1Íkala, Revista de Lenguaje y Cultura
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Alba Quintairos-Soliño
PhD in Translation & Paratranslation,
Department of Translation and
Linguistics, Universidade de Vigo,
Spain.
alba.quintairos.solino@uvigo.gal
https://orcid.
org/0000-0003-0064-1695
Francisco Miguel Ojeda-García
PhD candidate in Social
Anthropology, Department of Social
Anthropology, Universidad de
Granada, Spain.
ojedagfran@ugr.es
https://orcid.
org/0000-0001-8068-9239
Abstract
During the Anthropocene, science and folklore have been efficient explanatory
models of the world. However, numerous studies suggest a convergence of both
perspectives in contemporary mass media productions, being Japanese animation
a clear example. The aim of the research presented here was to analyse how sci-
ence and folklore are integrated and opposed in Aoyama’s Detective Conan, an
anime where cases often happen in rural Japan and where folk references confront
Conan’s detective reasoning. To reach this objective, a comprehensive qualitative
and quantitative study of the presence of folklore in this work—through aspects
such as characterisation or narratives—was conducted in 75 cases and over 155
episodes which include references to folklore in their background, plot, or charac-
ters. The analysis revealed that, when folklore and science interact, rational thinking
is usually preferred over folk beliefs; characters are stereotyped according to their
genre or origins; and, more importantly, supernatural beliefs can be included in
detective fiction without being ridiculed by the most rational characters.
Keywords: ecology of knowledges, Detective Conan, Japanese animation, detec-
tive fiction, folklore, mass media
Resumen
En el Antropoceno, ciencia y folclor se han considerado modelos eficaces para
explicar el mundo. Asimismo, numerosos estudios apuntan a una convergencia
de ambas perspectivas en las producciones contemporáneas de los medios de co-
municación de masas, entre las que sobresale el anime japonés. El objetivo del
presente artículo es analizar cómo se integran y oponen la ciencia y el folclore
en Detective Conan, de Aoyama, un anime donde muchos casos se desarrollan
en el Japón rural y donde las referencias tradicionales confrontan el raciocinio
detectivesco de Conan. Para lograr este objetivo, se ha realizado un amplio estu-
dio cualitativo y cuantitativo de la presencia del folclore en esta obra a través de
aspectos como la caracterización o las narrativas presentes en 75 casos y alrededor
de 155 episodios que incluyen referencias al folclore, en el contexto, la trama o los
Science, Folklore, and Ecology
of Knowledges in Aoyama’s Detective
Conan Anime
Ciencia, folclore y ecología de saberes en el anime Detective Conan de Aoyama
Science, folklore et écologie des savoirs chez l’animé Détective Conan d’Aoyama
Ciencia, folklore e ecologia dos saberes na anime Detective Conan do Aoyama
Received: 2023-05-18 / Accepted: 2023-10-05 / Published: 2024-01-31
https://doi.org/10.17533/udea.ikala.353637
Editor: Doris Correa, Universidad de Antioquia, Medellín, Colombia.
Copyright, Universidad de Antioquia, 2024. This is an open access article, distributed in compliance with the terms of the
Creative Commons license by-nc-sa 4.0 International.
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Alba Quintairos-Soliño
PhD in Translation & Paratranslation,
Department of Translation and
Linguistics, Universidade de Vigo,
Spain.
alba.quintairos.solino@uvigo.gal
https://orcid.
org/0000-0003-0064-1695
Francisco Miguel Ojeda-García
PhD candidate in Social
Anthropology, Department of Social
Anthropology, Universidad de
Granada, Spain.
ojedagfran@ugr.es
https://orcid.
org/0000-0001-8068-9239
Abstract
During the Anthropocene, science and folklore have been efficient explanatory
models of the world. However, numerous studies suggest a convergence of both
perspectives in contemporary mass media productions, being Japanese animation
a clear example. The aim of the research presented here was to analyse how sci-
ence and folklore are integrated and opposed in Aoyama’s Detective Conan, an
anime where cases often happen in rural Japan and where folk references confront
Conan’s detective reasoning. To reach this objective, a comprehensive qualitative
and quantitative study of the presence of folklore in this work—through aspects
such as characterisation or narratives—was conducted in 75 cases and over 155
episodes which include references to folklore in their background, plot, or charac-
ters. The analysis revealed that, when folklore and science interact, rational thinking
is usually preferred over folk beliefs; characters are stereotyped according to their
genre or origins; and, more importantly, supernatural beliefs can be included in
detective fiction without being ridiculed by the most rational characters.
Keywords: ecology of knowledges, Detective Conan, Japanese animation, detec-
tive fiction, folklore, mass media
Resumen
En el Antropoceno, ciencia y folclor se han considerado modelos eficaces para
explicar el mundo. Asimismo, numerosos estudios apuntan a una convergencia
de ambas perspectivas en las producciones contemporáneas de los medios de co-
municación de masas, entre las que sobresale el anime japonés. El objetivo del
presente artículo es analizar cómo se integran y oponen la ciencia y el folclore
en Detective Conan, de Aoyama, un anime donde muchos casos se desarrollan
en el Japón rural y donde las referencias tradicionales confrontan el raciocinio
detectivesco de Conan. Para lograr este objetivo, se ha realizado un amplio estu-
dio cualitativo y cuantitativo de la presencia del folclore en esta obra a través de
aspectos como la caracterización o las narrativas presentes en 75 casos y alrededor
de 155 episodios que incluyen referencias al folclore, en el contexto, la trama o los
Science, Folklore, and Ecology
of Knowledges in Aoyama’s Detective
Conan Anime
Ciencia, folclore y ecología de saberes en el anime Detective Conan de Aoyama
Science, folklore et écologie des savoirs chez l’animé Détective Conan d’Aoyama
Ciencia, folklore e ecologia dos saberes na anime Detective Conan do Aoyama
Received: 2023-05-18 / Accepted: 2023-10-05 / Published: 2024-01-31
https://doi.org/10.17533/udea.ikala.353637
Editor: Doris Correa, Universidad de Antioquia, Medellín, Colombia.
Copyright, Universidad de Antioquia, 2024. This is an open access article, distributed in compliance with the terms of the
Creative Commons license by-nc-sa 4.0 International.
2Íkala AlbA QuintAiros-soliño And FrAncisco Miguel ojedA-gArcíA
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
personajes. El análisis reveló que, cuando el folclore y la ciencia interactúan, por
lo general el pensamiento racional se impone sobre las creencias tradicionales; los
personajes son estereotipados según su género o sus orígenes; y, lo más importan-
te, las creencias sobrenaturales pueden incluirse en la ficción detectivesca sin ser
ridiculizadas por los personajes más racionales.
Palabras clave: ecología de saberes, Detective Conan, anime japonés, ficción de-
tectivesca, folclore, medios de masas
Résumé
Dans l'Anthropocène, la science et le folklore ont été considérés comme des
modèles efficaces pour expliquer le monde. De même, des nombreuses études
indiquent une convergence des deux perspectives dans les productions contem-
poraines des médias de masse, parmi lesquels l'anime japonais se distingue.
L’objectif de cet article est d’analyser la manière dont la science et le folklore s’in-
tègrent et s’opposent dans le Détective Conan d’Aoyama, un animé qui se déroule
souvent dans le Japon rural et où les références traditionnelles sont confrontées
au raisonnement du détective Conan. Pour atteindre cet objectif, une étude qua-
litative et quantitative approfondie de la présence du folklore dans cette oeuvre
a été réalisée à travers des aspects tels que la caractérisation ou les récits présents
dans 75 cas et environ 155 épisodes qui incluent des références au folklore, dans
le contexte, l'intrigue ou les personnages. L’analyse a révélé que, lorsque le folk-
lore et la science interagissent, la pensée rationnelle l’emporte généralement sur
les croyances traditionnelles. Les personnages sont stéréotypés en fonction de
leur sexe ou de leur origine et, surtout, les croyances surnaturelles peuvent être
incluses dans la fiction policière sans être ridiculisées par les personnages plus
rationnels.
Mots clef : écologie des savoirs, Détective Conan, animé japonais, fiction policière,
folklore, médias de masse
Resumo
Durante o Antropoceno, a ciência e o folclore têm servido eficazmente como
modelos para explicar o mundo. No entanto, numerosos estudos indicam uma
convergência de ambas as perspectivas nas produções contemporâneas dos meios
de comunicação de massas; um exemplo claro disso é a anime japonesa. O objetivo
deste artigo foi analisar a forma como a ciência e o folclore se integram e se opõem
no Detective Conan de Aoyama, um anime que se passa, em muitos casos, no Ja-
pão rural e onde as referências tradicionais confrontam o raciocínio do Detetive
Conan. Para atingir este objetivo, foi realizado um extenso estudo qualitativo e
quantitativo da presença do folclore nesta obra, através de aspectos como a carate-
rização ou a narrativa, em 75 casos e mais de 155 episódios que incluem referências
ao folclore no contexto, enredo ou personagens. A análise revelou que, quando o
folclore e a ciência interagem, o pensamento racional geralmente prevalece sobre
as crenças tradicionais; as personagens são estereotipadas de acordo com o seu gé-
nero ou origem; e, mais importante, as crenças sobrenaturais podem ser incluídas
na ficção policial sem serem ridicularizadas pelas personagens mais racionais.
Palavras chave: ecologia dos saberes, Detective Conan, anime japonesa, ficção po-
licial, folclore, meios de comunicação de massas
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
personajes. El análisis reveló que, cuando el folclore y la ciencia interactúan, por
lo general el pensamiento racional se impone sobre las creencias tradicionales; los
personajes son estereotipados según su género o sus orígenes; y, lo más importan-
te, las creencias sobrenaturales pueden incluirse en la ficción detectivesca sin ser
ridiculizadas por los personajes más racionales.
Palabras clave: ecología de saberes, Detective Conan, anime japonés, ficción de-
tectivesca, folclore, medios de masas
Résumé
Dans l'Anthropocène, la science et le folklore ont été considérés comme des
modèles efficaces pour expliquer le monde. De même, des nombreuses études
indiquent une convergence des deux perspectives dans les productions contem-
poraines des médias de masse, parmi lesquels l'anime japonais se distingue.
L’objectif de cet article est d’analyser la manière dont la science et le folklore s’in-
tègrent et s’opposent dans le Détective Conan d’Aoyama, un animé qui se déroule
souvent dans le Japon rural et où les références traditionnelles sont confrontées
au raisonnement du détective Conan. Pour atteindre cet objectif, une étude qua-
litative et quantitative approfondie de la présence du folklore dans cette oeuvre
a été réalisée à travers des aspects tels que la caractérisation ou les récits présents
dans 75 cas et environ 155 épisodes qui incluent des références au folklore, dans
le contexte, l'intrigue ou les personnages. L’analyse a révélé que, lorsque le folk-
lore et la science interagissent, la pensée rationnelle l’emporte généralement sur
les croyances traditionnelles. Les personnages sont stéréotypés en fonction de
leur sexe ou de leur origine et, surtout, les croyances surnaturelles peuvent être
incluses dans la fiction policière sans être ridiculisées par les personnages plus
rationnels.
Mots clef : écologie des savoirs, Détective Conan, animé japonais, fiction policière,
folklore, médias de masse
Resumo
Durante o Antropoceno, a ciência e o folclore têm servido eficazmente como
modelos para explicar o mundo. No entanto, numerosos estudos indicam uma
convergência de ambas as perspectivas nas produções contemporâneas dos meios
de comunicação de massas; um exemplo claro disso é a anime japonesa. O objetivo
deste artigo foi analisar a forma como a ciência e o folclore se integram e se opõem
no Detective Conan de Aoyama, um anime que se passa, em muitos casos, no Ja-
pão rural e onde as referências tradicionais confrontam o raciocínio do Detetive
Conan. Para atingir este objetivo, foi realizado um extenso estudo qualitativo e
quantitativo da presença do folclore nesta obra, através de aspectos como a carate-
rização ou a narrativa, em 75 casos e mais de 155 episódios que incluem referências
ao folclore no contexto, enredo ou personagens. A análise revelou que, quando o
folclore e a ciência interagem, o pensamento racional geralmente prevalece sobre
as crenças tradicionais; as personagens são estereotipadas de acordo com o seu gé-
nero ou origem; e, mais importante, as crenças sobrenaturais podem ser incluídas
na ficção policial sem serem ridicularizadas pelas personagens mais racionais.
Palavras chave: ecologia dos saberes, Detective Conan, anime japonesa, ficção po-
licial, folclore, meios de comunicação de massas
3Íkala S cience , F olklore , and ecology oF knowledgeS in aoyama ’S detective conan anime
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Introduction
According to Boaventura de Sousa’s Ecology of
Knowledges (2010), traditional knowledge is
mercilessly being colonised, which implies that
scientific rationality makes individuals avoid the
use of folkloric references and mythical thought.
Likewise, numerous studies not focused on said
theory suggest a convergence of science and folk-
lore in contemporary mass media productions,
being Japanese animation (anime) one of the clear-
est examples of this phenomenon (Ogáyar-Marín
& Ojeda-García, 2016, pp. 112–113). However,
it must be noticed that both perspectives are not
equally represented, being rationality (i.e. science)
most characters’ desirable way of thinking.
Mystery seems to be an intrinsic part of folklore,
given that folktales and myths have been used for
centuries to try to understand the inexplicable. In
the same vein, recent research (Sari & Putra, 2020;
Hunter, 2020) points to an undeniable correlation
between folklore and ecology, highlighting tradi-
tional lore as a powerful tool to raise awareness on
nature conservation, which reinforces “the idea
that folkloric traditions can bring us into physi-
cal (rather than purely intellectual) connection
with the environment” (Hunter, 2020, p. 224).
Moreover, detective fiction—a genre related to
the inexplicable—has often included folk ele-
ments in its narratives to confront the irrational
by presenting objective, rational evidence.
Considering the above, the aim of this research
was to analyse how science and folklore were inte-
grated and opposed in an anime with detective
fiction as its core: Detective Conan (hereunder,
dc). This work tells the story of a teen detec-
tive, Shinichi Kudō, who inadvertently discovers
a criminal organisation and is attacked by one of
its members, who feeds him a poison. However,
Shinichi does not die; instead, his body turns into
one of a six-year-old child. To hide his identity, he
decides to go undercover as Conan Edogawa, a
junior detective that solves all kinds of cases in the
hope that one of them will involve the criminals
that hurt him so he could bring them to justice.
