jefflie86

[jefflie86]

Detective Conan Anime in Review January-June 2025

Again and again, our love-hate relationship with TMS never see its end. Same good and bad stuff appeared one by one, even it might become worse this year (lol). But hey, at least WIT Studio give use good food with YAIBA: Samurai Legend, and the review is here.

Anyway, lets begin with JANUARY, the month where we got back-to-back canon adaptation

#1148-1149 The Detective Boys and the Two Leaders

The first canon case of the year... is not that good. TMS decide to outsource it to BIG BANG and Mouse, and while Part 1 is okay, Mouse still being Mouse in Part 2 (good thing Kyoko Yoshimi still supervise some frame but still uncredited).

#1150-1151 Kaitou Kid and the Crown Trick

Not a great Kaitou Kid heist, especially when Gosho did an AmuAzu scene in it (lol). Not to mention that we got new VA for Amuro (which is Takeshi Kusao, and the reception kinda positive). But hey we got 2nd mysterious old man.

TMS in charge of it, with Keiko on both episode (alone in Part 1 and together with regular TMS animators in Part 2). Unfortunately, Ayumi Iemura only did AD work, while the direction is by Yoshitsugu Kimura (and Nobuharu Kamanaka for the post credit scene). Obviously not a great adaptation when Kenichi Otomo is also in it...

But what about the new opening and ending?

Opening 59 "But No Love" by Rainy。

After more than a year of unraveling love, comes no love (ignore that lol)

This is a great opening that tease an upcoming manga case that will be adapted, with Toshimasa Suzuki in charge of it and Fujio Suzuki solo KA!!! TMS cooked with this one

Ending 72 "Shooting star" by WANDS

Yasuichiro Yamamoto returned with a very different direction compared to what he made in the past. However, it sparked controversy as Haibara is the main focus while ShinRan is the CD single cover (previous ending also have similar stuff, what were they thinking about?)

After back to back canon, it is time for the fillers for 4 MONTHS (!!!)

#1152 Last Dance Unfortunately, TMS did another random outsource (although this time it kinda not random). 8bit is in charge of the production with a high number of ADs, kinda different compared to when TMS in charge on one episode of Yuru Camp Season 3 (Junko Yamanaka is sole AD on that one). One good thing is we got Sonoko deduction queen moment again, under the writing of Yuki Notsuka.

#1153-1154 The Yamahime of Yakushima

A special filler take place at Kagoshima? Why not? 20 years after Kogoro Gets Drunk in Satsuma, the main cast returned for a case related to Yamahime Legend. Feels like a mystery tour case but it is not (lol) Production wise, Part 1 is another random outsource to Studio Lings, with Yui Ushinohama as supervisor and Marie Nagano helped a bit as one of the ADs. Meanwhile Part 2 is just usual outsource to Azeta...

Writing wise...

Akatsuki Yamatoya is in charge of writing, the case and storytelling is good enough, but the resolution:

Ran is nerfed to make Kogoro shine

Making Ran, a karate champion, lost to some random stuntwoman, so that Kogoro, who is the focus in this year movie, become the one who took her down, is really a bold move. (smh) Not to mention that because Azeta in charge of Part 2, the action scene is not well animated...

But something unexpected come the next week

#1155 Follow Them! Detective Taxi 2

GAY TAXI DRIVER HAVE A SEQUEL!!!

Obviously it is another Yoshio Urasawa masterpiece, but this time it is real one. All thanks to Hiroaki Takagi having full freedom in the episode. With the help of his current studio and some connection, Hiroaki Takagi manage to bring Urasawa script into the next level that definitely place the episode as THE BEST ANIMATED EPISODE OF THE YEAR (even compared to past episode it still so much better lol). To make it short, see some of the highlights in the post below.

#1156-1157 The Ishikawa Yorumasshi Mystery

Finally the real mystery tour episode. Written by Toshimichi Okawa, it still kinda continue the trend of more Kogoro focused filler (quite surprised to have a bit Kogoro backstory here). TMS is in charge of Part 1, with Rei Masunaga returned as one of the ADs. Part 2 is outsourced to BIG BANG, making it the end of first staff rotation after almost 3 months (damn) Not much to be talked about this case apart from... golden skateboard (lol)

EP1158 The Detective Boys and the Traditional Dream House

After three weeks of reairing, we get a DB filler (first of the year actually). Chisato Matsuda actually wrote sometime a bit gruesome (unknown dead woman remains inside a wall? Damn). Also a bit twist, but the problem is it was outsourced to a Korean studio . While some TMS staff involved as AD but ofc not enough smh

On the other hand, TMS give us something unique but controversial...

Ending 73 Fun! Fun! Fun! by Leon Niihama

I should be glad that Niihama finally perform a song in DC, but TMS decide on a FUN FUN FUN visual that not really fitting with the mystery theme. The visuals are DB dancing, animated using motion capture and 3DCG technology (where writer Chisato Matsuda is the main dancer), with Hanzawa anime director Akitaro Daichi as director and veteran staff Junko Yamanaka as animation supervisor and produced by TMS's 7STUDIO. I think TMS just want to show what kind of stuff they can make, but wish they choose a better timing...

