Difference between revisions of "Interviews"
From Detective Conan Wiki
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| − | ===Conan Drill Official Book | + | ===Conan Drill Official Book=== |
| − | + | '''Date:''' May 1 2003 | |
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<spoiler> | <spoiler> | ||
| − | Interview in Conan Drill from 2003 translated! No spoiler on the plot here, though there are a lot of interesting tidbits.<br> | + | <gallery widths=165px perrow=5> |
| − | + | File: Conan Drill Interview 1.jpg | |
| − | + | File: Conan Drill Interview 2.jpg | |
| − | <br> | + | File: Conan Drill Interview 3.jpg |
| + | File: Conan Drill Interview 4.jpg | ||
| + | File: Conan Drill Interview 5.jpg | ||
| + | File: Conan Drill Interview 6.jpg | ||
| + | File: Conan Drill Interview 7.jpg | ||
| + | File: Conan Drill Interview 8.jpg | ||
| + | File: Conan Drill Interview 9.jpg | ||
| + | File: Conan Drill Interview 10.jpg | ||
| + | </gallery> | ||
| + | |||
| + | '''Translated by:''' justwantanaccount<br> | ||
| + | T/N: Interview in Conan Drill from 2003 translated! No spoiler on the plot here, though there are a lot of interesting tidbits.<br> | ||
| + | I took a lot of liberty with the English this time, since I wanted to focus more on making the English sound natural and readable. I usually try to translate as directly as possible, but I realize that the weird English probably turns off a lot of people – let me know if I've taken too much liberty, though.<br> | ||
Also, Gosho says a lot of things here that he mentions in future interviews, like how he was told to change Conan's name to Doyle since there was a work called Future Boy Conan, directed by Hayao Miyazaki. You kinda realize that interviewers keep asking the same questions, maybe because they don't bother looking over past interviews, ha ha.<br> | Also, Gosho says a lot of things here that he mentions in future interviews, like how he was told to change Conan's name to Doyle since there was a work called Future Boy Conan, directed by Hayao Miyazaki. You kinda realize that interviewers keep asking the same questions, maybe because they don't bother looking over past interviews, ha ha.<br> | ||
<br> | <br> | ||
| − | Highlights:<br> | + | '''Highlights:'''<br> |
| − | The plot for | + | The plot for Conan was planned in two weeks<br> |
Gosho is not "high-strung / neurotic" - he seems pretty laid back<br> | Gosho is not "high-strung / neurotic" - he seems pretty laid back<br> | ||
Apparently, in File 125~, the dude pays the gal to be his lover<br> | Apparently, in File 125~, the dude pays the gal to be his lover<br> | ||
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Gosho only draws characters with names, leave backgrounds and characters without names to assistants - does that mean that the forensics dude who wasn't Tomo-san in File 756-758 will become important someday?! Lol I dunno.<br> | Gosho only draws characters with names, leave backgrounds and characters without names to assistants - does that mean that the forensics dude who wasn't Tomo-san in File 756-758 will become important someday?! Lol I dunno.<br> | ||
Maybe you guys knew this already, but apparently Paikaru/Baiganer isn't a real brand of alcohol – the name comes from a character in Lupin III.<br> | Maybe you guys knew this already, but apparently Paikaru/Baiganer isn't a real brand of alcohol – the name comes from a character in Lupin III.<br> | ||
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<br> | <br> | ||
| − | + | '''Interview'''<br> | |
| − | A: I was studying manga since my college days, but I entered the university while vaguely thinking that I will become an art teacher someday. Apparently I wrote "I will become a manga artist in the future" in my elementary school's graduation anthology, but I don't remember it. Although, I did like drawing pictures and manga and such from childhood, and I drew flip books and such into my textbook. My parents scolded me when I drew manga, though, so there was a sneaky quality to it. I submitted manga for the first time when I was a fourth year university student, but when I told my parents that I will become a manga artist after graduation, my parents opposed me. Being a school teachers is fine, but being a manga artist is, after all, an unpredictable, | + | Q: Aoyama-sensei became a manga artist after graduating from college, right? Have you decided to be a manga artist from your student days?<br>A: I was studying manga since my college days, but I entered the university while vaguely thinking that I will become an art teacher someday. Apparently I wrote "I will become a manga artist in the future" in my elementary school's graduation anthology, but I don't remember it. Although, I did like drawing pictures and manga and such from childhood, and I drew flip books and such into my textbook. My parents scolded me when I drew manga, though, so there was a sneaky quality to it. I submitted manga for the first time when I was a fourth year university student, but when I told my parents that I will become a manga artist after graduation, my parents opposed me. Being a school teachers is fine, but being a manga artist is, after all, an unpredictable, Yakuza-like business. Of course you would worry if you were a parent.The direct cause behind becoming a manga artist for me was when a senpai, who was already a manga artist, asked me, "Hey, Aoyama, do you want to try submitting?" Then, I sent one to a certain shonen magazine, and the work received a kasaku*. This wasn't at Sunday, though. After this, I thought that maybe I could possibly be good. This was when I was a fourth year university student.<br>[T/N: *佳作 (kasaku) directly translates to 1. well executed work or 2. second best work at something like an art/literature contest (source); however, given the context, it seems that if you receive this then you debut as a manga artist, so I left the original Japanese term since I'm not sure how to translate it. Some people translate it as an "honorable mention", but I don't know how accurate that is.] |
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| − | + | Q: Back then, were the people around you already searching for permanent jobs?<br>A: Yes. For me, I trained to be a teacher, just in case, since I still had the option to become an art teacher at my hometown's high school. Although, when I received the kasaku, I think I lost the urge to continue down that path. I drew the background for Ponkikki and such for part time jobs, so I wasn't searching for a permanent job at all. | |
| − | Q: Back then, were the people around you already searching for permanent jobs?<br> | + | |
| − | + | Q: How did you live as a university student? The characters in the manga that sensei draws are all unique - I suspect this might be due to influence from human relationships during student days.<br>A: Yes, though I think I was influenced not only during my university years but throughout my life, accumulating from my childhood. As for my university years, I did Mahjong - a lot of Mahjong (laughs). I used to live first in Egoda, which is along the Seibu Ikebukuro Line, then in Senkawa. The distance was the longest here, but it was close to the university so we met up for Mahjong and such. We met up at someone's house many times, since we didn't have money. I was pretty strong back then. Right now, not so much - I don't have time to play, and even when I do play I think that we should just have fun, so I aim for a high hand. If you do that, you lose. If you play thinking that you'll lose, then you really will, as you'd expect (laughs). | |