This anime was created by the Japanese artist
Gōshō Aoyama (Hokuei, 1963) as a manga story
in 1994 and adapted as a tv animated series in
1996; since then, new episodes have been broad-
cast every week, amounting to more than 1,000
in 2023. Thus, a comprehensive qualitative study
of the presence of folklore in this work has been
conducted.
The innovative nature of this work lies on the fact
that the ecology of knowledges is mostly studied
from a theoretical perspective, so this article would
be the first project where Sousa’s theory is used to
define the scope of a research project and where
Japanese animation is taken as the main core of an
empirical study. In fact, Hatfield (2010) refers to
Sousa’s theory in relation to Comic Studies, but
this idea is not further developed; the author sim-
ply mentions it as an anecdotal reference, that is,
because it is cited in another theoretical work.
Theoretical Framework
The theoretical framework for this work com-
prises two key aspects. On one hand, the notion
known as “ecology of knowledges,” proposed by
Boaventura de Sousa, is explained with a decolo-
nizing perspective in mind and the Anthropocene
as its operational framework. On the other hand,
the correlation between folklore and the pairing
anime–detective fiction is explored in the light of
both classic and recent bibliography.
Ecology of Knowledges
To speak about the Anthropocene means to speak
about the traces the humankind has left in the world
and, by extension, about the multiple paths that
humans have historically followed to achieve their
notions of civilisation. Thus, the Anthropocene
should be considered an allusion to the plurality of
human knowledges, which have been contextually
and socially built to generate different worldviews,
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Introduction
According to Boaventura de Sousa’s Ecology of
Knowledges (2010), traditional knowledge is
mercilessly being colonised, which implies that
scientific rationality makes individuals avoid the
use of folkloric references and mythical thought.
Likewise, numerous studies not focused on said
theory suggest a convergence of science and folk-
lore in contemporary mass media productions,
being Japanese animation (anime) one of the clear-
est examples of this phenomenon (Ogáyar-Marín
& Ojeda-García, 2016, pp. 112–113). However,
it must be noticed that both perspectives are not
equally represented, being rationality (i.e. science)
most characters’ desirable way of thinking.
Mystery seems to be an intrinsic part of folklore,
given that folktales and myths have been used for
centuries to try to understand the inexplicable. In
the same vein, recent research (Sari & Putra, 2020;
Hunter, 2020) points to an undeniable correlation
between folklore and ecology, highlighting tradi-
tional lore as a powerful tool to raise awareness on
nature conservation, which reinforces “the idea
that folkloric traditions can bring us into physi-
cal (rather than purely intellectual) connection
with the environment” (Hunter, 2020, p. 224).
Moreover, detective fiction—a genre related to
the inexplicable—has often included folk ele-
ments in its narratives to confront the irrational
by presenting objective, rational evidence.
Considering the above, the aim of this research
was to analyse how science and folklore were inte-
grated and opposed in an anime with detective
fiction as its core: Detective Conan (hereunder,
dc). This work tells the story of a teen detec-
tive, Shinichi Kudō, who inadvertently discovers
a criminal organisation and is attacked by one of
its members, who feeds him a poison. However,
Shinichi does not die; instead, his body turns into
one of a six-year-old child. To hide his identity, he
decides to go undercover as Conan Edogawa, a
junior detective that solves all kinds of cases in the
hope that one of them will involve the criminals
that hurt him so he could bring them to justice.
This anime was created by the Japanese artist
Gōshō Aoyama (Hokuei, 1963) as a manga story
in 1994 and adapted as a tv animated series in
1996; since then, new episodes have been broad-
cast every week, amounting to more than 1,000
in 2023. Thus, a comprehensive qualitative study
of the presence of folklore in this work has been
conducted.
The innovative nature of this work lies on the fact
that the ecology of knowledges is mostly studied
from a theoretical perspective, so this article would
be the first project where Sousa’s theory is used to
define the scope of a research project and where
Japanese animation is taken as the main core of an
empirical study. In fact, Hatfield (2010) refers to
Sousa’s theory in relation to Comic Studies, but
this idea is not further developed; the author sim-
ply mentions it as an anecdotal reference, that is,
because it is cited in another theoretical work.
Theoretical Framework
The theoretical framework for this work com-
prises two key aspects. On one hand, the notion
known as “ecology of knowledges,” proposed by
Boaventura de Sousa, is explained with a decolo-
nizing perspective in mind and the Anthropocene
as its operational framework. On the other hand,
the correlation between folklore and the pairing
anime–detective fiction is explored in the light of
both classic and recent bibliography.
Ecology of Knowledges
To speak about the Anthropocene means to speak
about the traces the humankind has left in the world
and, by extension, about the multiple paths that
humans have historically followed to achieve their
notions of civilisation. Thus, the Anthropocene
should be considered an allusion to the plurality of
human knowledges, which have been contextually
and socially built to generate different worldviews,
4Íkala AlbA QuintAiros-soliño And FrAncisco Miguel ojedA-gArcíA
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
to understand the world, to question the forces of
nature, and to modify the environment to adapt
it to humans’ necessities. However, the path to
civilisation has been monopolised by Western soci-
eties, turning their historical landmarks into the
major milestones of a deeply Eurocentric world his-
tory. Therefore, the West colonised the history of
humanity, othering and overshadowing the existing
variety of histories. This is evidenced by contempo-
rary Western thinking having become the dominant,
unequivocal way of understanding rationality and
reasoning all over the world (Wolf, 2023, p. 17).
The globally-imposed Western mindset produced
a deep Cartesian ontological rupture, separat-
ing rationality from the world (Lander, 2000,
pp. 15–16). Thereupon, the world has lost its
meaning and can only be understood through
the conceptual and representational abstraction
provided by reason. This ontological rupture
becomes the only path to modernity, emphasised
by the development and implementation of an
objective science. Concurrently, it is part of a colo-
nial shaping of the world, where the hegemony of
the West otherises any society whose knowledges
are opposed to its own reasoning or not yet colo-
nised by it.
This “colonisation of knowledges” ends in a dev-
astating process of differentiation, where social
reality is divided, favouring the West. The Non-
West and the West are radically separated into
two by “abyssal lines” (Sousa, 2014, p. 21), which
separate social reality in two different universes,
one on each side of this dividing line. Thus, this
line is converted into an epistemological border,
meaning that what is found on our side of this
borderline becomes the only reality. By contrast,
what is on the other side becomes non-existent,
inaccurate, and invalid. In this regard, non-West-
ern ways of thinking are in the ‘marginalised’
side of this dichotomy. This perspective is use-
ful to understand how knowledges are divided,
given that postulates on the world-system con-
figuration permeate them, resulting in political,
economic, and ideological centres, peripheries,
and semi-peripheries. Other reformulations, such
as Lander’s (2000), state that Eurocentrism affects
the construction of subjectivities, knowledge, and
truth to the extent that geographical centres of
power are legitimised as centres of production and
control of knowledge. Certainly, this also applies
to media and literary productions.
As stated, the Anthropocene is a new geological
epoch focused on the human impact on dif-
ferent natural and social contexts throughout
history. From this perspective, the European con-
quest of the American continent or the Industrial
Revolution are examples of how the misnamed
“drive of human civilisation” affects the envi-
ronment as well as other non-European human
groups. Consequently, decolonial critique relies
on the Anthropocene to also analyse how knowl-
edge-creating entities are lost, as the ontological
nature/society separation applies—following the
principles of Otherness—to non-Western societ-
ies in terms of savage/civilised or underdeveloped/
developed. This dichotomy influences how the
world and its reality are understood, resulting in
the traditional knowledge vs. scientific knowledge
binomial.
Thus, the Anthropocene is characterised by a
variety of knowledges beyond rational and sci-
entific method. Based on myths, folklore and
popular knowledge, these ways of understand-
ing the world are rich and various. Still, they are
usually stigmatised, considered uncivilised, and
usually consigned to oblivion. Otherness is seen as
a collateral damage of colonisation, an amoral ter-
ritory based on incomprehension (Massó, 2020,
pp. 245–246). In opposition to this reality, the
ecology of knowledges—hereunder, EoK—appears
(Sousa, 2014, pp. 40–43).
This contra-epistemological proposal is based
on the idea of a global epistemological diversity
beyond science reasoning. It refuses the alleged
superiority of modern science and relegates it to
one of the many types of knowledge existing in
the world. At the same time, the EoK strives for
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
to understand the world, to question the forces of
nature, and to modify the environment to adapt
it to humans’ necessities. However, the path to
civilisation has been monopolised by Western soci-
eties, turning their historical landmarks into the
major milestones of a deeply Eurocentric world his-
tory. Therefore, the West colonised the history of
humanity, othering and overshadowing the existing
variety of histories. This is evidenced by contempo-
rary Western thinking having become the dominant,
unequivocal way of understanding rationality and
reasoning all over the world (Wolf, 2023, p. 17).
The globally-imposed Western mindset produced
a deep Cartesian ontological rupture, separat-
ing rationality from the world (Lander, 2000,
pp. 15–16). Thereupon, the world has lost its
meaning and can only be understood through
the conceptual and representational abstraction
provided by reason. This ontological rupture
becomes the only path to modernity, emphasised
by the development and implementation of an
objective science. Concurrently, it is part of a colo-
nial shaping of the world, where the hegemony of
the West otherises any society whose knowledges
are opposed to its own reasoning or not yet colo-
nised by it.
This “colonisation of knowledges” ends in a dev-
astating process of differentiation, where social
reality is divided, favouring the West. The Non-
West and the West are radically separated into
two by “abyssal lines” (Sousa, 2014, p. 21), which
separate social reality in two different universes,
one on each side of this dividing line. Thus, this
line is converted into an epistemological border,
meaning that what is found on our side of this
borderline becomes the only reality. By contrast,
what is on the other side becomes non-existent,
inaccurate, and invalid. In this regard, non-West-
ern ways of thinking are in the ‘marginalised’
side of this dichotomy. This perspective is use-
ful to understand how knowledges are divided,
given that postulates on the world-system con-
figuration permeate them, resulting in political,
economic, and ideological centres, peripheries,
and semi-peripheries. Other reformulations, such
as Lander’s (2000), state that Eurocentrism affects
the construction of subjectivities, knowledge, and
truth to the extent that geographical centres of
power are legitimised as centres of production and
control of knowledge. Certainly, this also applies
to media and literary productions.
As stated, the Anthropocene is a new geological
epoch focused on the human impact on dif-
ferent natural and social contexts throughout
history. From this perspective, the European con-
quest of the American continent or the Industrial
Revolution are examples of how the misnamed
“drive of human civilisation” affects the envi-
ronment as well as other non-European human
groups. Consequently, decolonial critique relies
on the Anthropocene to also analyse how knowl-
edge-creating entities are lost, as the ontological
nature/society separation applies—following the
principles of Otherness—to non-Western societ-
ies in terms of savage/civilised or underdeveloped/
developed. This dichotomy influences how the
world and its reality are understood, resulting in
the traditional knowledge vs. scientific knowledge
binomial.
Thus, the Anthropocene is characterised by a
variety of knowledges beyond rational and sci-
entific method. Based on myths, folklore and
popular knowledge, these ways of understand-
ing the world are rich and various. Still, they are
usually stigmatised, considered uncivilised, and
usually consigned to oblivion. Otherness is seen as
a collateral damage of colonisation, an amoral ter-
ritory based on incomprehension (Massó, 2020,
pp. 245–246). In opposition to this reality, the
ecology of knowledges—hereunder, EoK—appears
(Sousa, 2014, pp. 40–43).
This contra-epistemological proposal is based
on the idea of a global epistemological diversity
beyond science reasoning. It refuses the alleged
superiority of modern science and relegates it to
one of the many types of knowledge existing in
the world. At the same time, the EoK strives for
5Íkala S cience , F olklore , and ecology oF knowledgeS in aoyama ’S detective conan anime
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
preserving and reviving all the othered knowl-
edges, turning them into potential cognitive
alternatives which boost a counterhegemonic glo-
balisation that is based on diversity and does not
favour one imposed logic.
Folklore in Anime and Detective Fiction
Following current trends on rejecting lore, folk-
lore is now regarded as an obscure, non-rational
understanding, and it is being challenged by
detective fiction. Thus, this crime fiction subgenre
often includes folk elements to confront the irra-
tional by presenting objective, rational evidence.
As a result, detective fiction containing folk ref-
erences can be considered a new type of hybrid
literature reflecting on tradition and scientific
progress, which we will call “Folk detective fiction.
As proven by researchers such as Slaven (2012) or
Miyashita (2017), anime “works as a new means
of producing folk tales that are inspired in tradi-
tion, but also adapted to a contemporary context”
(Quintairos-Soliño, 2020a, p. 279). In fact, anime
could be considered the contemporary format
of folktales’ dissemination, not only in Japan but
worldwide, due to its transnational nature. Martín-
Párraga’s remarks on the success of folk and fairy
tales could explain their parallelism with anime. He
suggests that oral traditions are well-spread because
stories could be invented by ordinary people who,
besides not having an academic training, were
not economically conditioned by investors either
(2020, p. 149). In other words, given that fairy and
folk tales were created by “common” people, then
“they were not overly complex” (2020, p. 149).
The simple structure of folktales and the inclu-
sion of common, daily motifs would draw people’s
attention, especially younger audiences. The same
happens with anime, which has become “one of the
main vehicles of myth in modernity since it synthe-
tises classical myths from all known mythological
traditions with daily life and ordinary characters”
(Ogáyar-Marín & Ojeda-García, 2016, p. 112; own
translation).
Likewise, Borham-Puyal (2020) describes the
potential of fairy and folk tales to dialogue “with
other forms and matters” (p. 170), while repeat-
edly sharing the same motifs and tropes although
they are presented in different forms. She describes
these tales as “shape-shifters [that] transform and
become transformative”, and she eventually estab-
lishes a connection between traditional tales and
the noir (p. 170). Martín-Párraga (2020, p. 150)
also states that many traditional tales contain
extreme violence as a trope, being more disturb-
ing than “the goriest horror movie ever produced”.
Although traditional tales are usually well-received
by audiences, anime has been severely criticised
outside Japan because of the outspoken depic-
tion of violent, sexualised, and grotesque scenes
included in some of those works. Regardless of
how anime is received by casual viewers, it cannot
be denied that it shares a pattern with traditional
stories that goes beyond a mere coincidence.