#1159 The Whereabouts of the Goodbye

It is classic Ogizawa script, except it is a bit deep? Kogoro is always main focus in his script, but making him relevant through his reports that might made the victim commit suicide? However it is all meaningless when we all know it is not a suicide (lol). Surprisingly the opening scenes have more animation but because it is by Mouse the drawing quality... yeah you know it.

#1160 When the Shishi-odoshi Sounds

Yamatoya did a one part filler this time, using the setting of tea house and Shishi-odoshi. Nice setting but case is a bit above average. Also forgot to mention but Yuki Kawakata has replaced Yosuke Fujino as Azeta episode director since 1154.

It is MAY, but are we getting canon? Not yet..

#1161 The Secret's Afterimage

At first people thought there is no movie pre story episode. turns out they decide to write a post story episode, and is aired two weeks after movie opening day. As usual we get the movie writer Sakurai, but this time Studio Boomerang is in charge of animation. Surprisingly it is a good movie related episode. Megure asking Kogoro to investigate his subordinate, which end up with a good but sad resolution. WIsh they didnt change the ending to current one

#1162 The Case of Ayumi's Illustrated Diary 5

Now Yamatoya is milikng is Ayumi diary series lol. Joke aside, this time it is more Kogoro focused, and i like how DB doing their job on making the documentary. But Kaneko Jewelry is targeted once again (so many times that the owner gave up on the securituy lmao). Another suprising point is TMS in charge with Otomo is one of the ADs (wtf)

#1163 The Counting Song Heard in the Dark

Yasutoshi Murakawa returned, with Mouri family classic. The case feature a quite intersting trick and okay resolution. Nothing much to highlight aside from the fact Studio Boomerang in charge again! Only 2 episodes after 1161? I smell an overworked Keiko...

And finally the most anticipated case is here in JUNE:

#1164-1167 The 17-Year-Old Truth

We finally arrive on June, where i will call it as "TMS judgement month", because we will see if TMS cook or fumble with the adaptation.

The answer is: 50% COOK 50% FUMBLE

With 1164, it was outsourced to BIG BANG, and the style is ofc not consistent. However, as it is not really an important part and they still get it right on some scenes, it is an okay

1165 is already TMS, with Ayumi Iemura in charge and some regular animators like Yui Ushinohama and Falco Suzuki, but the main complain is the use of the monocromatic filter with some shades of either green, blue, and red depend on the character focus. The filter actually okay but it easily make eyes feel tired, which ruined some people's watching experience...

1166 feature better staff like Asuka Tsubuki and Nobuyuki Iwai. Hiroaki Takagi also did KA (and at the same time the Yaiba episode where he worked as KA also aired, making him probably the only animator who worked on two series from same author that aired on the author's birthday). Unfortunately, the filter is used for the whole flashback, and the better staff according to TMS includes Kenichi Otomo, and as he is in charge of 2nd half with most action scenes... yeah you know how it looks

and 1167 is just as what i thought...

OVERWORKED KEIKO

yes studio Boomerang is in charge of the episode. And yeah while Boomerang do their best it is not good enough, especially the car accident scene. Also good thing the filter is not used in Akai flashback lol

However, the main complain is:

THE ENDING VISUAL YES THAT FUN FUN FUN SONG IS DEFINITELY USED IN THE WRONG TIME SMH

IT IS ALREADY FEEL UNFITTING EVEN WITH SOME FILLERS, AND TO BE USED TO DURING THIS CASE IS STRAIGHT DUMB PLANNING! EVEN THE JAPANESE FANS COMPLAINED!

So yeah TMS continue to give us something that make fans feel mixed with the anime. Hopefully as 30th anniversary of the anime is near, they need to do something (but as always the expectation must be very low or make it zero lol)

To end this review, make sure to check Yaiba anime that has better quality (lol) and buy the manga published by Viz. Also check the new Detective Conan English dub on Netflix and Crunchyroll (only 9 episodes of BO selection but i guess it is good start)

[jefflie86]

Until 2024, no one is gonna to believe that Gosho Aoyama's series before Detective Conan, YAIBA, will receive a new anime adaptation. It was a series that's nearly unaccessible to many people. Only half of the series was fan-translated, barely passing the point where the original 1993 anime adapted, so that only people who have access to the raw know about the rest of story.

But the turning point actually began as early as Summer 2021, when animator Yoshimichi Kameda, decided on his next project, to animate his favorite series...

YAIBA

The anime adaptation was finally revealed to public on May 2024, with Gosho confirmed that he supervised the script. Fast foward to 2025, the manga is finally receiving an official English version by Viz Media, and the new anime is finally aired in the timeslot before Detective Conan, which lead to the Saturday evening Nippon TV timeslot being known as "Gosho Aoyama Power Hour".

As it is a passion project by Kameda, it is not justa normal anime remake. The anime is animated by WIT Studio, which is famous for their work on Attack on Titan!, Ousama Ranking, Spy x Family, and others. Kameda also gathered many famous anime staff like Takahiro Hasui (who become series director) and Takeshi Maenami (who become Main Animator), which resulted in many beautifully animated action scenes that put Detective Conan to shame (LMAO)

There are many aspect to talk about, like the voice actors, where Minami Takayama reprised her role as Yaiba while other charcters received new voice actors (notably Manaka Iwami as Sayaka and Yoshimasa Hosoya as Onimaru), or even the music (soundtrack composed by Yutaka Yamada and Yoshiaki Dewa, Opening by Blue Encount, Ending by otoha). However, the most important aspect is of course...