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| − | A: Yes. For me, I trained to be a teacher, just in case, since I still had the option to become an art teacher at my hometown's high school. Although, when I received the kasaku, I think I lost the urge to continue down that path. I drew the background for Ponkikki and such for part time jobs, so I wasn't searching for a permanent job at all. | + | Q: Even if you say you didn't have money, it wasn't such a period back when sensei was a student, right?<br>A: Nah, I was pretty poor. I couldn't put in meat into curry. I would eat such an indigent curry for five days straight. Curry day after day. But I was sent rice from my hometown, so I did always have something to eat. If you have rice, you manage, don't you? I ate nothing but curry everyday and I played Mahjong at someone's house - I think I was the very picture of a poor college student.<br> |
| − | + | December 31, 2002, nighttime. The interview took place, since sensei's schedule was apparently only open on this day. I could imagine that sensei was considerably tired; I thought that it couldn't be helped that sensei might be ill-humored. However, you couldn't tell that he was tired, even though he must have been. My impression was that he was upright as a human being and as an adult, though he was of course aware that he was first-class as an artist. | |
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| − | Q: How did you live as a university student? The characters in the manga that sensei draws are all unique - I suspect this might be due to influence from human relationships during student days.<br> | + | Q: In truth, I thought that it couldn't be helped if Aoyama-sensei had a difficult temper, until I met you like this. It is the truth that mystery writers often have complicated personalities, to say nothing of their difficult schedules. I'm surprised that you are far more cheerful than I've imagined you to be.<br>A: Did you imagine someone who was stress personified? I have stress, of course, but I've never been the type to be highly strung. I think that that's why I can endure difficult schedules. I, too, think sometimes that some writers are highly strung when I read their work – the type who are good at searching people from scratch, and such. For me, I'm not that type of person at all. I haven't inconvenienced the editor* much, either . . . or at least, I'd like to think so (laughs).I haven't quarreled with the editor, either. Even if there's a quarrel, it's not about manga, it's about something really trivial. The editor is a Hanshin fan, and I'm a Giants fan; when Hanshin won consecutively against the Giants in the match where the Giants' championship was at stake, I happened to have promised to draw the illustration for the movie poster. But I was in a bad mood, so I said, "I'm not drawing!" (laughs) Since the editor was understanding, he didn't contact me anymore that day (laughs). This isn't really a quarrel, is it?<br>[T/N: *Strictly speaking, the term could be plural, but I've left it as singular here since Aoyama seems to be talking about his editor.] |
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| − | + | Q: You got an kasaku with a submission to a magazine other than Shonen Sunday, right? Did you not want to continue at that magazine? Why the move to Shonen Sunday?<br>A: At the manga magazine where I was kindly given the kasaku, the editor kindly advised me, "I personally like your art, but you'll probably be told to change your style sometime soon, so it'll be better for you if you went elsewhere." If so, I like Mitsuru Adachi, and the picture is cute overall, so I thought about moving to Sunday. Then, I was told that I could go sooner than I'd thought, and things went smoothly after that.But then, a senior manga artist told me, "You should visit the editorial department many times until they memorize your name," so I visited the editorial department whenever I could. When I received the Newcomer Award with Wait a Minute, I already had an editor, in my case. There are many newcomers just like you, so to stand out you must bring in the name (roughly sketched manuscript) often. I did that intentionally. For about half a year, I visited quite insistently, saying "I fixed the name again!" Almost everyday. It's not like I had anything else to do, and I wanted to serialize as soon as possible. | |
| − | A: Yes, though I think I was influenced not only during my university years but throughout my life, accumulating from my childhood. As for my university years, I did | + | |
| − | + | Q: Magic Kaito's serialization started in that environment, didn't it? In Sunday's Special Edition?<br>A: Yes. I was allowed to draw from time to time, but you're basically jobless during that time, aren't you? You can't eat as a manga artist, yet. I was eating with the money I saved through part-time jobs as a student, and with the prize money from the Newcomer Award. Although, you might think that this was a difficult time period the way I talk, but those days were actually really fun for me (laughs). In the end, I was doing what I liked, since I like manga. I also had a lot of time when I was a newcomer, so I could play my favorite games. Back when I used to draw manga while playing Dragon Quest, I had a promise to meet with the editor. Then, when the editor called since he was at a cafe near Egoda's train station, I replied, half asleep, "Uuuum, I can't gooo, since I don't have the gold yeeet" (laughs). Then I hanged up, and when I got a call again after thirty minutes, I vaguely thought, "I said something weird, didn't I?" (laughs).The editor back then was a good person, too. Things were fun back then, in many aspects. Now, I don't quite have the time to play games as I used to. | |
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| − | Q: Even if you say you didn't have money, it wasn't such a period back when sensei was a student, right?<br> | + | Q: Did you realize that you could continue as a manga artist, that you could eat as one with Magic Kaito?<br>A: Yes, I think so. The editor-in-chief back then didn't like Magic Kaito very much, and he said, "I'll treat you something if this gets sold as volumes and sells 100,000 copies." Then the number was passed in the blink of time - I thought, it's profitable to sell volumes, isn't it? After that, YAIBA started at the magazine, and since the magazine is weekly, volumes came out quickly, too. Things became much easier after that, not only in terms of livelihood but psychologically, too. I did become busy and lost time to have some fun, though. Conan was decided when I met up with the editor to discuss what to do next after YAIBA ended. At the time, Kindaichi (from Kindaichi Case Files) started at Shonen Magazine, and since I like mysteries and it seemed interesting, I wanted to have a go at it. At first, I/we thought about a hardboiled-esque comedy with a title like "Tale of a Detective" or something similar. But Conan is the royal road to shonen manga, isn't it? Becoming small, and then getting threatened by bad guys. The plot was finished in about two weeks, but it's not something I/we thought neurotically about. Conan turned back to a first grader, since Shinichi is 17, so I thought that turning back exactly ten years would be easy to understand. I get asked if why I chose first grade, but that's pretty much all the reason (laughs). Although, there also was a bit of an aspect that, since first graders are completely children, someone that age will be laughed at and then forgiven for doing anything. |