As suggested, tales do not only share great similar-
ities with anime, but also with crime fiction. All
of them heavily rely on intertextuality and add
unheimlich elements that disturb their audiences
to some extent. Furthermore, while fairy and folk
tales have mutated for centuries (Zipes, 2015;
Kunio, 1948, p. xxiv), anime explores hybridisa-
tion by combining traditional tales and modern
genres in a more immediate basis, due to the com-
petitive global market it operates in.
Method
To do this research, all episodes of dc containing
explicit folk references—both supernatural ele-
ments and traditional beliefs—from an excerpt
comprising the first 470 episodes were selected to
be part of the corpus. At this point, the compiled
data reached a point of theoretical saturation.
After said visual analysis, 75 cases (equivalent to
more than 155 episodes out of 470) containing
folk references in their background, plot, or char-
acters have been analysed.
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
preserving and reviving all the othered knowl-
edges, turning them into potential cognitive
alternatives which boost a counterhegemonic glo-
balisation that is based on diversity and does not
favour one imposed logic.
Folklore in Anime and Detective Fiction
Following current trends on rejecting lore, folk-
lore is now regarded as an obscure, non-rational
understanding, and it is being challenged by
detective fiction. Thus, this crime fiction subgenre
often includes folk elements to confront the irra-
tional by presenting objective, rational evidence.
As a result, detective fiction containing folk ref-
erences can be considered a new type of hybrid
literature reflecting on tradition and scientific
progress, which we will call “Folk detective fiction.
As proven by researchers such as Slaven (2012) or
Miyashita (2017), anime “works as a new means
of producing folk tales that are inspired in tradi-
tion, but also adapted to a contemporary context”
(Quintairos-Soliño, 2020a, p. 279). In fact, anime
could be considered the contemporary format
of folktales’ dissemination, not only in Japan but
worldwide, due to its transnational nature. Martín-
Párraga’s remarks on the success of folk and fairy
tales could explain their parallelism with anime. He
suggests that oral traditions are well-spread because
stories could be invented by ordinary people who,
besides not having an academic training, were
not economically conditioned by investors either
(2020, p. 149). In other words, given that fairy and
folk tales were created by “common” people, then
“they were not overly complex” (2020, p. 149).
The simple structure of folktales and the inclu-
sion of common, daily motifs would draw people’s
attention, especially younger audiences. The same
happens with anime, which has become “one of the
main vehicles of myth in modernity since it synthe-
tises classical myths from all known mythological
traditions with daily life and ordinary characters”
(Ogáyar-Marín & Ojeda-García, 2016, p. 112; own
translation).
Likewise, Borham-Puyal (2020) describes the
potential of fairy and folk tales to dialogue “with
other forms and matters” (p. 170), while repeat-
edly sharing the same motifs and tropes although
they are presented in different forms. She describes
these tales as “shape-shifters [that] transform and
become transformative”, and she eventually estab-
lishes a connection between traditional tales and
the noir (p. 170). Martín-Párraga (2020, p. 150)
also states that many traditional tales contain
extreme violence as a trope, being more disturb-
ing than “the goriest horror movie ever produced”.
Although traditional tales are usually well-received
by audiences, anime has been severely criticised
outside Japan because of the outspoken depic-
tion of violent, sexualised, and grotesque scenes
included in some of those works. Regardless of
how anime is received by casual viewers, it cannot
be denied that it shares a pattern with traditional
stories that goes beyond a mere coincidence.
As suggested, tales do not only share great similar-
ities with anime, but also with crime fiction. All
of them heavily rely on intertextuality and add
unheimlich elements that disturb their audiences
to some extent. Furthermore, while fairy and folk
tales have mutated for centuries (Zipes, 2015;
Kunio, 1948, p. xxiv), anime explores hybridisa-
tion by combining traditional tales and modern
genres in a more immediate basis, due to the com-
petitive global market it operates in.
Method
To do this research, all episodes of dc containing
explicit folk references—both supernatural ele-
ments and traditional beliefs—from an excerpt
comprising the first 470 episodes were selected to
be part of the corpus. At this point, the compiled
data reached a point of theoretical saturation.
After said visual analysis, 75 cases (equivalent to
more than 155 episodes out of 470) containing
folk references in their background, plot, or char-
acters have been analysed.
6Íkala AlbA QuintAiros-soliño And FrAncisco Miguel ojedA-gArcíA
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
By examining structural recurrences in each episode
and by verifying the involved characters’ level of
scepticism, we aim at analysing the shift from myth-
ical thought to exclusively rational thinking. Finally,
observing how these cases resolutions revolve
around folklore (e.g. creatures, origins of folkloric
elements, cultural references, etc.) is also an essen-
tial focus of this research. The observed criteria were
(1) the plot (who is the legend’s narrator?), (2) the
characters’ scepticism, the folklore references pres-
ent in (3) backgrounds and (4) elements, (5) the
supernatural creatures, (6) quotes, and (7) other ref-
erences. Thus, whereas criteria 1, 2, and 3 establish
the framework where the folktale operates, criteria
4, 5, 6, and 7 help to determine how folk tales or
beliefs are being treated in said framework.
To this end, the selected episodes of dc have been
directly examined in the light of the following
questions: (1) Who is the narrator of the super-
natural legend or story?; (2) Which characters are
sceptical, and which are not?; (3) How is the super-
natural incorporated into the plot?; (4) How do
characters interact with the supernatural?; (5) What
strategies do characters use to impose rational logic
or overcome abyssal thinking?; (6) How is the
supernatural included in a story set in the present
day?; and (7) Are mythical/supernatural elements
treated equally regardless of the society from which
they originate? The results should provide room
for debating how science and folklore are inte-
grated and opposed in this series.
After the analysis, it was obvious that most cases
can be easily classified according to their pattern of
folklore use. Given the extent of such study, a par-
adigmatic selection of the most relevant episodes
is presented in this article along with an overview
of the results drawn from the macroanalysis.
Results
Results are organised into two sections. The first
is used to introduce a selection of the most par-
adigmatic cases; the second section is focused
on examining the findings of the qualitative and
quantitative analyses.
The Presence of Folklore in Detective Conan
Folklore—understood as the material and imma-
terial knowledge shared by a group of people and
informally transmitted from generation to gen-
eration—is present in dc in multiple ways since
many cases are based on Japanese folklore to gen-
erate the plot, the background, or some characters.
However, Greco-Latin myths, Western folklore,
and sci-fi or contemporary lore also meet with the
Japanese autochthonous belief system.
The qualitative analysis has revealed the existence
of three main types of correlation between sci-
ence and folklore through the narratives, which
can be named after the type of dialogue about
the EoK they present: (1) dialogues between sci-
ence and the incomprehensible—where folklore
is explained through rational thinking; (2) dia-
logues between folklore and ecology—where
folklore seeks to protect nature; and (3) dialogues
between folklore and the figurative—where folk-
lore is transformed into metaphors to operate in a
contemporary rational sphere.
To illustrate each one of these “dialogues”, a selec-
tion of paradigmatic episodes has been selected per
item. In this section, the plot of said cases is briefly
described; then, narrative patterns and tropes rele-
vant to the analysis are highlighted. In some cases,
a brief discussion on the rational thinking vs. folk
belief pair takes place to show how the EoK is
revealed throughout the plot. Results derived from
this study will be further discussed from a quanti-
tative perspective in the next section.
a) Dialogues Between Science
and the Incomprehensible
In this type of dialogue, three distinct catego-
ries can be suggested: Japanese, Contemporary,
and Western folklore. Both Japanese and Western
folklore include references clearly linked to their
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
By examining structural recurrences in each episode
and by verifying the involved characters’ level of
scepticism, we aim at analysing the shift from myth-
ical thought to exclusively rational thinking. Finally,
observing how these cases resolutions revolve
around folklore (e.g. creatures, origins of folkloric
elements, cultural references, etc.) is also an essen-
tial focus of this research. The observed criteria were
(1) the plot (who is the legend’s narrator?), (2) the
characters’ scepticism, the folklore references pres-
ent in (3) backgrounds and (4) elements, (5) the
supernatural creatures, (6) quotes, and (7) other ref-
erences. Thus, whereas criteria 1, 2, and 3 establish
the framework where the folktale operates, criteria
4, 5, 6, and 7 help to determine how folk tales or
beliefs are being treated in said framework.
To this end, the selected episodes of dc have been
directly examined in the light of the following
questions: (1) Who is the narrator of the super-
natural legend or story?; (2) Which characters are
sceptical, and which are not?; (3) How is the super-
natural incorporated into the plot?; (4) How do
characters interact with the supernatural?; (5) What
strategies do characters use to impose rational logic
or overcome abyssal thinking?; (6) How is the
supernatural included in a story set in the present
day?; and (7) Are mythical/supernatural elements
treated equally regardless of the society from which
they originate? The results should provide room
for debating how science and folklore are inte-
grated and opposed in this series.
After the analysis, it was obvious that most cases
can be easily classified according to their pattern of
folklore use. Given the extent of such study, a par-
adigmatic selection of the most relevant episodes
is presented in this article along with an overview
of the results drawn from the macroanalysis.
Results
Results are organised into two sections. The first
is used to introduce a selection of the most par-
adigmatic cases; the second section is focused
on examining the findings of the qualitative and
quantitative analyses.
The Presence of Folklore in Detective Conan
Folklore—understood as the material and imma-
terial knowledge shared by a group of people and
informally transmitted from generation to gen-
eration—is present in dc in multiple ways since
many cases are based on Japanese folklore to gen-
erate the plot, the background, or some characters.
However, Greco-Latin myths, Western folklore,
and sci-fi or contemporary lore also meet with the
Japanese autochthonous belief system.
The qualitative analysis has revealed the existence
of three main types of correlation between sci-
ence and folklore through the narratives, which
can be named after the type of dialogue about
the EoK they present: (1) dialogues between sci-
ence and the incomprehensible—where folklore
is explained through rational thinking; (2) dia-
logues between folklore and ecology—where
folklore seeks to protect nature; and (3) dialogues
between folklore and the figurative—where folk-
lore is transformed into metaphors to operate in a
contemporary rational sphere.
To illustrate each one of these “dialogues”, a selec-
tion of paradigmatic episodes has been selected per
item. In this section, the plot of said cases is briefly
described; then, narrative patterns and tropes rele-
vant to the analysis are highlighted. In some cases,
a brief discussion on the rational thinking vs. folk
belief pair takes place to show how the EoK is
revealed throughout the plot. Results derived from
this study will be further discussed from a quanti-
tative perspective in the next section.
a) Dialogues Between Science
and the Incomprehensible
In this type of dialogue, three distinct catego-
ries can be suggested: Japanese, Contemporary,
and Western folklore. Both Japanese and Western
folklore include references clearly linked to their
7Íkala S cience , F olklore , and ecology oF knowledgeS in aoyama ’S detective conan anime
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
traditional folklores, whereas urban legends are
part of what is called “contemporary lore (i.e. a sys-
tem of recently emerged beliefs shared by urban
communities and whose origins are sometimes
difficult to establish due to globalisation).
Japanese Folklore: The Hidden Lesson
In The Solitary Island of the Princess and the
Dragon King Palace (episodes 291–293), a par-
allelism between the legend of the Onigame
(demon turtle) island and an unsolved crime
is shown. The legend revolves around a female
weaver whose soul (mabui) was absorbed by a
messenger of the afterlife (gusō), who emerged
from the sea. Concurrently, the crime deals with
the kidnap of a mayor’s daughter in an island sim-
ilar to Onigame, whose disappearance has been
attributed to the gusō. The investigation relies
on four key aspects: 1) a local legend emphasises
that the gusō may still be in the island; 2) the leg-
end explains a ritual that protects people from
the attack of the gusō; 3) the legend offers key
information to understand the kidnapping; and
4) the island is surrounded by dangerous water
flows that have caused several deaths, which
would connect to the deadly legend. Once a mur-
der happens in the island, the detectives Conan
and Heiji establish the legend as an inspirational
source for the crime. Thus, using logical deduc-
tions, they obtain a rational explanation that
helps the non-sceptical characters reject specula-
tions based on supernatural causes.
The Onigame’s legend is grounded on an authen-
tic myth. The gusō, a soul-taker creature, is very
common in Japanese folklore under the appear-
ance of an oni (demon, ogre) or a yōkai (monster,
goblin). This folktale also has a very specific fea-
ture of myths, that is, the pedagogical function.
The use of the tale to curse the island makes the
locals perceive it as a forbidden place—something
reasonable due to the island being surrounded by
deadly waterflows. Also, the ritual to protect one-
self from the gusō by placing a knife between one’s
teeth has useful origins since it helped female
weavers to avoid being strangled with a rope from
behind (when an attacker tried to put a rope
around their necks, they could easily cut it with
the knife).
The Urban Legend: A Contemporary
Background
Another paradigmatic case is The Truth of the
Haunted House (episodes 274–275). In this case,
the folklore is contemporary, close to an urban
legend or a ghost story, and the plot is about an
old building presumably haunted by the ghost
of a girl (yūrei) murdered years before. The only
neighbours are a medical student, a filmmaker, a
fan of scary movies, and an old man. All of them
explain the paranormal activities they have expe-
rienced to Conan and his companions, providing
different explanations to the phenomena. Thus,
the medical student is sceptical and relies on scien-
tific hypotheses, whereas the others encourage the
supernatural discourse. Conan tries to discover
the scientific logic behind the events, while his
friend Ran automatically embraces the urban leg-
end, assimilating it as true. Ran’s father, Detective
Kogoro Mōri, is torn between the scepticism and
the paranormal explanation.
The case background is based on Japanese horror
movies, with the ghost of a brutally murdered girl
as the protagonist. During the case, all the char-
acters fall asleep in front of a tv; and when the
light of the device awakens Ran, she sees a ghostly
girl on the screen—an obvious allusion to the
Japanese film The Ring (Ringu, 1998). This case
represents a dialogue between reason and folk-
lore that is clung to contemporary superstitions
and beliefs—most of them related to fears derived
from horror movies.
Again, Conan makes the scientific reasoning pre-
vail and, looking for what he usually refers to as
“the only truth”, he finds out that the paranormal
activity is due to optical illusions and chemi-
cals. The reason behind these phenomena is that
the accomplice of the girl’s murderer wants the
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
traditional folklores, whereas urban legends are
part of what is called “contemporary lore (i.e. a sys-
tem of recently emerged beliefs shared by urban
communities and whose origins are sometimes
difficult to establish due to globalisation).