THE STORY AND PLOT

As the series was from late 80s and early 90s, some parts of the story are outdated, and as it was made when Gosho was still young and inexperience, some parts can be very comedic or ended up with perversion. Thus i present you...

Yaiba Samurai Legend in Review (1st Cour)

Note that I will be using japanese tankobon to mention the manga (Viz will use bunkobon version so there will be several differences)

Before talking about episodes, i want to appreciate the Opening and Ending.

We get a full of sakuga opening and a calm ending. Song by Blue Encount and otoha respectively. Ikuo Geso did the opening with so many movement and teaser of future arcs. Atsuko Nozaki did the ending with depiction of the slice of life. So good, so peak.

Starting with Episode 1: Meeting Yaiba, which adapts chapter 1 to 5. Notable changes are Kagetora already friendly with Yaiba and Shonosuke appears since the beginning. The anime also following the manga while also being creative with the battle scenes. But the most notable change are the modern setting, as Sayaka is seen with smartphones and the story take place in much more modern Tokyo. Yaoya town is now situated somewhere near Asakusa, and Tokyo Skytree can be seen clearly. The battle with the school teacher is not adapted, and we directly have Yaiba meet his rival, Onimaru.

Episode 2: Fujinken Reborn, is technically the first episode where is heavily altered from the manga. Adapted from chapter 6 to 10, several scenes are shorten to highlight the first Onimaru vs Yaiba battle. Unlike the manga, the anime specifies the battle to happen around Asakusa, with Kaminarimon Gate as starting point. The story doesnt slow down when Onimaru's transformation happens just that night after the battle...

Episode 3: Another Maken is just another battle episode, but this time, with Onimaru already become demon. Adapted from chapter 10 to 14, no major changes is made. However, Raijin statue is now a altar near Musashi's house (ehh...). Eight demon statue is now already at the basement instead of a cave (ehhhh......) Btw Kenjuro is now recurring compared to original anime where he just disappeared after 1st episode lol

However, the real surprising move they did is on Episode 4: Attack of the Eight Demons. It adapts... chapter 14 to 24...

WTF

This is even worse than how the original anime adapat the first 8 chapters into 1st episode. They merged the introduction of Gerozaemon and Hebi-otoko into one, and thus many scenes are not adapted. The list is a bit long so you can read it on wiki.

But the most important change is that their next destination is directly to Ganryu island to learn more about Kojiro's sword Monohoshizao. So the next two episodes are basically about moving to West (sounds familiar lol).

We then go to the adaptation of infamous onsen chapter (lol). Episode 5: Onsen Fun loosely adapts chapter 29, 35, and 36, but half of the episode is anime original scenes! Only with that statement, that sounds bad, but actually not. It gives Kamakiri-otoko,Hitode-otoko, and Namako-otoko a bit more effort in their mission. And of course we dont need to see some dumb fanservice like in manga.(lol)

And yeah dont forget about Namekuji-Otoko (Bro got so little screentime compared to manga)

And we have finally arrive at Episode 6: The Unexpected Bat Guy. This episode actually attracts more attention because Takeshi Maenami did solo KA in the episode. Adapting chapter 30 to 34 (and a bit of 37), this episode is really a sakuga festival. The battle with Bat Guy is so interesting, even when they have to cut many scene from manga (no werewolf yaiba). That aside, the anime also tried to develop a better dynamic between Sayaka and Yaiba, which was not shown much in manga during the early days.

But it seems the surprise doesn't end yet. Episode 7: Kojiro Resurrected is teased as a normal introduction to Kojiro Sasaki. However, in the middle of the episode something big happened: Yaiba and Namako-Otoko got sent to the past.

Wait WHAT?

Yes they decide to connect it with the time travel sub arc that is never adapted into anime!!! Of course it still comes with several changes to make it short, but no one would expect the story will develop with such way... By the end, the episode adapts capter 39 to 41, a bit of 21 and 45, and also 169 to first half of 171.

The following episode is literally the main dish, Episode 8: The Duel at Ganryu Island. Continuing with second half of chapter 171, 172, 177, the duel is also modified so that original Musashi shines more compared to manga (seems that Gosho kinda regret some decision in the past lol). It doesn't stop until that, as the story after Yaiba return to present time is adapting chapter 43, 45, and 46. This is the part where Yaiba finally can control the Raijin Sword. As the effect of time travel inclusion and several changes, the pacing is much more faster, but still reasonable.

Things calm down and we go to Episode 9: Dawn of Lightning Slash. As the title said, it is the part where Yaiba get his first technique. Adapting chapter 42-43, 46-49, the pace is okay, but of course we dont need random villian like Mr Onick right? It is replaced with Kojiro instead (so more Kojiro trying to steal the sword lol). The episode also serve as a bridge to the 1st cour climax...

THE BATTLE AT ONIMARU CASTLE

And with that we started with Episode 10: Onimaru's Devil Kings, and yeah it cant escape from major chnages too. Directly adapts the WHOLE Volume 6 (that is... chapter 50 to 59). Basically they merge all battle into one episode. However, the execution is quite nice. The anime divide the group into three, where Yaiba is with Sayaka and Namako against Chameleon-san (so that CPR scene can still be adapted lmao). There is also Musashi-Kojiro against Super Gorilla, and others against Yakitori-kun. With that we dont waste time on "villian of the week" concept for longer (hehe). At the end it leaves Tortoise Europa as last boss of the episode, and after that resolve we go to the main dish of 1st cour...