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| − | + | Q: Did you decide the characters' appearances along with the plot?<br>A: Almost at the same time. I don't think that the pictures took more than a minute. | |
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| − | + | Q: The idea for Conan's glasses was decided at the time, too?<br>A: I like Superman, you see. Superman wore glasses as Clark Kent, right? That was what was in my head at the time. No glasses when he's Shinichi, but glasses once he turns into Conan. I just remembered, I wanted to make a rule-breaking manga. In shonen, Arare-chan is about the only one who is a protagonist and who also has glasses. Strictly speaking, Nobita-kun isn't a protagonist. Also, names (characters/letters). In shonen, there was a rule that manga with a lot of names in it don't become popular. There was another rule I tried to break – hmm, what was it? Was it about the name, Conan? Since it was the same as Future Boy Conan, the editor-in-chief didn't make a very good face. I think I was told to change the name to Doyle-kun (laughs). My editor was excited about breaking the rules, though. | |
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| − | December 31, 2002, nighttime. The interview took place, since sensei's schedule was apparently only open on this day. I could imagine that sensei was considerably tired; I thought that it couldn't be helped that sensei might be ill-humored. However, you couldn't tell that he was tired, even though he must have been. My impression was that he was upright as a human being and as an adult, though he was of course aware that he was first-class as an artist. | + | Q: Going back to what you have just said about shonen manga's royal path – your work also has an element of love comedy; childhood friends are also royal-path material, aren't they?<br>A: That's true. You could say that it's my preference to use childhood friends, though (laughs). The setup becomes really easy. It's easy to develop the story when the characters are childhood friends who have known each other for a long time. I liked Mitsuru Adachi-san's Touch, after all. As for dramas, I like The Tale of Seven Men and Women*. Though most young readers now probably don't know about this drama, I think that this is the masterpiece of love comedy. I wanted to bring out such an atmosphere in my work. Although, despite the presence of love, neither Shinichi nor Hattori chases after women, do they? They're a little different from a normal high school boy. In the end, detectives are fairly different, whether you're talking about Holmes or Seishi Yokomizo's Kindaichi. That's the appeal of detective-type people, though. *There's a Japanese Wikipedia page for it, but that's about it. Apparently it ran from July 25 to September 26, 1986 on TBS, and was so popular that its ratings exceeded 31% at one time. |
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| − | + | Q: Have your names ever been disgarded before?<br>A: In the case where the female illustrator gets killed by her lover, who is an artist (File 125~ "Falling Corpse"), I wrote, "I give you money. You give me satisfaction. That sounds like a fair deal to me," and they told me that this was not good. I do agree that it was too raw for Sunday (laughs). In the end, I changed it to something light like "I'll do my job so don't meddle with the family." That's about it. | |
| − | Q: In truth, I thought that it couldn't be helped if Aoyama-sensei had a difficult temper, until I met you like this. It is the truth that mystery writers often have complicated personalities, to say nothing of their difficult schedules. I'm surprised that you are far more cheerful than I've imagined you to be.<br> | + | |
| − | + | Q: What about collecting data? I'm often surprised about how firm the factual areas on police relations, crime knowledge, and such are.<br>A: The editor has friends who does CSI or are working at a bank, and the assistants' relatives turn out to be former police detectives, so I ask them. For example, what do you need if you want to open a safe at night? I get to use some police terminology, too, though of course there are secret ones that I can't use. On car-related subjects, I ask my brother, who is one year younger than me. He's an engineer. I ask him things like, if you insert ice between the front wheels and the ice melts, what will happen? The radiator's water will probably drip if the cooler was kept open – then, where would the water drip from? Things like that. (File 221) On medicine-related subjects, I have another younger brother, who is a doctor. He and I came up with the APTX. To be rejuvenated . . . you can't get your bones back to the way it was, so that aspect is fictional, but maybe it's possible to rejuvenate cells, and such. This younger brother is also knowlegeable about anime, so he advised me on who to pick for voice actors. Also, on Hattori and Kazuha's Kansai dialect, the editor, who is from Kansai, looks over them carefully for me. On site research, I've rode the sleeping car train Hokutosei with the editor before. We had a meeting around dusk once, and suddenly decided to make this case center on Hokutosei. By chance, I/we managed to obtain the ticket(s) for next morning. Unfortunately, we didn't go up to Hokkaido and got off at Utsunomiya, so it was a bit of a waste. The train conductor surprised me. I said, "I have to get off in the middle?" | |
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| − | A: Did you imagine someone who was stress personified? I have stress, of course, but I've never been the type to be highly strung. I think that that's why I can endure difficult schedules. I, too, think sometimes that some writers are highly strung when I read their work – the type who are good at searching people from scratch, and such. For me, I'm not that type of person at all. I haven't inconvenienced the editor* much, either . . . or at least, I'd like to think so (laughs).I haven't quarreled with the editor, either. Even if there's a quarrel, it's not about manga, it's about something really trivial. The editor is a Hanshin fan, and I'm a Giants fan; when Hanshin won consecutively against the Giants in the match where the Giants' championship was at stake, I happened to have promised to draw the illustration for the movie poster. But I was in a bad mood, so I said, "I'm not drawing!" (laughs) Since the editor was understanding, he didn't contact me anymore that day (laughs). This isn't really a quarrel, is it? *Strictly speaking, the term could be plural, but I've left it as singular here since Aoyama seems to be talking about his editor. | + | Q: What do you struggle with the most in Conan's story?<br>A: The culprit's motives. People often think that coming up with tricks is troublesome, but for me, I always struggle with the motives. Grudges pop up a lot, but if it happens too often, then it's not interesting anymore. But then, I don't like indiscriminate murder, either. For example, someone kills people because it was hot outside – that leaves a bad taste, doesn't it? I don't want to do things like that. I also don't let the culprit die. The culprit commits suicide in the end only in the Tsukikage (Moon Shadow) Island story, right? |
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| − | + | Q: On the characters, is there something you decided the characters won't do?<br>A: Conan doesn't cry, but that's about it. He might have tears in his eyes from yawning, but he won't wail, he won't cry from empathy. I decided this at the beginning. There are other things I decided, but it's better not to say them, isn't it? It'll be more fun for the readers to search for themselves. | |
