Interviews in 2026

This page lists interviews in 2026.

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

Date: January 13, 2026
Published in: Yomiuri Shimbun

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Source: (Link)

Raw:

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

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

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  Newspaper

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

Translated by: Manvel

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

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

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

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

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Source: Link

Raw:

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原作:青山剛昌

どーも青山です!

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

Translated by: Manvel

Original Story: Gosho Aoyama

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

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

Shonen Sunday Speech Bubbles: Gosho Aoyama Interview

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

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Source: (Link)

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  Podcast at Gosho Aoyama’s Home

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  Podcast Announcement

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  Podcast image

Translated by: Manvel

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

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

Summary of Key Points

Overview
Gosho Aoyama appeared as a special guest on Shonen Sunday Speech Bubbles as part of the magazine’s 66th anniversary project. The episode was recorded at his home, where he regularly conducts manga and film meetings. This marked his first appearance on an audio-only program.
The discussion covered:

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

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

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

• They traveled from Tokyo toward Saitama.
• After photographing the key structural elements needed for the trick (bed compartment and window mechanism), Aoyama concluded that further travel was unnecessary.
  
• He decided to disembark early once sufficient reference material had been gathered.

The conductor, surprised that passengers would get off at such an unusual location, asked if they were alright, noting that almost no one exits there. Aoyama later remarked that they could have continued to Hokkaido for ramen, but instead chose to return early in order to watch a Giants baseball game. The trick in question involved opening both the window and the bed compartment door, causing the body to fall from the train. This anecdote—particularly the efficiency of boarding a long-distance train only to leave shortly after—was described as especially humorous and memorable.

• See The North Star No.3 Express Leaving Ueno

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

• The initial idea involved a glass elevator where characters briefly see one another while passing between floors.
• Aoyama even visited editor Kyosuke Domoto’s apartment because it had this type of elevator.

However, the idea was ultimately changed:

• The scene was moved to the Shinkansen.
• Aoyama explained that on a high-speed train, you cannot clearly see people inside the passing train, which added a more realistic and subtle effect.

This demonstrates how scene concepts evolve based on realism and narrative impact.

• See The Reason He Became a Butler

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

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

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

Mount Takao Incident (Professional Documentary)
During the filming of the documentary program Professional, Aoyama visited Mt. Takao.

• High school students recognized him and asked for photos and autographs.
• Editors accompanying him were surprised by the encounter.

Despite using the ropeway for part of the ascent:

• Aoyama still struggled significantly while climbing.
• The group chose the “women’s route” due to the steepness of the “men’s route.”

The physical exhaustion he experienced was later reflected in Detective Conan, particularly in Mouri Kogoro’s mountain-climbing fatigue (Chapter 1116).

• See The Crimson Skeleton of Mt. Washio

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

• The school trip confession scene (kiss) was conceived first during a location visit.
• He then built the narrative steps leading to that moment.
• See The Scarlet School Trip

Dialogue Creation
When struggling with dialogue, Aoyama:

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

He occasionally mutters to himself while thinking.

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

• While revising a movie storyboard during a meeting

Otsuka stated that while working on a film storyboard, Aoyama revised a scene’s dialogue, then quietly said, “I’m a genius.” He noted that this reflects a manga artist’s creative process, where a strong idea feels like a remarkable achievement.

• While eating at a restaurant after coming up with a Haibara sunset line

In one instance, his visible excitement caused restaurant staff to check if he was okay.
Haibara Line: (Sunset… the final cry of the sun… that dyes the world blood red… I wonder how many more times I’ll get to see.. that melancholy color…)

• See File 386

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

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

• The manga chapter featuring Okiya Subaru and Amuro Tooru was released immediately after the film.
• It strongly implied that Amuro was attempting to expose Okiya’s true identity as Shuichi Akai.
• The chapter used a major headline: “What is the truth?”
• It emphasized that the story continued the excitement beyond the film.

Ogura explained:

• The film was a major success.
• The editorial team aimed to position Shonen Sunday as the most exciting place to follow the story.
• The manga and film were deliberately linked to enhance reader engagement.

Aoyama commented that:

• This was one of the first major collaborations between the manga and the film’s narrative momentum.
• Okiya Subaru’s use of a voice changer with Shuichi Ikeda’s voice when saying “Roger” in the film was particularly impactful.

