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Yasuhiro Irie
Japanese animator From Wikipedia, the free encyclopedia
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Yasuhiro Irie (入江 泰浩, Irie Yasuhiro; born March 30, 1971) is a Japanese animator, character designer and anime director.[1]
Biography
Beginning his career at Sunrise, Irie worked as an animation director and animator on several productions before transitioning into directing. He made his directorial debut with volumes 2–4 of Alien 9 and the 2004 television series Kurau Phantom Memory. He later directed Fullmetal Alchemist: Brotherhood, a series noted for its storytelling and animation quality.[2][3]
Irie’s career is marked by versatility and experimentation with both traditional hand-drawn and digital animation techniques. His work on series such as Vision of Escaflowne, Cowboy Bebop, and RahXephon has contributed to his reputation as a dynamic storyteller. He is also a member of the Japan Animation Creators Association (JAniCA).[1]
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Career and influence
Irie’s influence extends beyond his directorial projects. His work on Fullmetal Alchemist: Brotherhood has been described as a milestone in modern anime for its balance of character development, narrative pacing, and innovative animation techniques.[3] Moreover, his incorporation of both traditional and digital methods has set new standards within the industry, earning widespread critical acclaim and helping to elevate the international profile of Japanese anime.[2][3] Irie also participates in interviews and public events, where he discusses his creative approach and the evolving nature of the medium.[4]
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Works
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Anime television series
- Mama wa Shōgaku 4 Nensei (1992; key animation)
- Genki Bakuhatsu Ganbaruger (1992; key animation)
- Nekketsu Saikyō Go-Saurer (1993; key animation)
- Vision of Escaflowne (1994–1996; animation director, animation assistance, key animation)
- Mobile Fighter G Gundam (1994; key animation)
- Revolutionary Girl Utena (1997; key animation)
- Cowboy Bebop (1998; key animation)
- Bakusō Kyōdai Let's & Go!! MAX (1998; key animation)
- Uchū Kaizoku Mito no Daibōken (1999; key animation)
- Sorcerous Stabber Orphen (1998–1999; key animation)
- RahXephon (2002; episode director, animation director, key animation)
- Fullmetal Alchemist (2003–2004; OP animation director)
- Gunparade March (2003; character design, character animation director, storyboards, episode direction, key animation)
- Kurau Phantom Memory (2004; director, screenplay, storyboards, episode direction)
- Gaiking: Legend of Daiku-Maryu (2005–2006; key animation)
- Soul Eater (2008–2009; OP storyboards, episode direction, key animation)
- Nogizaka Haruka no Himitsu (2008; storyboards, episode direction, animation director, key animation)
- Fullmetal Alchemist: Brotherhood (2009–10; director)[3]
- Code:Breaker (2012; director)[5]
- Scorching Ping Pong Girls (2016; director)[6]
- Healer Girl (2022; director)[7]
- Housing Complex C (2022; OP storyboards)
- Oshi no Ko (2023–2024; storyboards, episode direction)
- Saint Cecilia and Pastor Lawrence (2023; OP storyboards)
Animated films
- Spriggan (1998; key animation)
- Escaflowne (2000; original picture animation director)
- Digimon Adventure: Bokura no War Game! (2000; key animation)
- Cowboy Bebop: Knockin' on Heaven's Door (2001; storyboard assistance)
- Fullmetal Alchemist: Conqueror of Shamballa (2005; key animation)
- Tekkon Kinkreet (2006; key animation)
ONA
OVA
- Moldiver (1993; key animation)
- Giant Robo: The Animation Chikyū ga Seishi Suru hi (1992–1998; key animation)
- Yōsei Kisuikoden (1993; key animation)
- Fire Emblem: Monshō no Nazo (1996; key animation)
- JoJo's Bizarre Bizarre Adventure's third chapter: "D'Arby The Gambler" (1994; key animation)
- Macross Plus episode 3 (1995; key animation)
- Mobile Suit Gundam: The 08th MS Team (1996–1999; key animation)
- Alien Nine (2001–2002; character design, animation director, director, Vol. 2–Vol. 4)
Games
- Exodus Guilty (1998; key animation)
- NOeL 3 (1998; animation director)
Sources:[1][9][user-generated source]
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Personal life
Public information on Irie’s personal life is limited. He tends to keep his private life separate from his professional career—a common practice among many in the Japanese animation industry—thus maintaining the focus on his creative output and professional achievements.[10]
References
External links
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