Kiyoshi Hirose

Kiyoshi Hirose, man, this guy’s got a wild résumé. You might know his name if you’ve been deep-diving into the anime scene lately. Most folks will clock him from DanDaDan (2024), which—let’s be real—has been making waves for how it smashes the supernatural with that offbeat, almost absurd humor. It’s like, one minute you’re reeling from some cosmic horror, and the next you’re laughing at a totally bonkers schoolyard squabble. That’s Hirose’s vibe: he’ll pull you in with weirdness, keep you hooked with heart. But he’s not just a one-trick pony. Flip back a bit and you’ll see he was on Batman Ninja (2018). Now, that movie—dude, if you haven’t seen Batman as a feudal samurai, what are you even doing? The animation style is nuts, like a fever dream straight from Edo-period Japan, and Hirose’s fingerprints are all over the way it blends action with this wacky, over-the-top energy. It’s Batman meets anime, and somehow it totally works. Then there’s Urusei Yatsura (2022). That’s a reboot of one of those classic, legendary series—the kind your older cousin wouldn’t shut up about. Hirose brings the old-school charm but updates it with a fresh, snappy pace. The characters are still wild, the humor’s still zany, but it all feels new. Honestly, whether you’re into ghosts, bat-themed vigilantes, or alien hijinks, Kiyoshi Hirose’s work is like a shot of espresso for your eyeballs. The dude just doesn’t miss.