Japanese Folklore: The Hidden Lesson
In The Solitary Island of the Princess and the
Dragon King Palace (episodes 291–293), a par-
allelism between the legend of the Onigame
(demon turtle) island and an unsolved crime
is shown. The legend revolves around a female
weaver whose soul (mabui) was absorbed by a
messenger of the afterlife (gusō), who emerged
from the sea. Concurrently, the crime deals with
the kidnap of a mayor’s daughter in an island sim-
ilar to Onigame, whose disappearance has been
attributed to the gusō. The investigation relies
on four key aspects: 1) a local legend emphasises
that the gusō may still be in the island; 2) the leg-
end explains a ritual that protects people from
the attack of the gusō; 3) the legend offers key
information to understand the kidnapping; and
4) the island is surrounded by dangerous water
flows that have caused several deaths, which
would connect to the deadly legend. Once a mur-
der happens in the island, the detectives Conan
and Heiji establish the legend as an inspirational
source for the crime. Thus, using logical deduc-
tions, they obtain a rational explanation that
helps the non-sceptical characters reject specula-
tions based on supernatural causes.
The Onigame’s legend is grounded on an authen-
tic myth. The gusō, a soul-taker creature, is very
common in Japanese folklore under the appear-
ance of an oni (demon, ogre) or a yōkai (monster,
goblin). This folktale also has a very specific fea-
ture of myths, that is, the pedagogical function.
The use of the tale to curse the island makes the
locals perceive it as a forbidden place—something
reasonable due to the island being surrounded by
deadly waterflows. Also, the ritual to protect one-
self from the gusō by placing a knife between one’s
teeth has useful origins since it helped female
weavers to avoid being strangled with a rope from
behind (when an attacker tried to put a rope
around their necks, they could easily cut it with
the knife).
The Urban Legend: A Contemporary
Background
Another paradigmatic case is The Truth of the
Haunted House (episodes 274–275). In this case,
the folklore is contemporary, close to an urban
legend or a ghost story, and the plot is about an
old building presumably haunted by the ghost
of a girl (yūrei) murdered years before. The only
neighbours are a medical student, a filmmaker, a
fan of scary movies, and an old man. All of them
explain the paranormal activities they have expe-
rienced to Conan and his companions, providing
different explanations to the phenomena. Thus,
the medical student is sceptical and relies on scien-
tific hypotheses, whereas the others encourage the
supernatural discourse. Conan tries to discover
the scientific logic behind the events, while his
friend Ran automatically embraces the urban leg-
end, assimilating it as true. Ran’s father, Detective
Kogoro Mōri, is torn between the scepticism and
the paranormal explanation.
The case background is based on Japanese horror
movies, with the ghost of a brutally murdered girl
as the protagonist. During the case, all the char-
acters fall asleep in front of a tv; and when the
light of the device awakens Ran, she sees a ghostly
girl on the screen—an obvious allusion to the
Japanese film The Ring (Ringu, 1998). This case
represents a dialogue between reason and folk-
lore that is clung to contemporary superstitions
and beliefs—most of them related to fears derived
from horror movies.
Again, Conan makes the scientific reasoning pre-
vail and, looking for what he usually refers to as
“the only truth”, he finds out that the paranormal
activity is due to optical illusions and chemi-
cals. The reason behind these phenomena is that
the accomplice of the girl’s murderer wants the
8Íkala AlbA QuintAiros-soliño And FrAncisco Miguel ojedA-gArcíA
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
neighbours to leave the place because the killer
has been hiding there for two years and could be
recognised by them, who witnessed the crime.
The Western Inspiration
Western folklore is very present in dc, as it is evi-
denced by cases such as Magic lovers murder case
(episodes 132–134 or A Cursed Masked Coldly
Laughs, episode 184). In this regard, the Dracula’s
Villa Murder Case (episodes 88–89) is not only the
first case completely set in a Western-inspired envi-
ronment, but the one which best encompasses the
features attributed to this type of folk episodes.
First, it is important to note that the narrator of
Dracula’s legend is a researcher, who links the
myth to historical facts: science is being used to
explain fiction and popular beliefs, which con-
fers authenticity to the tale. Moreover, the case
revolves around Torakura Daisuke, a writer and
fan of Dracula who lives in a villa full of collec-
tor’s items about vampires and who is found dead
on a cross with a stake on his heart.
Furthermore, Torakura’s name is an approximate
transcription into Japanese of “Dracula” (pro-
nounced Do-ra-ku-ra), and his villa is a recreation
of the Villa Diodati, where Mary Shelley wrote
Frankenstein and John Polidori, The Vampyre.
These writers were forced to stay inside the village
due to poor weather (Perrottet, 2011), and like-
wise, the protagonists of this case must stay in the
villa because of a snowstorm. Yet the parallelisms
go further. Before dying, Torakura is seen drinking
red wine—a metaphor of blood—and watching a
movie about vampires; after dying, it is discovered
that he had wrongfully taken advantage of people
by draining their energy as vampires drain people’s
blood.
These characters (except for Detective Kogoro
Mōri and his daughter, Ran) do not believe in
vampires; as stated before, they acknowledge a
parallelism between the myth and the histor-
ical facts, but they are sure the crime was not
committed by a vampire even when there are no
footprints on the snow surrounding the locked
room where Torakura was murdered. Nevertheless,
when the body is found, Conan wonders, “Could
it be possible that the culprit flew like a real vam-
pire?” Yet, it is only a cliffhanger. Thus, Conan
describes Torakura as a vampire but also compares
the killer (his ghost-writer, Tadokoro) with Stoker’s
creature in stating, “They say that, when a vampire
sucks someone’s blood, the victim also becomes a
vampire. […] Tadokoro got worse than that: after
all, he became a killer.” Therefore, Conan is using
a myth to explain contemporary events and behav-
iours, and more importantly, he is transforming the
legend into a contemporary fable with a moral.
Once the investigation is over, Kogoro is offered
a new case at the Franken Manor. When he men-
tions his client is Furano Genso, a doctor in
Engineering who works on “weird experiments
at night”, Ran mistakenly thinks the name is
“Frankenstein” (Furankenshutain) due to its sim-
ilar pronunciation and complains about it. Then,
Conan mentions, “If the next case had a werewolf,
this would be complete.” As it can be inferred,
Conan establishes a triad of classical Western
monsters composed by Dracula (or vampires),
Frankenstein, and werewolves.
Beyond coincidences, this trio of monsters will be
recurrent in many cases depicting Western folk-
lore, being Head-to-Head Match with the... Black
Organization: A Dual Mystery on a Full Moon
Night (episode 345) the most prominent as the
key character is a werewolf along with a vampire,
Medusa, and other monsters. Including these crea-
tures in several cases shows how characters react
to them; thus, Ran is always scared of all type of
monsters, whether they are autochthonous or for-
eign. However, almost all the adult characters are
not frightened when encountering Western mon-
sters, and most of them do not believe in Western
folklore, as it can be seen in Magic Lover’s Murder
Case (episodes 132–134) or The Old Blue Castle
Investigation Case (episodes 136–137).
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
neighbours to leave the place because the killer
has been hiding there for two years and could be
recognised by them, who witnessed the crime.
The Western Inspiration
Western folklore is very present in dc, as it is evi-
denced by cases such as Magic lovers murder case
(episodes 132–134 or A Cursed Masked Coldly
Laughs, episode 184). In this regard, the Dracula’s
Villa Murder Case (episodes 88–89) is not only the
first case completely set in a Western-inspired envi-
ronment, but the one which best encompasses the
features attributed to this type of folk episodes.
First, it is important to note that the narrator of
Dracula’s legend is a researcher, who links the
myth to historical facts: science is being used to
explain fiction and popular beliefs, which con-
fers authenticity to the tale. Moreover, the case
revolves around Torakura Daisuke, a writer and
fan of Dracula who lives in a villa full of collec-
tor’s items about vampires and who is found dead
on a cross with a stake on his heart.
Furthermore, Torakura’s name is an approximate
transcription into Japanese of “Dracula” (pro-
nounced Do-ra-ku-ra), and his villa is a recreation
of the Villa Diodati, where Mary Shelley wrote
Frankenstein and John Polidori, The Vampyre.
These writers were forced to stay inside the village
due to poor weather (Perrottet, 2011), and like-
wise, the protagonists of this case must stay in the
villa because of a snowstorm. Yet the parallelisms
go further. Before dying, Torakura is seen drinking
red wine—a metaphor of blood—and watching a
movie about vampires; after dying, it is discovered
that he had wrongfully taken advantage of people
by draining their energy as vampires drain people’s
blood.
These characters (except for Detective Kogoro
Mōri and his daughter, Ran) do not believe in
vampires; as stated before, they acknowledge a
parallelism between the myth and the histor-
ical facts, but they are sure the crime was not
committed by a vampire even when there are no
footprints on the snow surrounding the locked
room where Torakura was murdered. Nevertheless,
when the body is found, Conan wonders, “Could
it be possible that the culprit flew like a real vam-
pire?” Yet, it is only a cliffhanger. Thus, Conan
describes Torakura as a vampire but also compares
the killer (his ghost-writer, Tadokoro) with Stoker’s
creature in stating, “They say that, when a vampire
sucks someone’s blood, the victim also becomes a
vampire. […] Tadokoro got worse than that: after
all, he became a killer.” Therefore, Conan is using
a myth to explain contemporary events and behav-
iours, and more importantly, he is transforming the
legend into a contemporary fable with a moral.
Once the investigation is over, Kogoro is offered
a new case at the Franken Manor. When he men-
tions his client is Furano Genso, a doctor in
Engineering who works on “weird experiments
at night”, Ran mistakenly thinks the name is
“Frankenstein” (Furankenshutain) due to its sim-
ilar pronunciation and complains about it. Then,
Conan mentions, “If the next case had a werewolf,
this would be complete.” As it can be inferred,
Conan establishes a triad of classical Western
monsters composed by Dracula (or vampires),
Frankenstein, and werewolves.
Beyond coincidences, this trio of monsters will be
recurrent in many cases depicting Western folk-
lore, being Head-to-Head Match with the... Black
Organization: A Dual Mystery on a Full Moon
Night (episode 345) the most prominent as the
key character is a werewolf along with a vampire,
Medusa, and other monsters. Including these crea-
tures in several cases shows how characters react
to them; thus, Ran is always scared of all type of
monsters, whether they are autochthonous or for-
eign. However, almost all the adult characters are
not frightened when encountering Western mon-
sters, and most of them do not believe in Western
folklore, as it can be seen in Magic Lover’s Murder
Case (episodes 132–134) or The Old Blue Castle
Investigation Case (episodes 136–137).
9Íkala S cience , F olklore , and ecology oF knowledgeS in aoyama ’S detective conan anime
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
b) Dialogues Between Folklore and Ecology
Humans’ impact on the environment is reflected
in many episodes where folklore and ecology meet.
Hence, it is very common that a secondary dia-
logic connection emerges from this anime’s EoK.
This dialogue is usually related to the murder-
er’s motive, and it becomes an allegation against
a social reality where natural landscapes are cru-
elly transformed in artificial spaces (i.e. rezoning
protected areas, property speculation, mass tour-
ism, etc.).
Although these crimes are deeply related to
ecologist motives and their culprits are heavily
reprimanded by the detectives, ecology is never
mentioned. Samsuddin (2019) offers an explana-
tion to this phenomenon by stating that “literary
ecology works in an indirect preservation of nature.
It works through stories that are packaged in such
a way as to lead the reader to an understanding
of the importance of preserving nature” (p. 24).
Therefore, dc’s episodes where ecology is a main
theme could be considered not only part of the
EoK, but also part of literary ecology.
The Entrance to the Maze. The Anger of the Colossus
(episode 208) is an emblematic case. The protago-
nists are invited to the inaugural act of a cableway
that goes through a sacred mountain sculpted in
the form of a colossal goddess, protector of the
natural enclave. The alteration of the mountain to
install a cableway is considered an offense against
the deity, and the locals fear her retaliation. The
divine punishment finally happens when all the
people involved in the construction die in impos-
sible situations that seem to be caused by the angry
goddess. Although Conan finally proves that the
culprit is a human who used the legend to elab-
orate a sophisticated trick that made the crime
seem impossible, their deaths may still be imputed
to the power of the goddess, who punished them
for destroying a protected natural area.
A relevant character of this episode is an old nun
who tells the myth to Conan. According to her,
in ancient times, those who once disrespected the
goddess painfully died, which means that the peo-
ple who built the cableway have been cursed by
the deity. As explained above, dc can be related
to literary ecology, and the fact that an old nun
is the narrator of the folktale seems to prove this
connection. As Samsuddin (2019, p. 25) states,
“literary ecology can be traced through folklore
that is passed down from generation to genera-
tion.” Thus, an older generation (represented by
the nun) is passing a local myth to a younger one
(represented by Conan) to ensure that new gener-
ations know the significance of the place and try
to protect it from avaricious individuals.
One of the key scenes of this case also reflects
on the struggle between folklore/ecology and
modernity/capitalism. Thus, when a journal-
ist complains about the tunnel crossing the
sacred mountain, the developer claims: “Don’t
you think I am very religious? Floods of tourists
will come to pray both to the goddess and the
500 rakan statues. I think she should be thank-
ful and avoid cursing me.” Just after blaspheming,
there is a blackout, and the developer is attacked.
When there is light again, he has disappeared,
and a talisman with the word Ingaōhō (karma) is
stuck on the window. Although it is obvious that
the developer was attacked by a human, the tal-
isman is directly linking the crime to the legend.
It could be argued that, if capitalism leads to the
destruction of nature, then folklore, through its
ecological strand, will protect the local environ-
ment by negatively influencing the future of those
who intentionally harm it.
In the same vein, The Water Palace of Five
Colours Legend (episodes 210–211) and The
Legend of the Mysterious Five Storied Pagoda
(episodes 159–160) also contain a comparable
dialogue between folklore and ecology. The for-
mer revolves around ancient times, when a man
built a tearoom in the middle of a sacred lake.
Infuriated, the spirit of the lake took revenge
on the man by killing him. Back to the present,
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
b) Dialogues Between Folklore and Ecology
Humans’ impact on the environment is reflected
in many episodes where folklore and ecology meet.