YAIBA VS ONIMARU

Episode 11: Raijinken vs Fujinken, adapts chapter 59 to 62. As it is just a big battle episode, the story doesnt change much. However, the staff did something cool by making Sayaka the one who finally hand over the orb to Yaiba, instead of Kojiro in manga. As the group are not entirely tied during the battle, they also make several contribution to help Yaiba. This is actually a good improvement on characterization that was not in the early stage of the manga.

Aside from that, the episode is just another big sakuga party after episode 6. Despite the series not perfoming well in general, the sakuga moments are attracting attention from several sakuga fans.

With the battle ends, we should have go into Dragon God aka Ryujin Orb Arc, but they said: "WAIT NOT SO FAST, because the next episode is Episode 12: Nadeshiko Yamato Is Calling

HOLY SHET NADESHIKO CHAPTER BECOME THE BRIGDE FOR DRAGON GOD ORB ARC??? That was quite surprising decision to make her appear so early into the anime, because in manga she only appear after Kaguya Arc. Even more, with Gosho supervision, Nadeshiko will become a more recurring character!!! Funnily her VA is Sayaka Senbogi (the staff know what they do lol)

So yeah it mostly adapts chapter 168, but because it is a bridge to the next arc, parts of chapter 63 is included. A part of Yaiba training is also adapted from chapter 124 and 125 (originally happened during Kaguya Arc). But then one would think how they combine it?

The final decision: make Nadeshiko's father the one who has the map of the Orb. BOOM. Like a bomb just dropped. No one sees that coming. Nadeshiko just become relevant to the plot. Wow. Wow. Wow.

These changes, in my opinion, is one thing that makes the series much more better. While it ended with many comedic moments being cut, the staff manage to improve the series (and i guess Gosho might regret several stuff here and there and agree with the changes lol)

And, what's next?

1st cour ended, but 2nd cour already started. OP remain the same with different verse and new scenes, but there is new ED. I am looking foward to see what Wit studio will deliver in 2nd cour (looks like they will adapt until before Kaguya Arc)

To end this long post, please keep watching the series. Also buy the manga if you want original experience of Gosho's early days writing. Hopefully it could become more popular.

[jefflie86]

Director Yamamoto at his peak:

山本 泰一郎 Yasuichiro Yamamoto is without a doubt, the most important figure in the history of the Detective Conan anime. He first joined the anime production on Episode 34 and quickly became a central creative force. He served as Series Director from Episodes 119 to 332, playing a key role in shaping the show’s tone, structure, and identity during its foundational years. He's left his mark on openings, endings, OVAs, directed special episodes, movies etc... After a long break, Yamamoto returned as Series Director starting from Episode 667 and he’s still in that role today. Over the years, the anime production has changed a lot, but through all of that, Yamamoto has remained the most steady and reliable figure in the series. Even as the workload increased and things became more fragmented, he managed, as a veteran, to keep the anime consistent and coherent.

Here’s an overview of his work.

Yamamoto’s direction is not driven by loud visuals or a fixed aesthetic. While he doesn’t treat direction as a personal showcase, his work is far from neutral. It is defined by a set of technical and structural preferences that shape the way scenes unfold. It’s a style that doesn’t draw attention to itself, but that leaves a mark through how strong everything feels. He stands out for his versatility. Whether it’s suspenseful, dramatic, or realistic, he knows how to shape the visual language accordingly. He lets the manga or the original anime script lead the way. He adjusts his style to serve the story. What sets him apart is his careful craftsmanship. He ensures that character drawings remain clean and consistent, prioritizing subtle character acting animation over loose or exaggerated animation most of the time. He often incorporates technically demanding sequences like background animation, character acting animation, he loves playing with layers. He always manages to keep scenes dynamic, even when the script doesn’t call for it. Dialogues rarely feels static, he finds ways to make it visually engaging. Compared to other directors known for dynamic or exaggerated animation, his work feels more controlled and deliberate. It's likely one of the reasons why, despite joining the production a bit later (compared to 佐藤真人 Masato Sato or 越智浩仁 Hirohito Ochi) he was eventually chosen as Series Director after こだま兼嗣 Kenji Kodama.

His framing palette is flexible, but his choices lean more toward technical than stylistic experimentation.

Close up shots (+ #178 if you want to see how he uses them : here)

Split-Screen composition

You get it

Rotation / 'Zoom-In'

During key moments, he often uses highly stylized background art : irregular textures, brush strokes, ink washes, even erosion patterns.

Yamamoto first worked on the notable Episode 34 of Detective Conan (Mountain Villa Bandaged Man Murder Case Pt 1 - Storyboard / Episode Director : Yasuichiro Yamamoto), an important episode alongside Masato Sato, who handled Episode 35. Even then, his ambition stood out, not as a drastic shift in style, but as a clear intent to push the visual direction further. However, it’s in Episode 40 that his full capability as a director truly comes through.

