Ryuji Yoshizaki

BLGLFlix editorial view

This is a genre generalist, and that is the interesting thing about him. A Korean webtoon anime, a plastic-model tokusatsu-adjacent series, a GARO instalment, two features, an ABEMA crime drama, and now a BL. Japanese screenwriters at this level are frequently commissioned by format rather than by theme, and a writer who can turn in episodes for an action fantasy one year and a dormitory romance the next is a working professional rather than a genre specialist. Japanese BL is often discussed as though it were made by a separate, sealed-off part of the industry. This filmography says otherwise.

The MBS thread is worth pointing at. He wrote Girl Gun Lady for MBS in 2021 and returns to MBS in 2026 for Hold on, Harutora-kun. Japanese broadcasters run late-night drama slots that carry a great deal of BL, and a writer already inside that system being handed one is a much more ordinary path into the genre than the newcomer route common in Thailand or the Philippines.

A warning for anyone else researching this series. TMDB carries duplicate person records for both of its writers. Alongside “Riuji Yoshizaki” credited as Script, there is a separate “Takaji Yoshizaki” credited as Screenplay on the same show; alongside “Mikiko Takahashi” as Script there is a “Mikio Takahashi” as Screenplay. The official MBS staff listing names one 吉﨑崇二 and one writing partner. We treat the second entries as database duplicates and use the records that can be verified against a biography, a credit list and the broadcaster’s own page. Anyone counting writers off the database without checking will conclude this eight-episode series had four of them.

One more thing about the source material. Hold on, Harutora-kun is a manga adaptation, credited to あめきり, and the manga is covered separately on this site. That is a distinction worth keeping straight: the screenwriter’s job here is adaptation, and the shape of the story belongs to someone else.