| − | Q: You got an kasaku with a submission to a magazine other than Shonen Sunday, right? Did you not want to continue at that magazine? Why the move to Shonen Sunday?<br> | + | |
| − | + | Q: Do you decide the story with the editor?<br>A: Yes, I first discuss with the editor and decide. When the previous case ends, I take a nap, then I discuss within that day. With a free-talk-like style, we discuss from the trick, the flow of the story, to the conclusion, and we decide one case at once – in another words, we decide what will happen for the next 3~4 weeks. So the overall schedule goes like this: one case ends, I take a nap, I meet with the editor within that day, then I finish the name (pre-manuscript) in three days, then I meet up with the editor again, and then I ink it, then I add the finishing touches in the next four days. This is my week. | |
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| − | A: At the manga magazine where I was kindly given the kasaku, the editor kindly advised me, "I personally like your art, but you'll probably be told to change your style sometime soon, so it'll be better for you if you went elsewhere." If so, I like Mitsuru Adachi, and the picture is cute overall, so I thought about moving to Sunday. Then, I was told that I could go sooner than I'd thought, and things went smoothly after that.But then, a senior manga artist told me, "You should visit the editorial department many times until they memorize your name," so I visited the editorial department whenever I could. When I received the Newcomer Award with Wait a Minute, I already had an editor, in my case. There are many newcomers just like you, so to stand out you must bring in the name (roughly sketched manuscript) often. I did that intentionally. For about half a year, I visited quite insistently, saying "I fixed the name again!" Almost everyday. It's not like I had anything else to do, and I wanted to serialize as soon as possible. | + | Q: You can't rest at all, can you? You must have other things to do within that period, too.<br>A: No, I can't rest. I rest only about the time when I sleep after finishing the manuscript. I might travel when Conan doesn't print, but even then I think about Conan so it's not truly a rest at all. I relax only about when I watch baseball. |
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| − | + | Q: Everyone is curious about how Conan will develop in the future.<br>A: It's probably more fun to not say much about that (laughs). I am thinking about a development that will surprise the readers, but for now there are more things that I can't say.<br>Even if sensei does take a few weeks of vacation, no one forgets about Conan, and the popularity doesn't go down, either (though this will trouble the editorial department). Even though sensei climbed up to that point, he continues writing Conan amid an even more difficult schedule. I wonder about where such an energy come from. One more thing, sensei never said the word "job". Though writing manga is undoubtedly a job for sensei, it seems to be completely different from the what is called "labor". | |
| − | Q: Magic Kaito's serialization started in that | + | |
| − | + | Q: What is important for a manga artist? What would you advise people who want to become manga artists, for example?<br>A: I wonder . . . I never had a moment where I had a strong sense that I am a manga artist.You might say that, at the core, you have to like it. You can't continue if you don't like it. Also, you must have a sense of inquisitiveness. These might be common, but that's all that I can think of. On inquisitiveness, say you see a boring movie. Don't say "Boooring!" and be done with it, for me I would think about how this part should be like this, how if this is done then it will be come more and more interesting – things like that. Interesting movies are fine the way they are, but what are you doing to think when you see a boring one? That's why boring movies are surprisingly better for me results-wise (laughs). Also, there are a lot of things that you don't know about in this world, right? In a story related to anime, when I heard of the terminologies "F1, F2" for ratings, I end up thinking if I could make something out of them or not.* It's important to think about what you can do with things you've never heard of before.<br>[*Symbols representing TV viewers' age groups. F1 = female, 20~34; F2 = female, 35~49; others are as follows:<br>F3 = females 50 and above; M1 = male, 20~34; M2 = male, 35~49; M3 = males 50 and above; C1 = children, 4~12; C2 = children, 13~19.] | |
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| − | + | Q: Your head constantly turns toward creative work, doesn't it? Creative brain, perhaps.<br>A: That's true. That's why you have to like it, in the end. You're usually carefree without any thoughts if you travel, and I try to do that, too, but I end up thinking about if I can find material to work with out of habit. At the core, there's an aspect of diligence (laughs). You shouldn't strain your nerves too much, though. | |
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| − | Q: Did you realize that you could continue as a manga artist, that you could eat as one with Magic Kaito?<br> | + | Q: Are you all right from tendonitis? They say that being a manga artist means a fight against tendonitis.<br>A: There was one time when I almost got it. I always had strong pressure on the pen, so I'm the type who easily gets tendonitis. I've changed my drawing style since then. I use a thin marker and trace over the same line many times to make it thicker. I use the PIGMA 0.1mm pen. That way, I don't have to put much pressure on the arms. Except for background and unimportant characters, I draw everything. Meaning, I leave things like backgrounds with cars, CSI's and police people without names to assistants, then draw the characters who have names myself.< |
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| − | + | Q: On the art, which manga artist did you receive influence from?<br>A: Monkey Punch, of Lupin III. There's a time when Conan drinks some alcohol and reverts back to his former body, right? The alcohol called Paikaru comes from the name of a magician that appears in Lupin III. I would also say Mitsuru Adachi-san, and surprisingly a shojo manga artist named Akemi Matsunae-san, I think. And people my age all received influence to some degree from Katsuhiro Otomo-san, I think. (Ha ha, I wonder if Miyano Akemi's name comes from Matsunae Akemi's . . . it sounds like it does, doesn't it?) | |
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| − | + | Q: Sensei is single, but if you marry you can't continue living like this, can you?<br>A: No, I can't. If my lifestyle changes, I can't continue the current pace anymore.* When I started Conan, I thought that this would be a lot of work. When I actually started, it was truly so much work that I don't do what my superiors say. I even said that I won't do anything unless they let me do whatever I want to do. This way, I can continue because I'm doing whatever I want in life and in my work. I was told to change the name from Conan to Doyle, to make Hattori into an absolute rival, things like that, but that's different from what I'm thinking. In that aspect, I insisted on my way as the artist. So I've been doing whatever I want. You should do what you like, as you like . . . This may be quite troublesome to both mind and body, but in the end I think that I want to be consumed there. Therefore, I'm happy, after all, because I'm living this way. I think I want to continue being a manga artist until ideas run dry, or readers tell me that they don't need me anymore. Though I might say "Aaaah, stooop!" from time to time.<br>[T/N: *There seems to be a typo here - I can't find the meaning of 維待anywhere – so I guessed at what it meant.]<br> | |