Hence, it is very common that a secondary dia-
logic connection emerges from this anime’s EoK.
This dialogue is usually related to the murder-
er’s motive, and it becomes an allegation against
a social reality where natural landscapes are cru-
elly transformed in artificial spaces (i.e. rezoning
protected areas, property speculation, mass tour-
ism, etc.).
Although these crimes are deeply related to
ecologist motives and their culprits are heavily
reprimanded by the detectives, ecology is never
mentioned. Samsuddin (2019) offers an explana-
tion to this phenomenon by stating that “literary
ecology works in an indirect preservation of nature.
It works through stories that are packaged in such
a way as to lead the reader to an understanding
of the importance of preserving nature” (p. 24).
Therefore, dc’s episodes where ecology is a main
theme could be considered not only part of the
EoK, but also part of literary ecology.
The Entrance to the Maze. The Anger of the Colossus
(episode 208) is an emblematic case. The protago-
nists are invited to the inaugural act of a cableway
that goes through a sacred mountain sculpted in
the form of a colossal goddess, protector of the
natural enclave. The alteration of the mountain to
install a cableway is considered an offense against
the deity, and the locals fear her retaliation. The
divine punishment finally happens when all the
people involved in the construction die in impos-
sible situations that seem to be caused by the angry
goddess. Although Conan finally proves that the
culprit is a human who used the legend to elab-
orate a sophisticated trick that made the crime
seem impossible, their deaths may still be imputed
to the power of the goddess, who punished them
for destroying a protected natural area.
A relevant character of this episode is an old nun
who tells the myth to Conan. According to her,
in ancient times, those who once disrespected the
goddess painfully died, which means that the peo-
ple who built the cableway have been cursed by
the deity. As explained above, dc can be related
to literary ecology, and the fact that an old nun
is the narrator of the folktale seems to prove this
connection. As Samsuddin (2019, p. 25) states,
“literary ecology can be traced through folklore
that is passed down from generation to genera-
tion.” Thus, an older generation (represented by
the nun) is passing a local myth to a younger one
(represented by Conan) to ensure that new gener-
ations know the significance of the place and try
to protect it from avaricious individuals.
One of the key scenes of this case also reflects
on the struggle between folklore/ecology and
modernity/capitalism. Thus, when a journal-
ist complains about the tunnel crossing the
sacred mountain, the developer claims: “Don’t
you think I am very religious? Floods of tourists
will come to pray both to the goddess and the
500 rakan statues. I think she should be thank-
ful and avoid cursing me.” Just after blaspheming,
there is a blackout, and the developer is attacked.
When there is light again, he has disappeared,
and a talisman with the word Ingaōhō (karma) is
stuck on the window. Although it is obvious that
the developer was attacked by a human, the tal-
isman is directly linking the crime to the legend.
It could be argued that, if capitalism leads to the
destruction of nature, then folklore, through its
ecological strand, will protect the local environ-
ment by negatively influencing the future of those
who intentionally harm it.
In the same vein, The Water Palace of Five
Colours Legend (episodes 210–211) and The
Legend of the Mysterious Five Storied Pagoda
(episodes 159–160) also contain a comparable
dialogue between folklore and ecology. The for-
mer revolves around ancient times, when a man
built a tearoom in the middle of a sacred lake.
Infuriated, the spirit of the lake took revenge
on the man by killing him. Back to the present,
10Íkala AlbA QuintAiros-soliño And FrAncisco Miguel ojedA-gArcíA
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Conan and his companions visit that tearoom, which
has been recently revamped by the actual owner.
Shortly after hearing about this story, the own-
er’s dead body is found inside the tearoom in a way
that resembles the folktale. The latter case is about a
cursed pagoda that forces any person who harms its
natural space to commit suicide. Several cases have
happened in ancient times, so monks warn visitors
about it, preserving the legend. Once there, Conan
learns that there is an urbanisation project in process
to promote tourism, which will affect the pagoda
and its surroundings. The developer does not care
about the legend; however, he is soon found dead,
hanging from the pagoda, so most of the characters
think it is due to the legend being real.
As stated, in all these cases, folklore helps the locals
to preserve the environment. In this vein, nature is
protected by traditional lore, whereas scientific log-
ics (e.g. promoting tourism to reactivate the local
economy) could lead to harm the space, the villag-
ers’ most precious good. Thus, these episodes are a
clear example of how the EoK operates, showing
how both sides of the abyssal line meet. All the folk
elements are activated during the narration and
explained by Conan with logical arguments. The
only truth shows that all crimes, despite their super-
natural aura, are caused by humans. Nevertheless,
folklore proves that, in most cases, the motive is
none other than protecting the natural world.
During the analysis, only one exception could be
found. In episodes 222 to 224, And there were no
mermaids transports the audience to a small island
where Shimabukuro, a 130-year-old woman, lives.
The legend says she ate a mermaid when she was
younger and thus became immortal. To acknowl-
edge this miracle, the locals celebrate a festival in
Shimabukuro’s honour, where she raffles three
arrows which contain a strand of her hair and
are believed to bring good luck to their owners.
Applying a scientific logic, the detectives Conan
and Heiji explain that dugongs were considered
mermaids in ancient Japan, which would justify
the mermaid myth—the arrows being just a folk
token. However, impossible murders involving
sea water, scales, sacred arrows, and an absence of
footprints start to happen, and everyone attribute
them to a mermaid. Conan and Heiji investigate
the cases and discover that the culprit is Kimie,
Shimabukuro’s great-granddaughter.
In fact, Shimabukuro never existed: she had been
a character created by Kimie’s female ancestors,
who disguised themselves as the immortal lady
to provide the island with an attractive myth that
appeal people from mainland Japan. Years ago,
Kimie’s friends tried to burn Shimabukuro to test
if she was immortal. The old lady survived with-
out a scratch, yet a legless skeleton was found
at the scene and considered part of a mermaid.
The truth is that they had killed Kimie’s mother,
who used to bind her legs to shorten her height,
prompting her leg bones to be heavily damaged
in the arson attack. In this context, her daughter
decided to take her role as Shimabukuro to keep
the legend alive. Once Kimie discovered who the
culprits were, she killed them one by one.
Notwithstanding, the shocking reveal is that all the
island’s senior inhabitants knew that the legend was
a fraud and that it was Kimie who had disguised
herself as Shimabukuro, yet they decided not to
report her to the police because they needed the leg-
end to survive. It is also revealed that they decided
not to identify the legless corpse—which they had
buried under a nameless grave—because Kimie,
who thought nobody knew her family’s secret, had
taken her mother’s role as the immortal woman
and lied about her death.
Although the legend was proven to be fake, it
shows that folklore is useful to keep isolated, rural
villages alive since it helps the local economy and
protects natural spaces. Incidentally, the logical
reasoning (i.e. finding the truth) harms the island
and leaves its inhabitants unprotected.
c) Dialogues Between Folklore and the Figurative
Ancient and contemporary folk tales dialogue in a
very unique way in many episodes. The figurative
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Conan and his companions visit that tearoom, which
has been recently revamped by the actual owner.
Shortly after hearing about this story, the own-
er’s dead body is found inside the tearoom in a way
that resembles the folktale. The latter case is about a
cursed pagoda that forces any person who harms its
natural space to commit suicide. Several cases have
happened in ancient times, so monks warn visitors
about it, preserving the legend. Once there, Conan
learns that there is an urbanisation project in process
to promote tourism, which will affect the pagoda
and its surroundings. The developer does not care
about the legend; however, he is soon found dead,
hanging from the pagoda, so most of the characters
think it is due to the legend being real.
As stated, in all these cases, folklore helps the locals
to preserve the environment. In this vein, nature is
protected by traditional lore, whereas scientific log-
ics (e.g. promoting tourism to reactivate the local
economy) could lead to harm the space, the villag-
ers’ most precious good. Thus, these episodes are a
clear example of how the EoK operates, showing
how both sides of the abyssal line meet. All the folk
elements are activated during the narration and
explained by Conan with logical arguments. The
only truth shows that all crimes, despite their super-
natural aura, are caused by humans. Nevertheless,
folklore proves that, in most cases, the motive is
none other than protecting the natural world.
During the analysis, only one exception could be
found. In episodes 222 to 224, And there were no
mermaids transports the audience to a small island
where Shimabukuro, a 130-year-old woman, lives.
The legend says she ate a mermaid when she was
younger and thus became immortal. To acknowl-
edge this miracle, the locals celebrate a festival in
Shimabukuro’s honour, where she raffles three
arrows which contain a strand of her hair and
are believed to bring good luck to their owners.
Applying a scientific logic, the detectives Conan
and Heiji explain that dugongs were considered
mermaids in ancient Japan, which would justify
the mermaid myth—the arrows being just a folk
token. However, impossible murders involving
sea water, scales, sacred arrows, and an absence of
footprints start to happen, and everyone attribute
them to a mermaid. Conan and Heiji investigate
the cases and discover that the culprit is Kimie,
Shimabukuro’s great-granddaughter.
In fact, Shimabukuro never existed: she had been
a character created by Kimie’s female ancestors,
who disguised themselves as the immortal lady
to provide the island with an attractive myth that
appeal people from mainland Japan. Years ago,
Kimie’s friends tried to burn Shimabukuro to test
if she was immortal. The old lady survived with-
out a scratch, yet a legless skeleton was found
at the scene and considered part of a mermaid.
The truth is that they had killed Kimie’s mother,
who used to bind her legs to shorten her height,
prompting her leg bones to be heavily damaged
in the arson attack. In this context, her daughter
decided to take her role as Shimabukuro to keep
the legend alive. Once Kimie discovered who the
culprits were, she killed them one by one.
Notwithstanding, the shocking reveal is that all the
island’s senior inhabitants knew that the legend was
a fraud and that it was Kimie who had disguised
herself as Shimabukuro, yet they decided not to
report her to the police because they needed the leg-
end to survive. It is also revealed that they decided
not to identify the legless corpse—which they had
buried under a nameless grave—because Kimie,
who thought nobody knew her family’s secret, had
taken her mother’s role as the immortal woman
and lied about her death.
Although the legend was proven to be fake, it
shows that folklore is useful to keep isolated, rural
villages alive since it helps the local economy and
protects natural spaces. Incidentally, the logical
reasoning (i.e. finding the truth) harms the island
and leaves its inhabitants unprotected.
c) Dialogues Between Folklore and the Figurative
Ancient and contemporary folk tales dialogue in a
very unique way in many episodes. The figurative
11Íkala S cience , F olklore , and ecology oF knowledgeS in aoyama ’S detective conan anime
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
possibilities of legends are infinite, and this anime
benefits from it. Thus, the EoK can also be
explored at the allegoric level: Ancient folktales
rely on supernatural beliefs and unscientific expla-
nations, while contemporary folktales recreated in
dc try to explain ancient lore with logical reason-
ing, which usually implies the use of metaphors.
The most paradigmatic case is Snow Woman’s
Legend Murder Case (episode 94).
This episode is a recreation of the yuki onna
(雪女) legend, translated as the Japanese snow
woman. Traditionally, the yuki onna is a beauti-
ful woman with long black hair and pale skin who
wears a white kimono and floats across the snow
like a ghost (Pérez Riobó & Chida, 2012, p. 143).
In this episode, her legend is firstly introduced by
the narrator of a tv drama the main characters are
watching in a shelter, but it is the owner of that
shelter who later explains the details of the local
myth to them. In fact, along with Ran, she is one
of the characters who genuinely believes the leg-
end is true. In this context, the sceptic characters
are the two detectives, Conan and Kogoro, who
try to convince Ran that she is mistaken: “What
you see was a hallucination; you saw a pile of snow
and thought it was the yuki onna.”
The case happens in a shelter in the middle
of a snowy mountain. The landscape is a clear
reference to the yuki onna’s habitat, and the back-
ground elements (the snow, a white kimono, etc.)
are a reminiscence of the legend, too. However, the
most important references to the myth are meta-
phoric, being introduced when an actress named
Akiko (who plays the yuki onna on the abovemen-
tioned tv drama) and her stuntwoman, Yōko,
arrive at the shelter. Akiko is seen by Ran wear-
ing a white kimono in the middle of a blizzard,
but the girl thinks she is the yuki onna. Later, the
actress is found dead, along with a suicide note.
Nevertheless, Conan discovers that she was mur-
dered by Yōko and exposes the truth.
Akiko portraying the yuki onna on a tv drama or
wearing a white kimono are not subtle references,
yet this case is paradigmatic because of the use
of metaphors, the most relevant allegory being
hidden behind the characters’ names. For exam-
ple, Akiko is written with the kanji of “bright/
light” and “child” (明子), but the pronuncia-
tion clearly alludes to the homophone “Akiko”
(秋子), meaning “child of the Autumn”. Akiko,
the victim, has been indeed the prey of the yuki
onna, for Autumn dies as Winter comes. On the
other hand, Yōko’s name is written 洋子 (with
the kanji of “ocean/Western” and “child”), and
it is a phonetic reminiscence of yuki, since both
words share consonants. Given that Yōko is the
murderer, the allusion to the yuki onna, who is
known for killing lost travellers, seems plausible.
On a completely speculative level, it could be also
suggested that the chosen kanji may imply that the
West (洋) killed the bright sun (明), that is, the
traditional Japan. This is due to the main radical
of 明 being “sun” and Japan’s toponym meaning
“land of the rising sun”.
It is true that Akiko plays the yuki onna and is found
wearing a white kimono, but it was Yōko who put
those clothes on her. The whole case seems to point
to a parallelism between the mythical woman and
the actress, only to later reveal that the real yōkai is
her co-worker. Thus, at the beginning of the epi-
sode, Akiko exclaims, “We, the actresses, cannot get
tanned”, which may seem to be a reference to the
snow woman, as she is always pale; and yet, Yōko
is also an actress, so this claim also applies to her.
In fact, as the yuki onna does, Yōko tries to seduce
a man (Kogoro), although she only does it because
she wants to create an alibi.
On another note, the trick Yōko used to kill Akiko
implied the use of a kaki tree placed next to the
shelter, which she climbed to return to her room
after murdering her. The kaki is a popular Autumn
fruit in Japan, and as it has already been estab-
lished, Akiko phonetically alludes to Autumn.
Since Yōko wanted to kill Akiko to become the
main actress, she used the kaki to physically climb
and Akiko’s murder to socially climb.