Episode 40 (Wealthy Daughter Murder Case Pt 2 - Script / Storyboard / Episode Director : Yasuichiro Yamamoto) shows a tightly controlled use of a specific and precise color palette, shifting gradually from black to purple, then deep red and burnt orange, a palette that closes in on the viewer, building a quiet tension and a sense of confinement. The scene uses candlelight as the only light source, and the lighting is handled with impressive accuracy. The glow spreads softly, fading into darkness, and the tiles shift toward orange while the rest stay in shadow. You can spot small linear reflections on the wall, placed in the opposite direction of the candle. The water reflects the light, and even the mirror on the right catches a bit of it. Behind the characters, total darkness takes over because there’s no electricity. Every glow, reflection, and shadow is carefully anticipated and placed with intent. It adds a sense of realism and shows how much planning and effort went into the backgrounds. Yamamoto often works with scenes that feel static in the manga. Gosho’s chapters rely heavily on dialogue and minimal movement, but on screen, Yamamoto finds ways to bring them to life. He reimagines spaces, adds depth and atmosphere. The bathroom scene lit only by candlelight is a perfect example : what was a simple conversation on the page becomes something rich and immersive in the anime.

A comparison with the manga :

Episode 68 (Night Baron Murder Case Pt 1 - Storyboard : Masato Sato / Episode Director : Yasuichiro Yamamoto) which I consider one of the best directed episodes in the entire series, is a collaboration between two major names : Masato Sato and Yamamoto himself. And it doesn’t take long to see why it stands out. While the storyboard is by Sato, the episode clearly shows how much direction can influence the final result. From start to finish, it’s dynamic, ambitious, and fully committed to its tone. Every scene feels thoughtfully shaped, and the entire episode holds together with an impressive level of quality and consistency.

Episode 74 (The Death God Jinnai Murder Case - Storyboard / Episode Director : Yasuichiro Yamamoto) is an anime original episode, and it opens with a scene inside a movie theater, where the characters are watching a movie on screen. The way this 'movie' on screen is handled reveals everything about the director’s approach : it’s far from minimal, and instead treated with full of cinematic weight : rich lighting, sharp shadows, polished art direction, framing, focus, detailled drawings, and even original character designs just for this small scene. Everything is polished to the level of a standalone cliché like horror movie. Technically, this level of care wasn’t needed, the scene could’ve been played straight and nobody would’ve questioned it. This is what sets the director apart. He doesn't just deliver what's required, he goes further. Eveything is given full treatment and it’s a clear example of his ambition and versatility, always pushing to elevate, no matter how small it may seem.

Like the two other directors who each worked closely with a specific Animation Director (Sato with 河村明夫 Akio Kawamura and Ochi with 大河原晴男 Haruo Ogawara), Yamamoto mainly worked with 佐々木恵子 Keiko Sasaki. Sasaki’s corrections are highly meticulous and consistent, closely aligned with the official character design sheets by 須藤昌朋 Masatomo Sudo. Her work doesn't aim to stand out stylistically, and that’s what defines it. It’s restrained, balanced, and technically faithful. In a way, her drawings feels 'neutral', not in a negative sense, but in how structurally correct it is. Over time and under the director’s guidance, Sasaki’s drawings gradually took on a more realistic tone. Without losing their adherence to the model sheets, they became more refined, less stylized, and more sync with the director’s serious and calculated tone. This partnership contributed to giving certain episodes a sharper visual identity, one that felt closer to realism, both in the drawings and the mood.

#40 > #52 > #68 > #91 > #128 (Animation Director : Keiko Sasaki under Yasuichiro Yamamoto)

There’s often a clear duality within the episodes he storyboard/directs, especially in how he uses color and tone to shape the atmosphere of each scenes. Each sections gets its own distinct mood, whether it’s bright and energetic or tense and heavy :

#82 (The Kidnapping of a Popular Artist Case Pt2 - Storyboard / Episode Director : Yasuichiro Yamamoto)

#128 (The Black Organization: One Billion Yen Robbery Case - Storyboard : Yasuichiro Yamamoto / Episode Director : Minoru Tozawa)

Episode 489 (Courtroom Confrontation III: Prosecutor as Eyewitness - Storyboard / Episode Director : Yasuichiro Yamamoto) stands out as, arguably, the director’s best work for me, and interestingly, it comes after the traditional animation era and under Masato Sato as the Series Director. While much of his reputation is built on his work from that earlier period, this episode proves that his strengths carried over into the digital age with just as much force. Here, the direction takes a turn toward something colder, more grounded, reminiscent of Japanese live-action police procedurals or courtroom dramas. The color palette is subdued, desaturated, and leans into steely greys, muted blues, washed-out greens, far from the warmer, saturated tones often used in Detective Conan. The episode is aiming to be taken more seriously than usual. The framing, photography and color palette support this tone completely. Wide shots of modern buildings, institutional interiors, and overcast skies give the episode a sense of distance, isolation, and heavy realism. There’s a kind of emotional stillness in the way scenes are framed, everything feels quiet, held back, deliberate, things we never hear about, that often take place in the middle of the night. It’s a very different tone from the usual, a bit more theatrical, more adult, and that’s exactly what makes it special. It may be a personal preference, but for me, this is his most refined and complete episode. A key factor in this episode is the presence of 宍戸久美子 Kumiko Shishido as Chef Animation Director. Her clean, grounded drawing style brings even more weight and realism to the characters. Paired with the director’s precise and minimalist tone, her corrections elevates the episode’s atmosphere in a way that feels completely different from the rest of the series.