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| − | Q: Did you decide the characters' appearances along with the plot?<br> | ||
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| − | A: Almost at the same time. I don't think that the pictures took more than a minute. | ||
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| − | Q: The idea for Conan's glasses was decided at the time, too?<br> | ||
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| − | |||
| − | A: I like Superman, you see. Superman wore glasses as Clark Kent, right? That was what was in my head at the time. No glasses when he's Shinichi, but glasses once he turns into Conan. I just remembered, I wanted to make a rule-breaking manga. In shonen, Arare-chan is about the only one who is a protagonist and who also has glasses. Strictly speaking, Nobita-kun isn't a protagonist. Also, names (characters/letters). In shonen, there was a rule that manga with a lot of names in it don't become popular. There was another rule I tried to break – hmm, what was it? Was it about the name, Conan? Since it was the same as Future Boy Conan, the editor-in-chief didn't make a very good face. I think I was told to change the name to Doyle-kun (laughs). My editor was excited about breaking the rules, though. | ||
| − | |||
| − | |||
| − | Q: Going back to what you have just said about shonen manga's royal path – your work also has an element of love comedy; childhood friends are also royal-path material, aren't they?<br> | ||
| − | |||
| − | |||
| − | A: That's true. You could say that it's my preference to use childhood friends, though (laughs). The setup becomes really easy. It's easy to develop the story when the characters are childhood friends who have known each other for a long time. I liked Mitsuru Adachi-san's Touch, after all. As for dramas, I like The Tale of Seven Men and Women*. Though most young readers now probably don't know about this drama, I think that this is the masterpiece of love comedy. I wanted to bring out such an atmosphere in my work. Although, despite the presence of love, neither Shinichi nor Hattori chases after women, do they? They're a little different from a normal high school boy. In the end, detectives are fairly different, whether you're talking about Holmes or Seishi Yokomizo's Kindaichi. That's the appeal of detective-type people, though. *There's a Japanese Wikipedia page for it, but that's about it. Apparently it ran from July 25 to September 26, 1986 on TBS, and was so popular that its ratings exceeded 31% at one time. | ||
| − | |||
| − | |||
| − | Q: Have your names ever been disgarded before?<br> | ||
| − | |||
| − | |||
| − | A: In the case where the female illustrator gets killed by her lover, who is an artist (File 125~ "Falling Corpse"), I wrote, "I give you money. You give me satisfaction. That sounds like a fair deal to me," and they told me that this was not good. I do agree that it was too raw for Sunday (laughs). In the end, I changed it to something light like "I'll do my job so don't meddle with the family." That's about it. | ||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | A: The editor has friends who does CSI or are working at a bank, and the assistants' relatives turn out to be former police detectives, so I ask them. For example, what do you need if you want to open a safe at night? I get to use some police terminology, too, though of course there are secret ones that I can't use. On car-related subjects, I ask my brother, who is one year younger than me. He's an engineer. I ask him things like, if you insert ice between the front wheels and the ice melts, what will happen? The radiator's water will probably drip if the cooler was kept open – then, where would the water drip from? Things like that. (File 221) On medicine-related subjects, I have another younger brother, who is a doctor. He and I came up with the APTX. To be rejuvenated . . . you can't get your bones back to the way it was, so that aspect is fictional, but maybe it's possible to rejuvenate cells, and such. This younger brother is also knowlegeable about anime, so he advised me on who to pick for voice actors. Also, on Hattori and Kazuha's Kansai dialect, the editor, who is from Kansai, looks over them carefully for me. On site research, I've rode the sleeping car train Hokutosei with the editor before. We had a meeting around dusk once, and suddenly decided to make this case center on Hokutosei. By chance, I/we managed to obtain the ticket(s) for next morning. Unfortunately, we didn't go up to Hokkaido and got off at Utsunomiya, so it was a bit of a waste. The train conductor surprised me. I said, "I have to get off in the middle?" | ||
| − | |||
| − | |||
| − | Q: What do you struggle with the most in Conan's story?<br> | ||
| − | |||
| − | |||
| − | A: The culprit's motives. People often think that coming up with tricks is troublesome, but for me, I always struggle with the motives. Grudges pop up a lot, but if it happens too often, then it's not interesting anymore. But then, I don't like indiscriminate murder, either. For example, someone kills people because it was hot outside – that leaves a bad taste, doesn't it? I don't want to do things like that. I also don't let the culprit die. The culprit commits suicide in the end only in the Tsukikage (Moon Shadow) Island story, right? | ||
| − | |||
| − | |||
| − | Q: On the characters, is there something you decided the characters won't do?<br> | ||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | Q: Do you decide the story with the editor?<br> | ||
| − | |||
| − | |||
| − | A: Yes, I first discuss with the editor and decide. When the previous case ends, I take a nap, then I discuss within that day. With a free-talk-like style, we discuss from the trick, the flow of the story, to the conclusion, and we decide one case at once – in another words, we decide what will happen for the next 3~4 weeks. So the overall schedule goes like this: one case ends, I take a nap, I meet with the editor within that day, then I finish the name (pre-manuscript) in three days, then I meet up with the editor again, and then I ink it, then I add the finishing touches in the next four days. This is my week. | ||
| − | |||
| − | |||
| − | Q: You can't rest at all, can you? You must have other things to do within that period, too.<br> | ||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | Q: Everyone is curious about how Conan will develop in the future.<br> | ||
| − | |||
| − | |||
| − | A: It's probably more fun to not say much about that (laughs). I am thinking about a development that will surprise the readers, but for now there are more things that I can't say.<br> | ||
| − | |||
| − | |||
| − | Even if sensei does take a few weeks of vacation, no one forgets about Conan, and the popularity doesn't go down, either (though this will trouble the editorial department). Even though sensei climbed up to that point, he continues writing Conan amid an even more difficult schedule. I wonder about where such an energy come from. One more thing, sensei never said the word "job". Though writing manga is | ||