At the time, rumors that “Okiya = Akai” were widespread, and the magazine successfully amplified that excitement.

Editorial Interaction & Relationships

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

Notable editor reaction:

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

Editorial Conversations
With Ogura:

• Discussions included manga, baseball (Giants vs. BayStars), films, and TV dramas.
• They exchanged recommendations, sometimes influencing story ideas.

Example:

• The Conan special The Disappearance of Conan Edogawa was inspired by the film Key of Life (suggested by Ogura).
• See The Disappearance of Conan Edogawa: The Worst Two Days in History

With Domoto:

• Conversations include anime, dramas, and recently:
• The Pokémon card app game (“PokéPoké”), where they exchange cards to complete collections.

Daily Routine (As Shared in Episode)
Aoyama described a recent day:

• Playing Pokémon Sleep upon waking
• Playing the Pokémon card app and checking trades
• Playing Kantai Collection (resource management and training)
• Watching sports highlights

Motivation & Work Habits
Aoyama stated:

• He does not easily enter work mode, even as a professional.
• He often lies down on a sofa to relax before starting.
• When an idea comes, he moves to his desk immediately.
• He may walk around or rewatch favorite scenes to raise motivation.

He currently enjoys works related to the Brothers in Arms (TV series).

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

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

This overlapping schedule can create timeline confusion.

Early Career
Aoyama initially submitted to Weekly Shonen Magazine:

• He received positive feedback but was told to change his art style or move elsewhere.
• He chose to submit to Shonen Sunday instead.

His first Sunday editor was supportive, which left a lasting impression.

Early Serialization Experience
During 3rd Base Fourth:

• The first chapter was heavily revised by editor Makoto Oshima.
• Excessive revisions made the story difficult to understand.
• Aoyama returned to the original draft and added a training scene.
• The result improved significantly, surprising even Aoyama.

Editorial Reaction Observation
Aoyama watches editors’ reactions while pretending not to.
He values:

• Genuine laughter
• Surprise
• Honest critique

Additional Notes

• Aoyama drew a large Conan illustration on the wall of Eiichiro Oda’s home after Oda requested a wall drawing instead of exchanging standard signed Illustration.
• The episode was recorded at Aoyama’s home/workspace.
• Numerous signed Illustration from prominent creators and celebrities were mentioned.
• This was Aoyama’s first audio-only media appearance.

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

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

M29 Interview with the Voice Cast, Screenwriter, and Director

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

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Source: Raw

Raw:

Shonen Sunday Speech Bubbles: Gosho Aoyama x Rumiko Takahashi

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

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Source: (Link)

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  Podcast Announcement

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  Podcast image

Translated by: Manvel

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

Summary of Key Points

Overview

• The discussion was informal, with Otsuka noting he felt more like a fan than an editor.
• Takahashi participated partly out of interest in visiting Aoyama’s home.
• Aoyama mentioned that other creators occasionally visit his home, though Takahashi had not done so previously.

Personal Interactions

• Aoyama and Takahashi stated they rarely speak outside group settings.
• Their first notable interaction occurred when Aoyama won a manga award for Yaiba, where Takahashi presented him with flowers.
• Even when meeting with Mitsuru Adachi, they do not usually discuss manga in depth.

Baseball Discussions

• Their conversations are mainly about baseball.
• Each supports a different team:
  • Takahashi → Hanshin Tigers
  • Aoyama → Yomiuri Giants
  • Adachi → Yakult Swallows

Art Style and Tools

• The two rarely discussed tools until recently.
• Aoyama switched from G-pens to Pigma fineliners due to hand pain.
• Both noted the decline of traditional materials such as screentones.

Analog vs Digital

• Aoyama stated he cannot comfortably draw on tablets and prefers paper.
• Takahashi explained she struggles with final corrections digitally, making her prefer analog.
• Both favor traditional drawing and coloring.

Early Impressions

• Aoyama read Urusei Yatsura in his youth.
• Takahashi described Aoyama’s early work as modern and stylish, but did not expect Detective Conan’s massive success.
• Both confirmed there was no rivalry.