Art Direction : 中久木孝将 Takamasa Nakakuki

A comparison between Episode 264 (Courtroom Confrontation: Kisaki vs. Kogoro) and Episode 489 (Courtroom Confrontation III: Prosecutor as Eyewitness) : Traditional Era vs Digital Era. Art Direction, Textures, Photography, Color Palette, Drawings etc...

Influences drawn from shows like Aibo (2000)

Animation Director : Kumiko Shishido

As Detective Conan anime production became increasingly complex over the years, with tighter schedules and a much heavier workload, Yamamoto managed to adapt the Kyoto Arc with remarkable control. Despite many limitations, he brought a clear vision and kept the pacing dynamic, using smart animation techniques to compensate where needed. It’s another reminder that in animation, pure creativity alone isn’t enough, you need the full package to pull something like this off. Episodes 926 and 927 combined make up 90 minutes, essentially the length of a Conan movie. I explain it in more detail in this thread : here.

Episode 927 (The Scarlet School Trip Pt 2 - Script / Storyboard / Episode Director : Yasuichiro Yamamoto) Close-up shots to build a sense of intimacy and physical presence, focusing on hands, movement, and subtle gestures. Something that wasn’t fully developed in the chapters due to pacing constraints. It feels like the director is filling in what Gosho didn’t have time to expand.

Yamamoto’s signature

Yamamoto's Storyboard sketches

He worked on almost everything : the Conan TV series, the movies, openings and endings (including the iconic Ending 10), OVAs (like the first Conan × Kaito × Yaiba special, which is an impressive piece of work - Storyboard / Episode Direction : Yasuichiro Yamamoto), Special Episodes (Episode One: The Great Detective Turned Small - Script / Storyboard / Episode Direction : Yasuichiro Yamamoto) and even magazine covers. For example, the recent AnAn issue featuring Kaito and Shinichi while the final illustration was by Iwao Teraoka and Sudo, the original layout was done by Yamamoto.

[jefflie86]

Detective Conan #82 (The Kidnapping of a Popular Artist Case)

Storyboard/Episode Director : 山本 泰一郎 Yasuichiro Yamamoto

We really don’t deserve Yamamoto. He sacrificed his whole career for Detective Conan… He’s way too talented to be stuck on just one series, and that honestly makes me sad 😔

[jefflie86]

I just discovered episode #1155 of Detective Conan (Follow Them! Detective Taxi 2), and I'm quite surprised to see that 髙木啓明 Hiroaki Takagi Storyboarded, Directed, served as Animation Director, and even Animated some parts of the episode. It's interesting to see that even within the context of Conan, there are still people capable of bringing something to life despite the massive list of established limitations. I've said this many times before, but this is also why Original Episodes exist, precisely to offer episodes like this one. The episode is literally an homage to the early-season episodes directed by Hirohito Ochi (and others).

Of course, the episode is far from perfect, but it makes me happy to know that Takagi might direct more similar episodes from now on. And I have to admit, I’m excited to see what he will bring in the future. By the way, just so you know, the animator Toshiyuki Sato (a prolific animator in the industry) also participated in this episode. The episode is super expressive!

Conan with a nicely rounded face (just like in the old days), highly expressive, not bounded by the horrendous and overly complicated CDs... Look at how this frame is eye-pleasing, it’s perfect. (AD : Hiroaki Takagi ?) :

Interesting framing angles that we don't usually see in Conan :

Direction inspired by Hirohito Ochi :)

Bonus :

[jefflie86]

This is so good!

#156 (Storyboard : 櫻井美知代 Michiyo Sakurai)

[jefflie86]

A talented Episode Director can single-handedly change the quality of an episode. Hirohito Ochi in #157 Metropolitan Police Detective Love Story 2 Part 2 (with Michiyo Sakurai's Storyboard). Even later on in Conan, you can still see that Ochi hasn’t lost his edge. His directing style remains just as distinctive.

The Art Direction of this whole case (#156-#157) is absolutely top-tier.

So much soul put into the sky.

[jefflie86]

Here's what you get when two legends of the Detective Conan staff from that era worked together on the same episode : Masato Sato and Yasuichiro Yamamoto in episode #68. (The craziest part is that it is a tiny and 'useless' portion of the episode, yet it has insanely strong direction, and the rest is even more ambitious.)

#68: Night Baron Murder Case (The Case)

Storyboard : 佐藤真人 Masato Sato

Episode Direction : 山本泰一郎 Yasuichiro Yamamoto

The scene starts with a dynamic dissolve transition straight into a flashback. No cuts, no interruptions, just a smooth shift. We add the flashback filter, and that's where it gets interesting. ⭣

To avoid creating a static talking scene between them, especially when the dialogue is long, several creative techniques are used. These are often the moments where these techniques shine the most, making the scene feel fluid.

Here, Agasa remembers a past scene within an existing flashback. To represent this :

1) Blur in transition : The memory scene appears gradually with a blur that fades away, providing a smooth transition, while they were still talking.

2) Split Screen : The image splits, showing both the face of the present character and the scene Agasa is remembering.