| − | |||
| − | |||
| − | Q: What is important for a manga artist? What would you advise people who want to become manga artists, for example?<br> | ||
| − | |||
| − | |||
| − | A: I wonder . . . I never had a moment where I had a strong sense that I am a manga artist.You might say that, at the core, you have to like it. You can't continue if you don't like it. Also, you must have a sense of inquisitiveness. These might be common, but that's all that I can think of. On inquisitiveness, say you see a boring movie. Don't say "Boooring!" and be done with it, for me I would think about how this part should be like this, how if this is done then it will be come more and more interesting – things like that. Interesting movies are fine the way they are, but what are you doing to think when you see a boring one? That's why boring movies are surprisingly better for me results-wise (laughs). Also, there are a lot of things that you don't know about in this world, right? In a story related to anime, when I heard of the terminologies "F1, F2" for ratings, I end up thinking if I could make something out of them or not.* It's important to think about what you can do with things you've never heard of before.<br> | ||
| − | |||
| − | |||
| − | |||
| − | *Symbols representing TV viewers' age groups. F1 = female, 20~34; F2 = female, 35~49; others are as follows:<br> | ||
| − | F3 = females 50 and above; M1 = male, 20~34; M2 = male, 35~49; M3 = males 50 and above; C1 = children, 4~12; C2 = children, 13~19. | ||
| − | |||
| − | |||
| − | Q: Your head constantly turns toward creative work, doesn't it? Creative brain, perhaps.<br> | ||
| − | |||
| − | |||
| − | A: That's true. That's why you have to like it, in the end. You're usually carefree without any thoughts if you travel, and I try to do that, too, but I end up thinking about if I can find material to work with out of habit. At the core, there's an aspect of diligence (laughs). You shouldn't strain your nerves too much, though. | ||
| − | |||
| − | |||
| − | Q: Are you all right from tendonitis? They say that being a manga artist means a fight against tendonitis.<br> | ||
| − | |||
| − | |||
| − | A: There was one time when I almost got it. I always had strong pressure on the pen, so I'm the type who easily gets tendonitis. I've changed my drawing style since then. I use a thin marker and trace over the same line many times to make it thicker. I use the PIGMA 0.1mm pen. That way, I don't have to put much pressure on the arms. Except for background and unimportant characters, I draw everything. Meaning, I leave things like backgrounds with cars, CSI's and police people without names to assistants, then draw the characters who have names myself.< | ||
| − | |||
| − | |||
| − | Q: On the art, which manga artist did you receive influence from?<br> | ||
| − | |||
| − | |||
| − | A: Monkey Punch, of Lupin III. There's a time when Conan drinks some alcohol and reverts back to his former body, right? The alcohol called Paikaru comes from the name of a magician that appears in Lupin III. I would also say Mitsuru Adachi-san, and surprisingly a shojo manga artist named Akemi Matsunae-san, I think. And people my age all received influence to some degree from Katsuhiro Otomo-san, I think. (Ha ha, I wonder if Miyano Akemi's name comes from Matsunae Akemi's . . . it sounds like it does, doesn't it?) | ||
| − | |||
| − | |||
| − | Q: Sensei is single, but if you marry you can't continue living like this, can you?<br> | ||
| − | |||
| − | |||
| − | A: No, I can't. If my lifestyle changes, I can't continue the current pace anymore.* When I started Conan, I thought that this would be a lot of work. When I actually started, it was truly so much work that I don't do what my superiors say. I even said that I won't do anything unless they let me do whatever I want to do. This way, I can continue because I'm doing whatever I want in life and in my work. I was told to change the name from Conan to Doyle, to make Hattori into an absolute rival, things like that, but that's different from what I'm thinking. In that aspect, I insisted on my way as the artist. So I've been doing whatever I want. You should do what you like, as you like . . . This may be quite troublesome to both mind and body, but in the end I think that I want to be consumed there. Therefore, I'm happy, after all, because I'm living this way. I think I want to continue being a manga artist until ideas run dry, or readers tell me that they don't need me anymore. Though I might say "Aaaah, stooop!" from time to time. *There seems to be a typo here - I can't find the meaning of 維待anywhere – so I guessed at what it meant.<br | ||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
</spoiler> | </spoiler> | ||
Revision as of 16:45, 22 December 2018
Contents
- 1 Gosho's Official Commentary and Interview list
- 2 Interviews
- 2.1 1997
- 2.2 2003
- 2.3 2004
- 2.4 2005
- 2.5 2006
- 2.6 2007
- 2.7 2008
- 2.8 2009
- 2.9 2010
- 2.10 2011
- 2.11 2012
- 2.12 2013
- 2.12.1 Interview with Aoyama Gosho and Shibasaki Kou, Movie 17 (WITH RAW)
- 2.12.2 Shonen Sunday Special Booklet File865 (WITH RAW)
- 2.12.3 Otona Fami Interview #4 RAW
- 2.12.4 Shonen Sunday Lupin Vs Conan Secret Report RAW
- 2.12.5 Lupin the Third VS Detective Conan: Money Punch and Aoyama Gosho interivew
- 2.12.6 Monkey Punch and Gosho Aoyama Special Talk RAW
- 2.13 2014
- 2.14 2016
- 2.14.1 Gosho Aoyama X Yomuri Giants Hayato Sakamoto (WITH RAW)
- 2.14.2 Movie 20 interview CimemaToday (WITH RAW)
- 2.14.3 Gosho Singapore visit Interview
- 2.14.4 Akai and Amuro Secret Files Voice Actors Interview 2016
- 2.14.5 20th Anniversary DVD collection guidebook interviews RAW
- 2.14.6 Movie 20 "Truth in Black" Booklet
- 2.14.7 Animedia Gosho Interview
- 2.14.8 Complete Color Works Interview Aoyama 2016
- 2.14.9 20 Year Cinema Guide interviews
- 2.14.10 Asahi Newspaper Interview 2016
- 3 See Also
Gosho's Official Commentary and Interview list
Interview
Mid 90s Newtype Interview
Unknown issue of the magazine "Newtype"
Pictures from: http://ayase.blog4.fc2.com/blog-entry-803.html
Mini Documentary: Secret of Creation
青山剛昌ふるさと館（青山剛昌の仕事部屋 創作の秘密）
Video shows Gosho drawing File 593, which was released Dec 2006
https://www.youtube.com/watch?v=7f7SLxnVPI0
New Years Postcard list RAW
「青山先生の年賀状」まとめ
Collected postcard list from 2014 and 2015
http://conan-4869.net/post-24061
Interviews
The interviews listed here are ones that I found listed on the DCW Translating interview thread. It would be preferable if we could find more interviews and get them located here. http://www.detectiveconanworld.com/forum/topic/1555-translating-interviews/
1997
Mystery Museum Interview
Date: June 10th, 1997
2003
Complete Color Works Interview Aoyama x Takayama
Date: May 1, 2003
Conan Drill Official Book
Date: May 1 2003
2004
Love Conan (Rabu Conan) Interview RAW
ラブコナン―名探偵コナンオフィシャルファンブックforガールズ,2004/3/31
http://conan-4869.net/post-19909
Raw Text
Translation by Yunniechan : link
Raw Images
Partial Translation
Source from yangti1674 ( link )
text copied from Chekov's post ( link )
Conan Vs Kaitou Kid Perfect Edition RAW
Detective Conan vs. Kaitou Kid Perfect Edition pg 169
Posted by: skyechan
Translation by Yunniechan : link
RAW IMAGES
2005
Unknown Fan Gathering 2005 (partial text) (no raw)
Unknown interview 2005 Fan gathering
Translated by: justwantanaccount
2006
Anime 10 Year Anniversary Interview 1 (WITH RAW)
読売新聞 「親子で夢中 コナン１０年」
Translated by Startold
""It was published on NTV's website in 2006.""