Views on Each Other’s Work

• Aoyama praised Maison Ikkoku and stated he strongly related to it.
• He also commented that depicting the female body (such as the chest) in a natural, non-vulgar way is something he believes female manga artists excel at, and that it would be difficult for him to replicate without it appearing inappropriate.
• Takahashi expressed strong admiration for Aoyama’s writing, particularly:
  • The Momiji–Iori flashback (File 1114), noting how it made Momiji—who was previously portrayed as a rival trying to come between Kazuha and Heiji, almost like an antagonistic figure—become significantly more likable

Writing Process

• Aoyama stated ideas may originate from:
  • A trick
  • A case
  • Or both simultaneously
• He also revealed:
  • He once changed the culprit mid-story because he liked the character.
  • When introducing Vermouth, he intentionally kept it secret to surprise the editors and see their reactions.

Advice to New Creators

• Aoyama emphasized that:
  • Art is more important than story at the entry point, because it determines whether readers will pick up the manga.
  • Even if the story is excellent, it has no impact if readers never start reading.
• Both agreed that:
  • Story is ultimately essential,
  • But art functions as the gateway.
• Takahashi described art as the “face” or “brand” of a work.

Character Design and Changes

• Aoyama noted that character designs evolve over time (e.g., Ran’s hairstyle becoming sharper).
• He also adjusts characters based on adaptation influences (e.g., Mitsuhiko becoming softer after the anime portrayal).

Character Popularity

• Aoyama mentioned unexpected popularity for:
  • Haibara Ai
  • Amuro Tooru
• He stated that:
  • These characters are easy to write
  • He may limit their appearances to maintain Conan as the central protagonist

Role of Editors

• Editors are considered essential first readers.
• Aoyama incorporates their feedback, including:
  • Expanding characters they favor
  • Developing story ideas they suggest
• Takahashi emphasized the importance of honest and direct criticism.

Longevity and Motivation

• Aoyama stated he never gets bored of Conan due to the endless variety of tricks.
• Takahashi attributed long serialization to consistent daily work.
• Both agreed that consciously aiming for longevity is unnecessary.

Changes Over Time

• Aoyama noted a specific artistic change:
  • He began paying attention to drawing fingernails clearly in order to distinguish between bare hands and gloved hands, which is important in detective manga for determining the presence of fingerprints.
• Takahashi stated that stylistic changes occur naturally over time.

Research and Daily Life

• Aoyama conducts research by visiting stores such as:
  • Don Quijote
  • Home centers
  • Supermarkets
• He purchases both everyday items and materials related to trick construction.

Final Messages

• Aoyama:
“It has become a long-running work, so please continue supporting it without getting tired of it.”

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

• Takahashi also stated that she enjoyed visiting Aoyama’s home.

Takahiro Okura M29 Interview

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

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Source: Raw

Raw:

Gosho Aoyama Shu-ichi Interview 2026

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

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Source: (Link) - (Video)

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  Soya Igari & Gosho Aoyama & Rina Sato

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

Key points from the video

In the March 15, 2026 broadcast of Shu-ichi, Gosho Aoyama appeared in a special segment connected to the 30th Anniversary Detective Conan Anime Exhibition. During the interview, he was asked 3 questions.

• First, regarding the locked-room trick from Episode 129, which involved a cassette-tape answering machine, Aoyama said that he had personally tested whether the tape would really rewind after being stretched and then played back. He added that such tricks are much harder to use today because the spread of smartphones has made traditional alibi-based mysteries more difficult to construct, as people now constantly carry cameras and can easily record evidence. He also noted that devices such as dashcams are useful, but further reduce the feasibility of older trick-based setups. The segment additionally stated that one of the program’s hosts, Reina Sato, said that Aoyama had described Detective Conan as a “Romantic Comedy Murders” 殺人ラブコメ

• For the second question, Aoyama was asked whether fans would see more stories focusing on Shinichi Kudo and Ran Mouri after their relationship became official. He gave a teasing reply, saying that viewers would probably get to see that and should wait for it.

• For the third question, Aoyama was asked whether he had experienced any major crises or difficult periods during the series’ 30-year run. He replied that one of the hardest times was when he fell ill. Although he underwent treatment and recovered, he continued working during his hiatus, including while he was hospitalized. He recalled that nurses were surprised to see him still drawing, and that one nurse scolded him for staying up late to play games, reminding him that children across Japan were waiting for him and telling him that he needed to get some sleep.