3) Agasa moves to the foreground : Still within the flashback, he moves back to the center of the action, dominating the image. The split screen gradually disappears with a blur, removing the visual separation. ⭣

The dialogue continues with a new dynamic split screen to maintain visual interest. This time, there's a key difference : Conan's face dominates a large portion of the screen in close-up, while Agasa, in a medium shot, appears on the right side. Agasa's movement as he walks naturally draws attention away from Conan, emphasizing his presence despite the scale difference. ⭣

The dialogue continues between Conan and Agasa, but again, to keep the scene dynamic, especially since it's a three-part case (which helps extend the episode's runtime), a progressive split-screen transition is used. Instead of a hard cut or a standard dissolve, a new section of the screen gradually appears over the existing image, seamlessly blending without any disruption to the conversation. This keeps the scene visually active without breaking the rhythm, allowing the dialogue to flow naturally. The transition is so smooth that it feels like a continuous scene (again, they could have shown this in the first "flashback within a flashback", but they didn't!). ⭣

We’re getting to the end of the dialogue between the two characters, and this is where things get interesting. The scene goes for a creative "All-In," with a closing transition effect revealing a highly stylized background featuring the characters involved (you often see that artistic background style in episodes directed by Yamamoto.) This dialogue serves as a bit of a teaser, setting the tone and atmosphere for what's to come. ⭣

And to finish properly, just like the very first transition into the flashback, we’re now coming out of it with a similar transition. ⭣

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[Updated Version]

Ran Mouri by the different Animation Directors (001-284).

須藤昌朋 Masatomo Sudo is the Character Designer of the show.

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Credits making use of Sayaka having a phone and an account on some photo-sharing website she posts it to

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The Beauty of Detective Conan (1996)

Directed by 山本 泰一郎 Yasuichiro Yamamoto

#176 - #177 - #178 : 'Reunion with the Black Organization'

(Music : Train Song - Vashti Bunyan)

[jefflie86]

Thinking back on it, I found it funny that among my favorite original Detective Conan episodes, two of them are part of the Eri’s Courtroom Confrontation mini-series written by 金子裕 Yutaka Kaneko. I’d recommend episodes #264/#265 (Courtroom Confrontation I: Kisaki vs. Kogoro) and episode #489 (Courtroom Confrontation III: Prosecutor as Eyewitness), along with a Drive link if anyone wants to check them out or revisit them.

Episodes 264/265 & Episode 489 (1 hour)

The color palettes in these episodes are responsible for about 80% of their overall impact. Episodes #264/#265 are characterized by warm and vibrant colors, which align well with how colors were applied with care and nuance at that time, as well as with the photography techniques (though you can still feel that realistic and serious tone due to the story). As for episode #489, the palette is much colder and more desaturated, reminiscent of those Japanese live-action police or courtroom dramas. With this style of direction chosen by the episode director, a more realistic atmosphere is established, grounding its aesthetic in something more serious and modern.

It was after watching episode #489 that I realized 山本泰一郎 Yasuichiro Yamamoto (who storyboarded and directed the episode) is truly a very talented director. I’m not even sure if the movies he directed come close to the quality of this episode (this is just my personal opinion/taste, of course).

As for the story, I prefer the one in episodes 264/265!

#264/265 Art Direction by 渋谷幸弘 Yukihiro Shibutani

#489 Art Direction by 中久木孝将 Takamasa Nakakuki (so good...)

#264 Animation Director : 青野厚司 Atsushi Aono

#265 Animation Director : 平岡正幸 Masayuki Hiraoka

#489 Chief Animation Director : 宍戸久美子 Kumiko Shishido

She is sooooooo........

Note : I didn't talk about episode II (#297/#298 Courtroom Confrontation II: Kisaki vs. Kujo) and IV (#606/#607 Courtroom Confrontation IV: Juror Sumiko Kobayashi), because episode II aired very soon after the final transition to digital in the anime, and it lacked that personal touch episodes I and III have, making it hard to get into the episode and expect something on the same level as the last one. As for episode IV, it's even worse, it was made during the most chaotic period of Detective Conan.

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Hirohito Ochi aka Koujin Ochi appreciation post! He did try saving the anime after Masato Sato's departure, but not much

越智浩仁 Hirohito Ochi is also one of those veteran artists who have been involved in the production of Detective Conan since the very beginning, with a style of his own. He has worked on a vast number of episodes, particularly those featuring the Detective Boys, and initially collaborated mainly with the Animation Director 大河原晴男 Haruo Ogawara in the early stages of the series production. Like his peer Masato Sato, he was also appointed as the series director (505 to 666) during an extremely difficult period, primarily working on openings and endings. One of the differences from the others is that he also wrote his own original scripts for the series, the most well-known being : Dracula's Villa Murder Case and A Cursed Mask Coldly Laughs.

Let's take a look at his work during Detective Conan's prime.

One of Ochi's distinctive traits is his use of experimental colored backgrounds in transition scenes, blending them with the tone and style he wants to convey. He incorporates onomatopoeia, manga speech bubbles, pastel pencil backgrounds, cartoonish scenes, and even typography. This use of almost childlike backgrounds not only adds style but also emphasizes the fact that Shinichi has the body of a child.

A diverse framing palette, offering a bit of everything…

With a preference for low-angle shots, often playing with Conan's size in the process.