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
possibilities of legends are infinite, and this anime
benefits from it. Thus, the EoK can also be
explored at the allegoric level: Ancient folktales
rely on supernatural beliefs and unscientific expla-
nations, while contemporary folktales recreated in
dc try to explain ancient lore with logical reason-
ing, which usually implies the use of metaphors.
The most paradigmatic case is Snow Woman’s
Legend Murder Case (episode 94).
This episode is a recreation of the yuki onna
(雪女) legend, translated as the Japanese snow
woman. Traditionally, the yuki onna is a beauti-
ful woman with long black hair and pale skin who
wears a white kimono and floats across the snow
like a ghost (Pérez Riobó & Chida, 2012, p. 143).
In this episode, her legend is firstly introduced by
the narrator of a tv drama the main characters are
watching in a shelter, but it is the owner of that
shelter who later explains the details of the local
myth to them. In fact, along with Ran, she is one
of the characters who genuinely believes the leg-
end is true. In this context, the sceptic characters
are the two detectives, Conan and Kogoro, who
try to convince Ran that she is mistaken: “What
you see was a hallucination; you saw a pile of snow
and thought it was the yuki onna.”
The case happens in a shelter in the middle
of a snowy mountain. The landscape is a clear
reference to the yuki onna’s habitat, and the back-
ground elements (the snow, a white kimono, etc.)
are a reminiscence of the legend, too. However, the
most important references to the myth are meta-
phoric, being introduced when an actress named
Akiko (who plays the yuki onna on the abovemen-
tioned tv drama) and her stuntwoman, Yōko,
arrive at the shelter. Akiko is seen by Ran wear-
ing a white kimono in the middle of a blizzard,
but the girl thinks she is the yuki onna. Later, the
actress is found dead, along with a suicide note.
Nevertheless, Conan discovers that she was mur-
dered by Yōko and exposes the truth.
Akiko portraying the yuki onna on a tv drama or
wearing a white kimono are not subtle references,
yet this case is paradigmatic because of the use
of metaphors, the most relevant allegory being
hidden behind the characters’ names. For exam-
ple, Akiko is written with the kanji of “bright/
light” and “child” (明子), but the pronuncia-
tion clearly alludes to the homophone “Akiko”
(秋子), meaning “child of the Autumn”. Akiko,
the victim, has been indeed the prey of the yuki
onna, for Autumn dies as Winter comes. On the
other hand, Yōko’s name is written 洋子 (with
the kanji of “ocean/Western” and “child”), and
it is a phonetic reminiscence of yuki, since both
words share consonants. Given that Yōko is the
murderer, the allusion to the yuki onna, who is
known for killing lost travellers, seems plausible.
On a completely speculative level, it could be also
suggested that the chosen kanji may imply that the
West (洋) killed the bright sun (明), that is, the
traditional Japan. This is due to the main radical
of 明 being “sun” and Japan’s toponym meaning
“land of the rising sun”.
It is true that Akiko plays the yuki onna and is found
wearing a white kimono, but it was Yōko who put
those clothes on her. The whole case seems to point
to a parallelism between the mythical woman and
the actress, only to later reveal that the real yōkai is
her co-worker. Thus, at the beginning of the epi-
sode, Akiko exclaims, “We, the actresses, cannot get
tanned”, which may seem to be a reference to the
snow woman, as she is always pale; and yet, Yōko
is also an actress, so this claim also applies to her.
In fact, as the yuki onna does, Yōko tries to seduce
a man (Kogoro), although she only does it because
she wants to create an alibi.
On another note, the trick Yōko used to kill Akiko
implied the use of a kaki tree placed next to the
shelter, which she climbed to return to her room
after murdering her. The kaki is a popular Autumn
fruit in Japan, and as it has already been estab-
lished, Akiko phonetically alludes to Autumn.
Since Yōko wanted to kill Akiko to become the
main actress, she used the kaki to physically climb
and Akiko’s murder to socially climb.
12Íkala AlbA QuintAiros-soliño And FrAncisco Miguel ojedA-gArcíA
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Most of the cases with folklore references in dc
contain this type of subtle metaphors, but this case
is paradigmatic due to the heavy use of allegories
at several levels (backgrounds, characters’ names,
landscapes, dialogues, etc.) in just one episode.
More than Dialogues: Patterns
and Implications
The abovementioned paradigmatic cases have
been categorised according to the types of dia-
logue about EoK that they include. However, an
analysis of the episodes as a whole shows relevant
data that is worth observing.
a) The Plot -Who Is the Legend’s Narrator?
No coherent data could be obtained from this
analysis, given that narrators vary from old peo-
ple or inhabitants of a certain area to researchers,
police officers or even the main characters. The
choice of narrators depends on the aim of telling
a folktale, that is, if it is to be shown as ancient,
then old people or monks warn the visitors (e.g.
The Mist Goblin Legend Murder Case, episode 52;
Tottori Spider Mansion Demon, episodes 166-
168). If the legend is supposed to be believable,
scientists, researchers, or even the police will
describe the tale (e.g. A Ghost Ship Murder Case,
episodes 61-62; Dracula’s Villa Murder Case, epi-
sodes 88-89). Sometimes, the media present the
case or there is an urban legend, as happens in
Murder in the Art Museum (episode 8) or Love,
Ghosts, and World Heritage (episodes 348–349).
b) Scepticism
The analysis of the characters’ level of scepticism
indicates who tend not to believe in the supernatural.
Special attention has been given to attributes such as
origin, background, age, profession, and genre.
Despite previous studies indicating that dc con-
veys a subtle allegation against discrimination on
the grounds of ethnic origin, female characters are
often depicted in a biased manner (Quintairos-
Soliño, 2020b). In 52 of the 75 analysed cases,
female protagonists are prone to believe in folktales
and attribute crimes to supernatural elements, so
they are represented as irrational, impressionable
characters that believe in the unknown in contrast
to male characters, who try to remain undaunted
and sceptical. However, it must be considered that
these women are not shown to fear folklore in the
other 23 cases because (1) they are not present in
the episode or (2) folklore is indirectly present as
a reference not heavily noticed by them. In this
regard, Ran is the most non-sceptical character,
being afraid of folklore every time a legend is men-
tioned, and she even refuses to attend a Halloween
party where guests should be dressed as monsters
(episode 345). Curiously enough, she is an expert
in all types of legends, as well as historical facts.
Furthermore, age is a relevant factor. Children
are usually impressionable, yet some of them
tend to question the veracity of the myth because
they rely on science, like Mitsuhiko. Other kids,
like Ayumi, believe in the supernatural; however,
sometimes, they try to reject the lore and focus on
logic, following Conan’s teachings (e.g. Festival
Dolls Dyed in the Setting Sun, episodes 312–313).
On another note, female teenagers are the most
likely to believe in folktales, although their eco-
nomic status also has a relative influence. Therefore,
girls from upper classes, like Sonoko, are shown to
enjoy horror stories and parties, while medium class
teenagers, like Ran or Hina, are more susceptible to
them. Finally, old people tend to preserve folktales
and pass them from one generation to the next.
Nevertheless, most of them are not frightened
by legends and even use them to prevent young-
sters from doing something dangerous, despite
not really believing in them, as it can be seen in
Tottori Spider Mansion Demon (episodes 166–
168) or The Old Blue Castle Investigation Case
(episodes 136–137).
Scepticism also varies according to the past of those
involved in a case. Characters who were previously
implicated in a murder tend to believe deaths
related to them are a consequence of their actions
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Most of the cases with folklore references in dc
contain this type of subtle metaphors, but this case
is paradigmatic due to the heavy use of allegories
at several levels (backgrounds, characters’ names,
landscapes, dialogues, etc.) in just one episode.
More than Dialogues: Patterns
and Implications
The abovementioned paradigmatic cases have
been categorised according to the types of dia-
logue about EoK that they include. However, an
analysis of the episodes as a whole shows relevant
data that is worth observing.
a) The Plot -Who Is the Legend’s Narrator?
No coherent data could be obtained from this
analysis, given that narrators vary from old peo-
ple or inhabitants of a certain area to researchers,
police officers or even the main characters. The
choice of narrators depends on the aim of telling
a folktale, that is, if it is to be shown as ancient,
then old people or monks warn the visitors (e.g.
The Mist Goblin Legend Murder Case, episode 52;
Tottori Spider Mansion Demon, episodes 166-
168). If the legend is supposed to be believable,
scientists, researchers, or even the police will
describe the tale (e.g. A Ghost Ship Murder Case,
episodes 61-62; Dracula’s Villa Murder Case, epi-
sodes 88-89). Sometimes, the media present the
case or there is an urban legend, as happens in
Murder in the Art Museum (episode 8) or Love,
Ghosts, and World Heritage (episodes 348–349).
b) Scepticism
The analysis of the characters’ level of scepticism
indicates who tend not to believe in the supernatural.
Special attention has been given to attributes such as
origin, background, age, profession, and genre.
Despite previous studies indicating that dc con-
veys a subtle allegation against discrimination on
the grounds of ethnic origin, female characters are
often depicted in a biased manner (Quintairos-
Soliño, 2020b). In 52 of the 75 analysed cases,
female protagonists are prone to believe in folktales
and attribute crimes to supernatural elements, so
they are represented as irrational, impressionable
characters that believe in the unknown in contrast
to male characters, who try to remain undaunted
and sceptical. However, it must be considered that
these women are not shown to fear folklore in the
other 23 cases because (1) they are not present in
the episode or (2) folklore is indirectly present as
a reference not heavily noticed by them. In this
regard, Ran is the most non-sceptical character,
being afraid of folklore every time a legend is men-
tioned, and she even refuses to attend a Halloween
party where guests should be dressed as monsters
(episode 345). Curiously enough, she is an expert
in all types of legends, as well as historical facts.
Furthermore, age is a relevant factor. Children
are usually impressionable, yet some of them
tend to question the veracity of the myth because
they rely on science, like Mitsuhiko. Other kids,
like Ayumi, believe in the supernatural; however,
sometimes, they try to reject the lore and focus on
logic, following Conan’s teachings (e.g. Festival
Dolls Dyed in the Setting Sun, episodes 312–313).
On another note, female teenagers are the most
likely to believe in folktales, although their eco-
nomic status also has a relative influence. Therefore,
girls from upper classes, like Sonoko, are shown to
enjoy horror stories and parties, while medium class
teenagers, like Ran or Hina, are more susceptible to
them. Finally, old people tend to preserve folktales
and pass them from one generation to the next.
Nevertheless, most of them are not frightened
by legends and even use them to prevent young-
sters from doing something dangerous, despite
not really believing in them, as it can be seen in
Tottori Spider Mansion Demon (episodes 166–
168) or The Old Blue Castle Investigation Case
(episodes 136–137).
Scepticism also varies according to the past of those
involved in a case. Characters who were previously
implicated in a murder tend to believe deaths
related to them are a consequence of their actions
13Íkala S cience , F olklore , and ecology oF knowledgeS in aoyama ’S detective conan anime
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
because the spirit is seeking revenge (e.g. And
there were no mermaids, episodes 222–224). In
contrast, less competent detectives usually believe
in the supernatural (e.g. Yamamura, Yokomizo) or
close the case as a suicide if there is not any plau-
sible explanation to the phenomenon (e.g. The
Mist Goblin Legend Murder Case, episode 52; The
Black Wings of Icarus, episodes 03–204).
c) Origins
It is important to note that characters from the
Kansai region, considered one of Japan’s most tra-
ditional regions (Kaya, 2013), like Kazuha and
Heiji, are prone to be protagonists of major cases
revolving around folklore. For instance, Kazuha
appears in 41 cases, 21 of them being somehow
related to folklore, thus lore is present in 51.22%
of Kazuha’s appearances. Likewise, Heiji deals
with folklore in 22 of the 47 cases he appears in,
corresponding to 46.81%.
By contrast, except for the protagonists, characters
from the Tokyo metropolitan area do not usually
deal with the supernatural. The same happens
with police officers: those from rural areas such
as Gunma or Nagano also encounter more cases
related to folklore than the officers based in urban
areas, like Tokyo or Chiba. The presence of for-
eigners is also thought-provoking. Given 75 cases,
only Tottori Spider Mansion Demon includes a
character from overseas with active participation
on the events, although non-Japanese characters
are a constant in dc (Quintairos-Soliño, 2020b).
Notwithstanding, a character’s origin does not
necessarily affect their level of scepticism, which
we see in Kazuha, who truly believes in folklore,
while Heiji does not.
d) Backgrounds and Settings
The 75 folk cases are set in three different types of
settings. 47 of them (62.67%) take place in rural
areas, and 15 (20%) are placed in urban areas, while
13 cases (17.33%) are set in other backgrounds,
usually westernised buildings. Japanese folklore is
mostly related to the first type of setting, whereas
Western influences are mostly found in Western
backgrounds. In the bustling streets of Tokyo,
however, one can expect urban legends but also
haunted mansions, UFO cases, or crimes inspired
in horror movies.
This connection between folk references and
spaces allows an ecocritical approach; that is, if
Japanese folklore creatures and elements are related
to pure, rural backgrounds (nature), viewers must
wonder why they cannot appear in urban settings.
Can they not survive in the city? Consequently,
a new question arises. If Japanese folk creatures
cannot survive in the city, are modern urban areas
also killing Japanese folklore? On another note,
why are Western folk references usually placed
in Western-style buildings? Is dc showing that
Japanese and Western folklores should not share
the same space and, therefore, the West should be
clearly distinguished from Japan? If this is true,
then it could suggest that otherness plays a role in
the transmission of cultural values and traditions.