January 6th 2006
http://conan-4869.net/post-19657
Raw Text
Asahi Newspaper Interview "the boss's name has already appeared" (WITH RAW)
朝日新聞夕刊 (Asahi Evening Newspaper), published January 13, 2006
Posted by: Cindy Xin
Comment from Chekhov: "The last file before this boss's name has appeared interview was 551 (Nail and Snake)
and was in Shounen Sunday issue #5-6 2006 (a double issue with a week break afterwards) which was published January 4, 2006."
Fully Translated by Startold
Raw Image
Raw Text
Erlangen, Germany Interview (WITH GERMAN)
Press conference in Erlangen, Germany on June 17, 2006
Video: link (may cause you to wait 45 secs to view)
Translated by: Aki-kun
Original German Text
Anime 10 Year Anniversary Interview 2
Aoyama Anime 10th anniversary interview in 2006 on the Yomiuri Television (YTV) website
Original link : http://www.ytv.co.jp/conan/index_set.html (page died)
Posted at : https://reiarashi.wordpress.com/2006/09/10/aoyama-10th-anniversary-interview/
Raw text
10 Year Cinema Guide interview
Aoyama Long Interview, 10 Year Cinema Talk 2006
2007
Magic Kaito Volume 4 Interview RAW (images)
The volume was released sometime between Feb and Mar 2007
There are 4 pages, the first 2 seem to be an interview and special message
and the next 2 are a recap of all of the Kaito heists up to that point.
Urusei Yatsura Volume 21 Interview RAW
うる星やつら（新装版）21巻のインタビュー September 18th, 2007
A Detective Conan website had this listed as an interview
so it must have some relevance
http://conan-4869.net/post-19866
The poster also had this to say about things from much later
in the Conan series like Rum and volume 85 (Scarlet Series)
Translation by Yunniechan : link
Akigoro Interview RAW
2007年秋ごろのインタビュー 「最終回の構想できている」
Unknown interview
http://conan-4869.net/post-5412
Translation by Yunniechan : link
2008
Conan and Kindaichi Files Interview #1 (WITH RAW)
名探偵コナン＆金田一少年の事件簿01 (Detective Conan & Kindaichi Case files #1), published April 10, 2008
Translated by: justwantanaccount
Raw interview images
Otona Fami Interview #1 (no raw)
オトナファミ6月号 (Otona Fami or Adult Family June issue), published April 21, 2008
Partial information below recovered from 2008
2009
Shonen Sunday 50th Anniversary Interview RAW
少年サンデー1983 (Shonen Sunday 1983, a special issue commemorating Sunday's 50 years of publishing), published July 15, 2009
http://conan-4869.net/post-19901
Raw Images
Conan and Lupin Interview #1 (MIXED IN RAW)
Aoyama & Monkey Punch interview from 2009
Translated by: justwantanaccount
Shonen Sunday Interview #1 (no raw)
週刊少年サンデー17号 (Weekly Shonen Sunday #17), published March 27, 2009
no script
2010
Gundam Ace Interview (MIXED IN RAW)
ガンダムエース3月号 (Gundam Ace March issue) between Ikeda Shuuichi and Aoyama Gosho, published January 26, 2010
Partially Translated by: justwantanaccount
Full raw text
http://conan-4869.net/post-6208
Otona Fami Interview #2 RAW
オトナファミ6月号 (Otona Fami or Adult Family June issue), published April 20, 2010
Raw Images
Masters Of Manga Interview (no raw)
Masters of Manga, published July 6, 2010
Text submitted by: Chekhov
2011
Mystery Magazine Interview RAW
ミステリマガジン6月号 (Mystery Magazine June issue), published April 25, 2011
http://conan-4869.net/post-5413
Raw Images
Magic Kaitou Treasured Editions: Playback Episode Interviews (no raw)
Released at the end of the Treasured Editions through out 2011
Translated from German to English by : Cocoa moth / Cocoa
Otona Fami Interview #3 (MIXED IN RAW)
オトナファミ6月号 (Otona Fami or Adult Family June issue), published April 20, 2011
RAW IMAGES: http://imgur.com/a/m7Qen
Proof of Origin: http://www.famitsu.com/blog/otona/2011/04/post_687.html
Included with a section called "Detective Conan Best Episode File 50"
(Alternate translation found here)
Below Translated by: justwananaccount
Nihon Uiversity College of Art Lecture Interview (2ch RAW ONLY)
2011/06/24
various collected posts by: justwantanaccount at the bottom of the
DCW interview list forum post : link (see bottom of first post)
Club Sunday Interview RAW
『クラブサンデー』青山剛昌先生へのインタビュー
October 28th, 2011
http://conan-4869.net/post-5847
2012
Monthly BLT Interview RAW
月刊BLT 6月号 2012 (Monthly BLT June issue of 2012), published April 24, 2012
http://conan-4869.net/post-20045
Raw text
Translation of a fans-rephrased version (MIXED IN RAW)
Translated by: justwantanaccount
Sankei News Interview RAW
『産経ニュース』のインタビュー 「転機 話しましょう」
June 23rd, 2012
http://conan-4869.net/post-7967
distant photograph of newspaper Raw
Gosho's True Intentions Interview RAW
剛昌先生の本音 ─ ホントの声
November 2012
Posted at : http://andantets.blog90.fc2.com/blog-entry-550.html
2013
Interview with Aoyama Gosho and Shibasaki Kou, Movie 17 (WITH RAW)
柴咲コウ＆青山剛昌『名探偵コナン 絶海の探偵(プライベート・アイ)』
コナン史上、最もハードでダイナミックな作品
Original Japanese version: http://www.cinematoday.jp/page/A0003661
Interview occurred around April 2013
Translated by : http://meitanteikonanplot.blogspot.com/2013/04/special-post-interview-with-aoyama.html
RAW text
Shonen Sunday Special Booklet File865 (WITH RAW)
少年サンデー３３号特別付録の作者インタビュー
Shonen Sunday interview July 17th, 2013
http://conan-4869.net/post-14509
File 865 Shounen Sunday Special Booklet
Post organized by : Chekhov
Partially translated, comment by Chekhov: """(DCTP translation page no longer exists). Since in its current form it is likely to be disarrayed,
I have organized the text here. Credit goes to the translators which include Fujiwara, Zenthisoror, and Wakarimashita."""
