in 30 Years,” and various other features such as a recreation of Café Poirot’s mixed-sandwich recipe.

Note 3: Saeko Himuro — Born in Hokkaido in 1957, a novelist and a leading figure in the shōjo shōsetsu (girls’ fiction) genre. She has many notable works. The linked stories that deeply moved Gosho Aoyama were Nagisa Boy and Taeko Girl.

Note 4: “The Kiyomizu-dera one” — Refers to the final chapter of the six-part Crimson School Trip arc, collected in volumes 94 and 95 of the Detective Conan manga. It was a special commemorative story marking the 1,000th serialized chapter.

Note 5: “The Woman and the Mushrooms” scene — In the Taiga drama Kamakura-dono no 13-nin, the protagonist Yoritoki Hōjō (played by Shun Oguri) lives his life firmly believing that “women love mushrooms,” only for his close friend—who taught him that notion—to confess in the final episode that “it was a lie.” Yoritoki’s line, “You could’ve told me sooner!” made countless viewers burst into laughter.

Note 6: “Ishiko and Haneo: You Sue People for That!?” — A 2022 TBS television drama. The role of Ishiko’s father was played by Masashi Sada, with co-stars Eiji Akaso and Oideyasu Oda, among others.

Note 7: Akira Toriyama — Born in Aichi Prefecture in 1955. A legendary manga artist known for classics such as Dr. Slump and Dragon Ball, as well as for designing characters for the Dragon Quest game series. On March 1, 2024, he passed away. The sudden news came not long after Gosho Aoyama had praised him as a “genius,” leaving fans around the world in deep sorrow.

Sunday Culture Festival 2024 Conan x YAIBA Special Talk

Date: September 25, 2024
Published in: Weekly Shonen Sunday TV Official Youtube Channel

  Show spoilers »

Source: Video

Some photos from the video

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  Host Kasahara
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  MC Editor Domoto
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  DC Picuture
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  Aoyama-Sensei
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  Yaiba Special Talk
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  Conan Sepcial Q&A
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  Aoyama Laugh
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  Aoyama Laugh 2
• 
  Aoyama bids Farewell

Translated by: Manvel

Opening

Host (Editor Kasahara):
Hello everyone! Thank you so much for being here. I’m Kasahara, a new editor in the Sunday Editorial Department.
I’m a little nervous because the energy in this room is incredible. And to those watching the stream—thank you as well.

We won’t waste too much time up front, so let’s jump into today’s program.

This is the third talk-live session of the day, titled:

“Conan & Yaiba Special Talk.”

From here on, the moderation will be handled by Domoto-san, Aoyama-sensei’s editor.

⸻

MC (Editor Domoto):

Thank you very much.
I see banners congratulating the 30th anniversary and many Conan goods—thank you!
I’m Domoto from Weekly Shonen Sunday, and I’m responsible for Aoyama-sensei’s work.

Today we have two parts:
1. YAIBA talk,
2. Conan Q&A, using questions collected on X (platform).

Let’s begin immediately.
Please welcome Aoyama Gosho-sensei!

⸻

Aoyama enters

Aoyama:
Thanks for having me.

MC:
Amazing turnout—there are people standing all the way in the back!
We’re also streaming with two cameras, so thank you to everyone watching online.

⸻

YAIBA SPECIAL TALK

1. New Key Visual

MC:
First, the latest key visual for the new Yaiba anime was released last week.
Sensei, what did you think when you saw it?

Aoyama:
It looked exactly like my old Yaiba art.
Honestly, I can’t draw like that anymore. It really felt nostalgic.

MC:
Fans were extremely happy, saying it’s “classic Aoyama.”

⸻

2. New Title & Studio
The new anime title is “Samurai de Yaiba”, and the logo was redesigned in a style close to the original manga.

Animation production is by WIT STUDIO (Spy × Family, Ranking of Kings), and the quality is outstanding.

⸻

3. PV Screening

MC:
Let’s watch the PV together.
(Plays PV)

Aoyama (watching):
Amazing… that’s awesome.

⸻

4. Main Cast
• Yaiba Kurogane — Minami Takayama
• Sayaka Mine — Manaka Iwami
• Takeshi Onimaru — Yoshimasa Hosoya

Aoyama:
During the first episode’s recording, I thought Takayama-san’s acting was perfect—just the right level of “idiotic Yaiba,” in a good way.

MC:
And we had her make Sayaka’s “BA-KA!” line a little huskier—that was your request.

Aoyama:
Yeah, and it turned out great.

⸻

5. Direct Scenario Supervision

Aoyama:
I’m checking all the scripts.
The original drafts had a lot of old Shōwa-style jokes, so we removed or modernized them.

Also, some characters and events appear earlier in the anime than in the manga.

Please look forward to it.

⸻

6. Why Aoyama Created YAIBA

Aoyama:
I was in the kendo club during elementary and middle school, and I loved Ore wa Teppei by Chiba Tetsuya, so I wanted to draw a kendo manga.