It is difficult to provide accurate answers to these
questions without interviewing Aoyama or the
screenwriters. However, the analysis suggests that
dc depicts rural areas as stuck in the past, relying
on traditional arts, and desperately fighting against
depopulation and unscrupulous urbanism with
folk-inspired, sophisticated crimes. That is, rural
Japan is fighting against those elements of global-
isation that undermine their traditions although
their inhabitants know that not all these elements
are harmful, as proved in And there were no mer-
maids, where controlled tourism has a beneficial
impact on the island. The struggle between the
East and the West could have also been suggested
in the few cases, such as Snow Woman’s Legend
Murder Case or The Death God Jinnai Murder
Case (episode 74), where the representation of a
Japanese folktale in a European-like environment
is used as a narrative mechanism to undermine the
credibility of the legend. This would be due to a
hypothetical dissonance between the setting and
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
because the spirit is seeking revenge (e.g. And
there were no mermaids, episodes 222–224). In
contrast, less competent detectives usually believe
in the supernatural (e.g. Yamamura, Yokomizo) or
close the case as a suicide if there is not any plau-
sible explanation to the phenomenon (e.g. The
Mist Goblin Legend Murder Case, episode 52; The
Black Wings of Icarus, episodes 03–204).
c) Origins
It is important to note that characters from the
Kansai region, considered one of Japan’s most tra-
ditional regions (Kaya, 2013), like Kazuha and
Heiji, are prone to be protagonists of major cases
revolving around folklore. For instance, Kazuha
appears in 41 cases, 21 of them being somehow
related to folklore, thus lore is present in 51.22%
of Kazuha’s appearances. Likewise, Heiji deals
with folklore in 22 of the 47 cases he appears in,
corresponding to 46.81%.
By contrast, except for the protagonists, characters
from the Tokyo metropolitan area do not usually
deal with the supernatural. The same happens
with police officers: those from rural areas such
as Gunma or Nagano also encounter more cases
related to folklore than the officers based in urban
areas, like Tokyo or Chiba. The presence of for-
eigners is also thought-provoking. Given 75 cases,
only Tottori Spider Mansion Demon includes a
character from overseas with active participation
on the events, although non-Japanese characters
are a constant in dc (Quintairos-Soliño, 2020b).
Notwithstanding, a character’s origin does not
necessarily affect their level of scepticism, which
we see in Kazuha, who truly believes in folklore,
while Heiji does not.
d) Backgrounds and Settings
The 75 folk cases are set in three different types of
settings. 47 of them (62.67%) take place in rural
areas, and 15 (20%) are placed in urban areas, while
13 cases (17.33%) are set in other backgrounds,
usually westernised buildings. Japanese folklore is
mostly related to the first type of setting, whereas
Western influences are mostly found in Western
backgrounds. In the bustling streets of Tokyo,
however, one can expect urban legends but also
haunted mansions, UFO cases, or crimes inspired
in horror movies.
This connection between folk references and
spaces allows an ecocritical approach; that is, if
Japanese folklore creatures and elements are related
to pure, rural backgrounds (nature), viewers must
wonder why they cannot appear in urban settings.
Can they not survive in the city? Consequently,
a new question arises. If Japanese folk creatures
cannot survive in the city, are modern urban areas
also killing Japanese folklore? On another note,
why are Western folk references usually placed
in Western-style buildings? Is dc showing that
Japanese and Western folklores should not share
the same space and, therefore, the West should be
clearly distinguished from Japan? If this is true,
then it could suggest that otherness plays a role in
the transmission of cultural values and traditions.
It is difficult to provide accurate answers to these
questions without interviewing Aoyama or the
screenwriters. However, the analysis suggests that
dc depicts rural areas as stuck in the past, relying
on traditional arts, and desperately fighting against
depopulation and unscrupulous urbanism with
folk-inspired, sophisticated crimes. That is, rural
Japan is fighting against those elements of global-
isation that undermine their traditions although
their inhabitants know that not all these elements
are harmful, as proved in And there were no mer-
maids, where controlled tourism has a beneficial
impact on the island. The struggle between the
East and the West could have also been suggested
in the few cases, such as Snow Woman’s Legend
Murder Case or The Death God Jinnai Murder
Case (episode 74), where the representation of a
Japanese folktale in a European-like environment
is used as a narrative mechanism to undermine the
credibility of the legend. This would be due to a
hypothetical dissonance between the setting and
14Íkala AlbA QuintAiros-soliño And FrAncisco Miguel ojedA-gArcíA
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
the origin of the folklore element; nevertheless,
further research on this topic is needed to prove
this claim.
Discussion and Conclusions
Although the EoK is a trending theory in the
anthropological field, all research on this topic
tends to be focused on a theoretical approach and,
therefore, empirical studies are far less common.
Moreover, anime as an object of study had not
been examined yet from this perspective, which
reveals a new research area that needs to be further
developed and strengthened. This is supported
by the fact that anime is a transcultural medium
able to amalgamate various kinds of knowledges,
as already stated. Thus, this research stands out as
an innovative approach to the EoK and a ground-
breaking standpoint when it comes to research on
the dc franchise.
In this regard, dc is a clear example of how
Japanese animation articulates the stories repre-
sented in its productions, adapting all types of
tales to a contemporary context and including
detective fiction as a framework where the EoK
operates. This anime could be considered a part of
the “Sociology of emergences” —a sociology fos-
tering the coexistence of all the diverse systems of
understanding reality that exist (Sousa, 2014)—
being an active contributor to the EoK. This is
due to this anime globally bombarding Japanese
sociocultural features, including Japan’s way of
thinking and its particular belief system. Thus,
this production becomes a beacon of a counterhe-
gemonic globalisation due to its ability to enhance
the knowledge and understanding of the world at
a transnational level.
In this anime, every analysed case shows supernat-
ural beliefs and scientific deduction as accurate
models of rationality. Furthermore, being the
main character, Conan is in charge of drawing
an abyssal line between both types of knowledge.
Therefore, dc highlights the epistemological
diversity of the world since it displays the Japanese
universe, and it also emphasises the plurality of
knowledges, transcending scientific rationality.
Even so, the scope of this research is limited in
the sense that it only involves one main work.
However, the results are broad enough if two
facts are considered. First, dc is an internationally
known franchise with more than 1,000 broad-
casted episodes, so the corpus is comprehensive
in terms of representation since it includes sev-
eral types of science-folklore interaction. Second,
the object of study is an animated series, which
does not only adapt the manga created by Aoyama
(1994-) but also original tv episodes produced by
a team of different workers, all of them with pre-
supposed different perspectives regarding science
or folklore. The corpus and, therefore, the results
are expected to be diverse in terms of the creator’s
ideological views due to this fact. All in all, to ver-
ify the accuracy of our results, applying this article’s
methodology to other anime that could broaden
the current scope is certainly recommended.
In terms of conclusions that can be directly drawn
from the analysis, the most relevant implications
are described hereunder. They have been organ-
ised in order of appearance in the analysis, and
from the most general to the most specific.
Interestingly enough, dc’s motto is “shinjitsu wa
itsumo hitotsu,” which roughly translates as “there
is only one truth”, implying the existence of just
one true version of the facts. However, its offi-
cial translation into English was changed into
one truth prevails, meaning that there are several
truths, but only one stands out. Even if the truth
may be only one, the Japanese motto does not
reject the EoK, because the paths to arrive at said
truth are still diverse.
As seen, applying the logics behind Sousa’s EoK
to this animation show a prevalence of three
types of dialogues: (1) dialogues between science
and the incomprehensible, where folklore—the
unknown—is explained through rational think-
ing; (2) dialogues between folklore and ecology,
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
the origin of the folklore element; nevertheless,
further research on this topic is needed to prove
this claim.
Discussion and Conclusions
Although the EoK is a trending theory in the
anthropological field, all research on this topic
tends to be focused on a theoretical approach and,
therefore, empirical studies are far less common.
Moreover, anime as an object of study had not
been examined yet from this perspective, which
reveals a new research area that needs to be further
developed and strengthened. This is supported
by the fact that anime is a transcultural medium
able to amalgamate various kinds of knowledges,
as already stated. Thus, this research stands out as
an innovative approach to the EoK and a ground-
breaking standpoint when it comes to research on
the dc franchise.
In this regard, dc is a clear example of how
Japanese animation articulates the stories repre-
sented in its productions, adapting all types of
tales to a contemporary context and including
detective fiction as a framework where the EoK
operates. This anime could be considered a part of
the “Sociology of emergences” —a sociology fos-
tering the coexistence of all the diverse systems of
understanding reality that exist (Sousa, 2014)—
being an active contributor to the EoK. This is
due to this anime globally bombarding Japanese
sociocultural features, including Japan’s way of
thinking and its particular belief system. Thus,
this production becomes a beacon of a counterhe-
gemonic globalisation due to its ability to enhance
the knowledge and understanding of the world at
a transnational level.
In this anime, every analysed case shows supernat-
ural beliefs and scientific deduction as accurate
models of rationality. Furthermore, being the
main character, Conan is in charge of drawing
an abyssal line between both types of knowledge.
Therefore, dc highlights the epistemological
diversity of the world since it displays the Japanese
universe, and it also emphasises the plurality of
knowledges, transcending scientific rationality.
Even so, the scope of this research is limited in
the sense that it only involves one main work.
However, the results are broad enough if two
facts are considered. First, dc is an internationally
known franchise with more than 1,000 broad-
casted episodes, so the corpus is comprehensive
in terms of representation since it includes sev-
eral types of science-folklore interaction. Second,
the object of study is an animated series, which
does not only adapt the manga created by Aoyama
(1994-) but also original tv episodes produced by
a team of different workers, all of them with pre-
supposed different perspectives regarding science
or folklore. The corpus and, therefore, the results
are expected to be diverse in terms of the creator’s
ideological views due to this fact. All in all, to ver-
ify the accuracy of our results, applying this article’s
methodology to other anime that could broaden
the current scope is certainly recommended.
In terms of conclusions that can be directly drawn
from the analysis, the most relevant implications
are described hereunder. They have been organ-
ised in order of appearance in the analysis, and
from the most general to the most specific.
Interestingly enough, dc’s motto is “shinjitsu wa
itsumo hitotsu,” which roughly translates as “there
is only one truth”, implying the existence of just
one true version of the facts. However, its offi-
cial translation into English was changed into
one truth prevails, meaning that there are several
truths, but only one stands out. Even if the truth
may be only one, the Japanese motto does not
reject the EoK, because the paths to arrive at said
truth are still diverse.
As seen, applying the logics behind Sousa’s EoK
to this animation show a prevalence of three
types of dialogues: (1) dialogues between science
and the incomprehensible, where folklore—the
unknown—is explained through rational think-
ing; (2) dialogues between folklore and ecology,
15Íkala S cience , F olklore , and ecology oF knowledgeS in aoyama ’S detective conan anime
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
where it is shown how folklore activates certain
mechanisms to protect nature; and (3) dialogues
between folklore and the figurative, where folk-
lore is transformed into metaphors to operate in a
contemporary rational sphere.
Likewise, the first type of dialogue can be divided
into three categories according to the lore used in
the episodes: (1) Japanese folklore (traditional leg-
ends, myths), (2) contemporary folklore (urban
legends, tv-inspired stories), and (3) Western
folklore, that is, stories based on Western folk ele-
ments (e.g. vampires, werewolves, Romanesque
castles, etc.). By contrast, folklore represented in
the second type of dialogue (folklore and ecol-
ogy) is always Japanese, probably due to this lore
being attached to the region, which gives morals
about protecting the environment a thoughtful
meaning. The third type of dialogue (the figu-
rative) usually focuses on Japanese myths, even
though other types of lore can also be found,
such as the Grimm’s inspirations included in The
Candy House the Witch Lives in (episode 368).
The selected episodes show a continuous oppo-
site between rational thinking (symbolised by
the case resolution) and supernatural/folk beliefs
(interpreted through the tricks the culprits use to
cover up their crimes). Both aspects are embodied
in the characters. Some of them, like Conan, are a
clear manifestation of rational thinking since they
pursue “the only truth”—a logic that cannot be
spoiled by other ways of understanding the world.
Among these characters, talented detectives like
Heiji Hattori or capable agents such as Shūichi
Akai, Rei Furuya, or Miwako Satō stand out.
Nevertheless, the other side of the abyssal line
reflects on a mythological reasoning that is
grounded on folk beliefs, superstitions, and magic.
These characters are usually villagers from rural
contexts, who engage in folk traditions in their
daily lives and who live away from the city (it must
be noted that urban areas are often depicted as a
symbol of modernity and, therefore, rational
thinking). Thus, rural inhabitants are depicted as
prone to believe that certain events are catalysed
by folklore. In this category, young women can
also be included: Ran Mōri and Kazuha Toyama
display differentiating thinking that opposes the
logic displayed by young men. Police officers can
show non-rational thinking too, which is the case
of the rookie detective, Misao Yamamura, from
the rural prefecture of Gunma. Yamamura, whose
surname means “mountain village”, is a supersti-
tious person that often encounters crimes inspired
by folktales; therefore, he usually believes the
cause of said crimes is simply a “curse” (e.g. The
Unsmashable Snowman, episodes 466–467).
Results undoubtedly show the prevalence of sci-
entific thought, yet it could be argued that the
inclusion of folklore in dc is an attempt to pre-
serve Japanese folktales via rational narratives.
This means it is not necessary to believe that folk
creatures are true because folklore can be pre-
served by not forgetting traditional practices and
wisdom as well as by identifying folk references
and transmitting them from generation to gen-
eration. The importance of protecting certain
traditions relies on ecology. It is essential to pre-
serve one’s roots as well as one’s nature because it
is beneficial to everyone and enables one to live in
harmony with oneself.
Certainly, dc relies on the pedagogical function
of mythology. Although some cases include folk-
lore merely as a reference, most of them offer a
discussion about the struggle between logic and
superstition and end with a moral about the crime.
Thus, this anime is transforming its folk narra-
tives into hybrid contemporary folktales that use
rational reasoning to adapt themselves to modern
contexts.
Another conclusion can be drawn. Regardless of
the sceptic characters’ opinion, Aoyama (1994-)
does not want to ridicule traditional beliefs.
Moreover, these beliefs are respected because the
author tries to prove that there is a cognoscible
truth behind each myth. For instance, in Love,
Ghosts, and World Heritage (episodes 348–349),
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
where it is shown how folklore activates certain
mechanisms to protect nature; and (3) dialogues
between folklore and the figurative, where folk-
lore is transformed into metaphors to operate in a
contemporary rational sphere.
Likewise, the first type of dialogue can be divided
into three categories according to the lore used in
the episodes: (1) Japanese folklore (traditional leg-
ends, myths), (2) contemporary folklore (urban
legends, tv-inspired stories), and (3) Western
folklore, that is, stories based on Western folk ele-
ments (e.g. vampires, werewolves, Romanesque
castles, etc.). By contrast, folklore represented in
the second type of dialogue (folklore and ecol-
ogy) is always Japanese, probably due to this lore
being attached to the region, which gives morals
about protecting the environment a thoughtful
meaning. The third type of dialogue (the figu-
rative) usually focuses on Japanese myths, even
though other types of lore can also be found,
such as the Grimm’s inspirations included in The
Candy House the Witch Lives in (episode 368).