Unlike Sato or Yamamoto, who make the scenes where Conan finds clues or is in a moment of reflection more dynamic, Ochi prefers static backgrounds with a blue gradient, even later in the anime.

He is also obsessed with the mid/late afternoons depiction, which can range from a simple orange to red.

What's interesting about the Ochi episodes is that they make full use of Gosho Aoyama's early artstyle. The scenes are very dynamic and exaggerated, using Masatomo Sudo's flexible designs to the fullest, with Ogawara further enhancing this sensation (where the adaptations of Magic Kaito have failed doing this, for example).

The scene in the top right, was animated by the very famous Character Designer 岸田 隆宏 Takahiro Kishida.

Ochi wrote, storyboarded, and directed episodes 88 and 89 Dracula's Villa Murder Case, which are of great quality. There are inspirations from Dezaki's direction (notably Oniisama E), which is not surprising because he is a reference for everyone, as well as from the Japanese movie Evil Dracula (the atmosphere, the hallways, the manor, the sofa in the center, etc...).

Oniisama E (1991) Dir : Osamu Dezaki

and Evil Dracula (1974) Dir : Michio Yamamoto

His creativity when it comes to adapting chapters has always been evident, using everything at his disposal, both in the framing and the photography : #176 opening scene.

Not to mention perhaps his most well-known episode, which he wrote, storyboarded, and directed : #184 A Cursed Mask Coldly Laughs. It takes everything from episodes 88 and 89 and elevates it : the atmosphere, the theme of the curse tied to the mask, the suspense, and an extremely unconventional way of solving the mystery, visually simple yet complex in practice, in a very Aoyama-esque manner. One could almost believe the episode was written by Aoyama himself, though that is not the case.

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Masato Sato appreciation post! I think his era as series director might have been better if the production situation was much more stable

佐藤真人 Masato Sato is one of the veteran artists who worked on the Detective Conan anime from the very beginning, bringing a distinct directorial style that left a strong impression. He contributed to many important episodes of the series, several original episodes, and even worked on some Detective Conan movies. Although he served as the series director at one point in the production (333-504), various changes in the anime staff prevented him from going beyond what he was already accustomed to doing.

His prime lies in the early seasons of Detective Conan, and here’s a highlight of his work.

When it comes to Sato’s shot compositions, his episodes feature a significant number of wide, medium and perspective shots. Most of the time, he has a particular attachment to the central subject of his compositions (whether a single character or a group), deliberately framing them as if viewed through a slightly open door, drawing the spectator’s eye toward them while still allowing the entire shot to be taken in (The Megure's one for exemple).

Additionally, he also has a strong fondness for high-angle shots, using them frequently. Sato is an artist who plays extensively with the Art Direction.

Sato loves to play with the power of light souces, both outdoors and indoors. In his episodes, for example, you can often see a strong brightness in one corner of the frame, creating an interesting visual style.

He also likes to experiment with colors, often applying filters during moments of reflection or flashbacks to enhance the mood.

Sato and Animation Director Akio Kawamura worked together frequently in the early days, which naturally led to the "creation" of the Kawamura pose.

Sato is an artist who also reminds us how important an Episode's Direction by a single individual is and how much it varies depending on talented artists. For example, when an episode storyboarded by Sato is directed by someone like Yasuichiro Yamamoto, it doesn’t always feel the same as when Sato himself directs his own storyboard. A simple example is that during Conan’s moments of reflection, Yamamoto often likes to rotate the character, whereas Sato does not. Instead, he prefers to use the background to convey story elements by using a pan (left or right). Of course, artists like Yamamoto can make minor changes, but it's also important to remember that some artists create storyboards with the skill level of the Episode’s Director/Animators in mind. This allows them to incorporate more complex elements into the storyboard.

Left : Sato (Storyboard/Episode Direction by himself) and Righ : Yamamoto (Storyboard by Sato and Episode Direction by Yamamoto.)

When it comes to Episode Direction, it's worth noting that episodes directed by Sato (even if not storyboarded by himself) are often among the strongest in terms of artistic direction. Episode #196 is a perfect example of this. When he is solely responsible for the storyboard, his influence is so strong that the Episode Director naturally brings a similar energy.

Episode #196 Storyboard by Chika Ichimaru and Episode Direction by Sato :

Episodes #205 - #206 Storyboards by Sato and Episode Direction by Mashu Ito and Minoru Tozawa :

Sato experimented a lot in his early days, and many of his directional ideas were "abandoned" in favor of something more simpler. Various motifs used to emphasize expression. The use of bokeh in episode #42. Frequent allusions to the well-known direction of Osamu Dezaki. It should be remembered that, originally, Detective Conan was not intended to be a long-running series.

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AD : 河村明夫 Akio Kawamura

He is so good. No wonder they gave HIM the entire episode 129 (2h) to correct.

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Detective Conan #230 'The Mysterious Passenger' (Opening Scene)

Storyboard : 佐藤真人 Masato Sato

One day, I will talk about how Masato Sato, Yasuichiro Yamamoto, and Hirohito Ochi shaped Detective Conan during that period on their own. It's funny how these three ended up as series directors at one point in the anime production (Yamamoto : 119-332 / 667-Now ; Sato : 333-504 ; Ochi : 505-666, unfortunately at times under circumstances that weren't ideal for them.

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Suzuki Sonoko by different Animation Directors :