Heiji, Kaitou, Yaiba, and Drawing Conan sections translated by: Cocoa, from German
File 865 RAW text and images
Otona Fami Interview #4 RAW
オトナファミ6月号（2013）
June 2013
http://conan-4869.net/post-20020
Shonen Sunday Lupin Vs Conan Secret Report RAW
少年サンデー５１号｜ルパン３世 VS コナン SECRET REPORT
November 20th, 2013
http://conan-4869.net/post-17477
Lupin the Third VS Detective Conan: Money Punch and Aoyama Gosho interivew
ルパン三世 VS 名探偵コナン『モンキー・パンチ＆青山剛昌☆作品がひとり歩きしていくのもいい』
December 04, 2013
Source: link
Link includes video interview with Monkey Punch and Aoyama Gosho
as well written interview with soccer player Kazuyoshi Miura, a guest star in the movie
Monkey Punch and Gosho Aoyama Special Talk RAW
モンキーパンチ先生×青山剛昌先生のスペシャル対談
Unknown 2013
Special talk on the official website of "Lupin the Third VS Detective Conan The Movie"
http://conan-4869.net/post-19729
Original link : http://lupicona-movie.com/specialtalk.html (page died)
Webpage screenshot
2014
AnimeAnime Interview RAW
劇場版「名探偵コナン 異次元の狙撃手」公開直前 原作・青山剛昌先生インタビュー
(before) April 18, 2014
http://animeanime.jp/article/2014/04/18/18340.html
http://conan-4869.net/post-20166
Da Vinci Interviews (WITH RAWS)
Leaked interview notes from the May issue of the magazine 「ダ・ヴィンチ」 (da Vinci) with the Japanese actor Takeru Satoh, leaked April 13, 2014
Leaked interview notes from the May issue of the magazine 「ダ・ヴィンチ」 (da Vinci) with the fans/reporters/whatever, leaked April 15, 2014
Translated by ALAKTORN
So apparently a large chunk of this interview was never typed up AND this is only the cross talk with Takeru Satoh,
not the "LONG INTERVIEW" from this issue of the magazine.
Takeru Satoh x Gosho Aoyama Cross Talk translated (partial interview)
TAKERU SATOH x GOSHO AOYAMA CROSS TALK RAW
YUKI SUETSUGU x GOSHO AOYAMA CROSS TALK RAW
LONG INTERVIEW RAW
Detective Conan Character Visual Book Voice Actor interviews
Voice Actor interviews September 2014
Otona Fami Interview #5 RAW
オトナファミ1月号 2014 (Otona Fami or Adult Family January issue of 2014), published November 20, 2013
Raw Images
Monthly Conan Newspaper 2014 (partial raw)
March (part 1) 2014 and April (part 2) 2014 edition of the Monthly Conan Newspaper
Translated by: meitanteikonan blogspot page
Part 1: http://meitanteikonanplot.blogspot.in/2014/03/special-post-two-part-1-interview-with.html
Part 2: http://meitanteikonanplot.blogspot.in/2014/04/special-post-two-part-2-interview-with.html
Part 1 Raw
2016
Gosho Aoyama X Yomuri Giants Hayato Sakamoto (WITH RAW)
青山剛昌X坂本勇人SP対談(クロストーク)
Officially released in the March 16th, 2016 Shonen Sunday #16,
but happened the previous week
Raw Images
Movie 20 interview CimemaToday (WITH RAW)
「名探偵コナン」漫画家・青山剛昌インタビュー：劇場版で原作者として名前がクレジットされる意味
http://www.cinematoday.jp/page/A0004961
April 14, 2016
Raw Text
Gosho Singapore visit Interview
November 12-13, 2016
Q AND A SLIDE SHOW
Audio only : https://clyp.it/mwoiwshx (slide show and Q & A)
attempt at transcript of audio, stops at 19:23 of 57:52
(videos are missing some of the questions found in the above auido)
Slide show Qs part 1: https://www.youtube.com/watch?v=eGGhvkmku-c
Slide show Qs part 2: https://www.youtube.com/watch?v=cXJQWwhq4Io
Slide show Qs part 3: https://www.youtube.com/watch?v=7ODk__NhljE
Slide show Qs part 4: https://www.youtube.com/watch?v=nP8foBO6cPU
Q & A part 1 : https://www.youtube.com/watch?v=E6YqtasJmtE
Q & A part 2 : https://www.youtube.com/watch?v=mI0jANZcPeI
TWO COMIC ICONS AND POST MOVIE INTERVIEW
Text
GOSHO AOYAMA MEETS SONNY LIEW Q & A 1 : https://www.youtube.com/watch?v=-AofBjLCbJ4
GOSHO AOYAMA MEETS SONNY LIEW Q & A 2 : https://www.youtube.com/watch?v=eYFBZ9SPMh8
GOSHO AOYAMA MEETS SONNY LIEW Q & A 3 : https://www.youtube.com/watch?v=otZFryt92a0
Post Movie screening Q & A 1 : https://www.youtube.com/watch?v=CKiGBa3KGx8
Post Movie screening Q & A 2 : https://www.youtube.com/watch?v=kzqEE7riqQg
Book signing part 1 : https://www.youtube.com/watch?v=0WDfaI9D20Q
Book signing part 2 : https://www.youtube.com/watch?v=op9HON7v9Jc
Book signing part 3 : https://www.youtube.com/watch?v=DDF_ywmI0Y8
Akai and Amuro Secret Files Voice Actors Interview 2016
11/29/2016
20th Anniversary DVD collection guidebook interviews RAW
Pictures from: https://bbs.aptx.cn/thread-295749-1-1.html
Aoyama Interview
Aoyama Video Interview
Spanish post: http://tanteikid.blogspot.it/2016/08/detective-conan-20th-anniversary.html
Red Thread English post with video: https://www.facebook.com/DCTheRedThread/videos/1199107286807889/
Voice Actors
Staff
Song Artist
Movie 20 "Truth in Black" Booklet
Pictures from : http://tieba.baidu.com/p/4508220071
Animedia Gosho Interview
June issue of 2016
released May 10th, 2016
Issue has the phrase "Next Conan's Dream" across the bottom in pink cursive letters
Also has interviews with a few of the voice cast like Takayama Minami
Sources of the images
http://imgur.com/a/3g1cj
http://tieba.baidu.com/p/4539147071
Gosho Interview
Complete Color Works Interview Aoyama 2016
Interview with Gosho from 2016 inserted into book after a reproduction of 2003 interview
images from : https://bbs.aptx.cn/thread-295984-1-1.html
20 Year Cinema Guide interviews
Interviews with the cast and crew of the movies as well as Gosho 2016.
Asahi Newspaper Interview 2016
「名探偵コナン」青山剛昌さんがエール July 16, 2016
Source: https://bbs.aptx.cn/thread-296434-1-1.html
Raw text
Raw image
See Also
- https://www.detectiveconanworld.com/forum/topic/1555-translating-interviews/
- http://conan-4869.net/post-5361