There’s a part early on where Onimaru emerges from underground training.
My editor at the time, Oshima-san, drew horns on Onimaru’s head directly on my draft.

I thought, “What’s this?”
He said, “Isn’t this better?”
And from there, the work shifted into a fantasy action series.

MC:
So it wasn’t originally meant to be a fantasy?

Aoyama:
No, it was supposed to stay a kendo story.
But I felt the limits of that format, so the horn idea came at the perfect time.

⸻

7. Target Audience vs Magic Kaito

Aoyama:
Magic Kaito was popular mostly with older teens.
My editor said, “This is a kids’ magazine—you need something that appeals to children.”

So I made Yaiba… and it ended up appealing only to children.

MC:
But with Conan, you eventually captured both audiences.

Aoyama:
Yes, Conan got the right balance.

⸻

CONAN SPECIAL Q&A

We gathered thousands of questions under the hashtag #剛昌に聞け! (“Ask Gosho”).
Here are some selected questions.

⸻

Q1 — Will you draw more childhood Shinichi & Ran stories?

Aoyama:
Actually… I’m working on one right now.
I’m drawing the name (draft) as we speak.

It’s connected to this year’s Police Academy story.
It continues from the moment in the movie where Hagiwara is at the waterworks.

Please look forward to it.

⸻

Q2 — Was Amuro (Furuya Rei) popular when he was younger?

Aoyama:
In my mind, Amuro is very popular… he just doesn’t realize it.
He’s completely unaware of the attention he gets.

⸻

Q3 — Who is stronger: Wakasa-sensei or Akai?

Aoyama:
In shooting, Akai wins.
But in hand-to-hand combat, Wakasa-sensei is stronger.

She’s one of the strongest characters in the series—top class.

⸻

Q4 — Do Yūsaku and Toichi really look alike?

Aoyama:
Yes. I draw them with almost the same face, just at different ages.
If Kaito saw Yūsaku in proper lighting, he’d probably mistake him for his own father.

⸻

Q5 — Thoughts on the movie The Million-dollar Pentagram?

Aoyama:
It was great. Really fun.
My favorite part was the final scene where Kaito smiles.
Ikeda-san (Toichi’s VA) said, “That was a delicious role.”

⸻

Q6 — Would Aoko tell Kaito she met a boy who looks like him (Conan)?

Aoyama:
She’d probably mention it casually:
“Hey, I met a boy who looks just like you.”

Kaito would respond with something like:
“Oh yeah? Huh.”
I don’t think he realizes how similar they look.

⸻

Q7 — Does the Black Organization receive salaries?

Aoyama:
That’s better left a mystery.
But judging from their clothes and cars, they’re probably paid pretty well.

⸻

Q8 — Does Chihaya notice Yokomizo Jūgo’s crush?

Aoyama:
Of course.
She knows—and she teases him because of it.

⸻

Q9 — Does Hagiwara Kenji have a “type”?

Aoyama:
Since he grew up with Chihaya as a strong older-sister figure, his standards are probably extremely high.

⸻

Q10 — Does Iori Muga get vacations?

Aoyama:
No. None.
He’s the type who willingly devotes his whole life to serving his lady.

⸻

Q11 — What did Momiji think of Yuriko joining as a maid?

Aoyama:
Probably:
“Oh, a very skilled person has arrived. She’ll be useful.”
But she trusts her completely.

⸻

Q12 — Does Ran like Chinese food?

Aoyama:
She probably likes home-style dishes like mapo tofu, not something like Peking duck.

⸻

Q13 — How did Hakuba get Akako’s phone number?

Aoyama:
With his investigative resources, he could easily track it down.
He wasn’t aware she was a witch.

⸻

Q14 — Can Akai play piano since he can play accordion?

Aoyama:
Hmm… maybe, maybe not.
I can’t really picture it.
If I later draw him playing it well—sorry in advance.

⸻

Q15 — Who was more popular during their student days: Zero or Hiromitsu?

Aoyama:
Pretty even.
In official popularity, Furuya would be first.
In “underground popularity,” Hiromitsu might be first.

Kazami and Koumei?
Also probably even.

⸻

Closing

MC:
We’re out of time.
Thank you so much for supporting Detective Conan during its 30th anniversary year.

Next Wednesday, the conclusion of the current manga case will be published, featuring Heiji—please look forward to it.

We’ll also publish new Yaiba information soon.

Finally, please enjoy Conan’s 31st year and beyond.

Aoyama:
It’s been a long-running series, but I hope you’ll continue supporting it.
Thank you very much!

Celebrating 30 Years of Detective Conan with Fans! A Message from Gosho Aoyama

Date: November 27, 2024
Published in: On the official Weekly Shōnen Sunday website

  Show spoilers »

Source: https://websunday.net/68617/
and also an image in Volume 107

30周年 ありがと!
これからも ヨロシク ね~♪

Raw:

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• 

Translated by: Manvel

Thanks for the 30th anniversary!
Please continue to support us~♪