The selected episodes show a continuous oppo-
site between rational thinking (symbolised by
the case resolution) and supernatural/folk beliefs
(interpreted through the tricks the culprits use to
cover up their crimes). Both aspects are embodied
in the characters. Some of them, like Conan, are a
clear manifestation of rational thinking since they
pursue “the only truth”—a logic that cannot be
spoiled by other ways of understanding the world.
Among these characters, talented detectives like
Heiji Hattori or capable agents such as Shūichi
Akai, Rei Furuya, or Miwako Satō stand out.
Nevertheless, the other side of the abyssal line
reflects on a mythological reasoning that is
grounded on folk beliefs, superstitions, and magic.
These characters are usually villagers from rural
contexts, who engage in folk traditions in their
daily lives and who live away from the city (it must
be noted that urban areas are often depicted as a
symbol of modernity and, therefore, rational
thinking). Thus, rural inhabitants are depicted as
prone to believe that certain events are catalysed
by folklore. In this category, young women can
also be included: Ran Mōri and Kazuha Toyama
display differentiating thinking that opposes the
logic displayed by young men. Police officers can
show non-rational thinking too, which is the case
of the rookie detective, Misao Yamamura, from
the rural prefecture of Gunma. Yamamura, whose
surname means “mountain village”, is a supersti-
tious person that often encounters crimes inspired
by folktales; therefore, he usually believes the
cause of said crimes is simply a “curse” (e.g. The
Unsmashable Snowman, episodes 466–467).
Results undoubtedly show the prevalence of sci-
entific thought, yet it could be argued that the
inclusion of folklore in dc is an attempt to pre-
serve Japanese folktales via rational narratives.
This means it is not necessary to believe that folk
creatures are true because folklore can be pre-
served by not forgetting traditional practices and
wisdom as well as by identifying folk references
and transmitting them from generation to gen-
eration. The importance of protecting certain
traditions relies on ecology. It is essential to pre-
serve one’s roots as well as one’s nature because it
is beneficial to everyone and enables one to live in
harmony with oneself.
Certainly, dc relies on the pedagogical function
of mythology. Although some cases include folk-
lore merely as a reference, most of them offer a
discussion about the struggle between logic and
superstition and end with a moral about the crime.
Thus, this anime is transforming its folk narra-
tives into hybrid contemporary folktales that use
rational reasoning to adapt themselves to modern
contexts.
Another conclusion can be drawn. Regardless of
the sceptic characters’ opinion, Aoyama (1994-)
does not want to ridicule traditional beliefs.
Moreover, these beliefs are respected because the
author tries to prove that there is a cognoscible
truth behind each myth. For instance, in Love,
Ghosts, and World Heritage (episodes 348–349),
16Íkala AlbA QuintAiros-soliño And FrAncisco Miguel ojedA-gArcíA
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Conan makes fun of Ayumi, who claims to have
seen a girl ghost. Conan’s friends get mad at him,
arguing that he does not need to believe in ghosts,
he just needs to believe in Ayumi. If the girl is con-
fident that she has seen the spirit of a child, they
must believe her and try to find the truth behind
that apparition. Thus, dc is including a moral
about the importance of respecting other beliefs
because all of them are grounded on the same
truth. Indeed, one may wonder to what extent
“one knowledge prevails”.
Acknowledgments
The authors would like to express their sincere
gratitude to Dr. Beatriz Rodríguez-Rodríguez for
her useful comments and suggestions, as well as
for kindly reviewing the draft of the manuscript.
References
Aoyama, G. (creator). (1994–…). Detective Conan. Yomiuri
tv and tms Entertainment.
Borham-Puyal, M. (2020). Red shoes, witches and creatures
of the forest: Dolores Redondo’s Baztan trilogy
as contemporary fairy tale. In L. Brugué and A.
Llompart (Eds.), Contemporary fairy-tale magic:
Subverting gender and genre (pp. 169–178). Brill.
https://doi.org/10.1163/9789004418998_018
Hatfield, C. (2010). Indiscipline, or, The Condition of
Comic Studies. Transatlantica. Revue d’études
américaines / American Studies Journal, 1, pp. 1–18.
https://doi.org/10.4000/transatlantica.4933
Hunter, J. (2020). Folklore, landscape and ecology: joining
the dots. Time and Mind. The Journal of Archaeolo-
gy, Consciousness and Culture, 13, 221–225. https://
doi.org/10.1080/1751696X.2020.1824098
Kaya, H. M. (2013). The soul of Japanese culture: Kansai.
Skylife. https://www.skylife.com/en/2013-07/
the-soul-of-japanese-culture-kansai.
Kunio, Y. (1948). The Yanagita Kunio guide to the Japanese
folk tale. Indiana up.
Lander, E. (2000). Ciencias sociales: saberes coloniales y eu-
rocéntricos. La colonialidad del saber: eurocentrismo
y ciencias sociales – perspectivas latinoamericanas
(pp. 11–41). clacso.
Martín-Párraga, J. (2020). From fairy tales to slasher films:
Little Red Riding Hood and Wes Craven’s The
last house on the left. In L. Brugué & A. Llompart
(Eds.), Contemporary Fairy-Tale Magic: Subverting
Gender and Genre (pp. 148–157). Brill. https://doi.
org/10.1163/9789004418998_016
Massó Guijarro, E. (2020). Tropos (de)coloniales en la
fantasía antropológica de Sánchez Piñol: recono-
cimiento-extrañamiento como bucle identitario. Un
paseo entre las jaulas: ensayos sobre arte y literatura
(pp. 229–252). Comares.
Miyashita, H. (2017). Common motifs and storylines between
Japanese folktales and modern manga and anime
[Master’s essay]. The State University of New York.
Ogáyar-Marín, F. J. and Ojeda-García, F. M. (2016). El mito
en la modernidad a través del anime japonés. Revista
Nuevas Tendencias en Antropología, 7, 111–132.
Pérez Riobó, A. and Chida, C. (2012). Yokai: monstruos y
fantasmas en Japón. Satori.
Perrottet, T. (2011). Lake Geneva as Shelley and Byron
knew it. New York Times. https://www.nytimes.
com/2011/05/29/travel/lake-geneva-as-byron-
and-shelley-knew-it.html?pagewanted=all.
Quintairos-Soliño, A. (2020a). Contemporary Japanese
folktales represented in anime: The paradigmatic
Case of InuYasha. In L. Brugué & A. Llompart
(Eds.), Contemporary fairy-tale magic: Subverting
gender and genre (pp. 273–285). Brill. https://doi.
org/10.1163/9789004418998_027
Quintairos-Soliño, A. (2020b). Representation of the
‘cultural Other’ in Japan: The Case of Detective
Conan and InuYasha. Anuario de Investigación en
Literatura Infantil y Juvenil, 18, 63–86. https://doi.
org/10.35869/ailij.v0i18.2715
Samsuddin, S. (2019). Literary ecology in Kongga Owose
folklore. Journal of Indonesian Language Edu-
cation and Literary, 4(2), 24–30. https://doi.
org/10.31327/jilel.v4i2.1131
Sari, I. A. L. and Putra, D. N. (2020). Narrative on nature
conservation: A comparative study of the folktales
of Bali Aga and Ainu. Kemanusiaan: The Asian
Journal of Humanities, 27(2), 59–78. https://doi.
org/10.21315/kajh2020.27.2.4
Slaven, A. (2012). The Japanimated folktale: Analysis
concerning the use and adaptation of folktale char-
acteristics in anime. [Master’s thesis]. Western
Kentucky University.
Sousa Santos, B. de. (2014). Más allá del pensamiento abis-
mal: de las líneas globales a una ecología de saberes.
Epistemologías del sur (perspectivas, pp. 21–66.). Edi-
ciones Akal.
Medellín, C oloMbia, V ol. 29 issue 1 (January-april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Conan makes fun of Ayumi, who claims to have
seen a girl ghost. Conan’s friends get mad at him,
arguing that he does not need to believe in ghosts,
he just needs to believe in Ayumi. If the girl is con-
fident that she has seen the spirit of a child, they
must believe her and try to find the truth behind
that apparition. Thus, dc is including a moral
about the importance of respecting other beliefs
because all of them are grounded on the same
truth. Indeed, one may wonder to what extent
“one knowledge prevails”.
Acknowledgments
The authors would like to express their sincere
gratitude to Dr. Beatriz Rodríguez-Rodríguez for
her useful comments and suggestions, as well as
for kindly reviewing the draft of the manuscript.
References
Aoyama, G. (creator). (1994–…). Detective Conan. Yomiuri
tv and tms Entertainment.
Borham-Puyal, M. (2020). Red shoes, witches and creatures
of the forest: Dolores Redondo’s Baztan trilogy
as contemporary fairy tale. In L. Brugué and A.
Llompart (Eds.), Contemporary fairy-tale magic:
Subverting gender and genre (pp. 169–178). Brill.
https://doi.org/10.1163/9789004418998_018
Hatfield, C. (2010). Indiscipline, or, The Condition of
Comic Studies. Transatlantica. Revue d’études
américaines / American Studies Journal, 1, pp. 1–18.
https://doi.org/10.4000/transatlantica.4933
Hunter, J. (2020). Folklore, landscape and ecology: joining
the dots. Time and Mind. The Journal of Archaeolo-
gy, Consciousness and Culture, 13, 221–225. https://
doi.org/10.1080/1751696X.2020.1824098
Kaya, H. M. (2013). The soul of Japanese culture: Kansai.
Skylife. https://www.skylife.com/en/2013-07/
the-soul-of-japanese-culture-kansai.
Kunio, Y. (1948). The Yanagita Kunio guide to the Japanese
folk tale. Indiana up.
Lander, E. (2000). Ciencias sociales: saberes coloniales y eu-
rocéntricos. La colonialidad del saber: eurocentrismo
y ciencias sociales – perspectivas latinoamericanas
(pp. 11–41). clacso.
Martín-Párraga, J. (2020). From fairy tales to slasher films:
Little Red Riding Hood and Wes Craven’s The
last house on the left. In L. Brugué & A. Llompart
(Eds.), Contemporary Fairy-Tale Magic: Subverting
Gender and Genre (pp. 148–157). Brill. https://doi.
org/10.1163/9789004418998_016
Massó Guijarro, E. (2020). Tropos (de)coloniales en la
fantasía antropológica de Sánchez Piñol: recono-
cimiento-extrañamiento como bucle identitario. Un
paseo entre las jaulas: ensayos sobre arte y literatura
(pp. 229–252). Comares.
Miyashita, H. (2017). Common motifs and storylines between
Japanese folktales and modern manga and anime
[Master’s essay]. The State University of New York.
Ogáyar-Marín, F. J. and Ojeda-García, F. M. (2016). El mito
en la modernidad a través del anime japonés. Revista
Nuevas Tendencias en Antropología, 7, 111–132.
Pérez Riobó, A. and Chida, C. (2012). Yokai: monstruos y
fantasmas en Japón. Satori.
Perrottet, T. (2011). Lake Geneva as Shelley and Byron
knew it. New York Times. https://www.nytimes.
com/2011/05/29/travel/lake-geneva-as-byron-
and-shelley-knew-it.html?pagewanted=all.
Quintairos-Soliño, A. (2020a). Contemporary Japanese
folktales represented in anime: The paradigmatic
Case of InuYasha. In L. Brugué & A. Llompart
(Eds.), Contemporary fairy-tale magic: Subverting
gender and genre (pp. 273–285). Brill. https://doi.
org/10.1163/9789004418998_027
Quintairos-Soliño, A. (2020b). Representation of the
‘cultural Other’ in Japan: The Case of Detective
Conan and InuYasha. Anuario de Investigación en
Literatura Infantil y Juvenil, 18, 63–86. https://doi.
org/10.35869/ailij.v0i18.2715
Samsuddin, S. (2019). Literary ecology in Kongga Owose
folklore. Journal of Indonesian Language Edu-
cation and Literary, 4(2), 24–30. https://doi.
org/10.31327/jilel.v4i2.1131
Sari, I. A. L. and Putra, D. N. (2020). Narrative on nature
conservation: A comparative study of the folktales
of Bali Aga and Ainu. Kemanusiaan: The Asian
Journal of Humanities, 27(2), 59–78. https://doi.
org/10.21315/kajh2020.27.2.4
Slaven, A. (2012). The Japanimated folktale: Analysis
concerning the use and adaptation of folktale char-
acteristics in anime. [Master’s thesis]. Western
Kentucky University.
Sousa Santos, B. de. (2014). Más allá del pensamiento abis-
mal: de las líneas globales a una ecología de saberes.
Epistemologías del sur (perspectivas, pp. 21–66.). Edi-
ciones Akal.
17Íkala S cience , F olklore , and ecology oF knowledgeS in aoyama ’S detective conan anime
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Wolf, E. R. (2023). Europa y la gente sin historia. Fondo de
Cultura Económica.
Zipes, J. (2015). Introduction: Towards a defini-
tion of the literary fairy tale. In J. Zipes (Ed.),
The Oxford companion to fairy tales (pp. xv–
xxxv). Oxford up. https://doi.org/10.1093/
acref/9780199689828.001.0001
How to cite this article: Quintairos-Soliño, A., & Ojeda-García, F. M. (2023). Science, folklore, and
ecology of knowledges in Aoyama’s Detective Conan anime. Íkala, Revista de Lenguaje y Cultura, 29(1),
1–17. https://doi.org/10.17533/udea.ikala.353637
Medellín, ColoMbia, Vol. 29 issue 1 (January -april, 2024), pp. 1-17, issn 0123-3432
www.udea.edu.co/ikala
Wolf, E. R. (2023). Europa y la gente sin historia. Fondo de
Cultura Económica.
Zipes, J. (2015). Introduction: Towards a defini-
tion of the literary fairy tale. In J. Zipes (Ed.),
The Oxford companion to fairy tales (pp. xv–
xxxv). Oxford up. https://doi.org/10.1093/
acref/9780199689828.001.0001
How to cite this article: Quintairos-Soliño, A., & Ojeda-García, F. M. (2023). Science, folklore, and
ecology of knowledges in Aoyama’s Detective Conan anime. Íkala, Revista de Lenguaje y Cultura, 29(1),
1–17. https://doi.org/10.17533/udea.ikala.353637