Keisuke Fujikawa is a Japanese screenwriter, novelist, and radio writer born in Tokyo on June 16, 1934. He graduated from the Department of Japanese Literature at Keio University in 1958. His career as a writer began in radio before he transitioned to writing scripts for live-action television dramas and tokusatsu productions. Fujikawa is a member of several professional organizations, including the Japan Writers Guild and the Japanese branch of PEN International.

Fujikawa’s work is distinguished by his significant contributions across three major phases of Japanese genre entertainment. From the mid-1960s through the 1970s, he was a prominent screenwriter for tokusatsu, contributing scripts for foundational series such as Ultraman and Ultraseven. During this period, he also wrote for shows like Operation: Mystery!, Mirror Man, and Thunder Mask. From the 1970s into the 1980s, he became a key figure in anime, working on iconic productions including Mazinger Z, Space Battleship Yamato, Galaxy Express 999, and Six God Combination God Mars. For God Mars, he served as the main writer and significantly reworked the original concept into a form that became a landmark series. His scriptwriting credits extended to a wide range of other notable anime, including The Rose of Versailles, Cat's Eye, and the 1980 version of Astro Boy.

Fujikawa’s most significant original creation as a novelist is the Utsunomiko series, which began publication in 1984. This fantasy novel series became a major commercial success, selling over ten million copies and is recognized as a foundational work in the development of the light novel genre. The series was later adapted into other media, including an anime film. Fujikawa’s work as a manga original creator includes the series Sasurai no Taiyō (The Wandering Sun), for which he provided the original story.

In the mid-1980s, Fujikawa shifted his primary focus from screenwriting to writing novels, driven in part by a sense of creative divergence from the industry’s increasing emphasis on visual spectacle over narrative storytelling. He has also worked as a guest professor and has mentored other screenwriters. After focusing primarily on novels for a number of years, he returned to scriptwriting in the 2000s for projects including Ultraman Max and the remake of Ultra Q. His career spans over six decades and is characterized by his influence on tokusatsu and anime during their formative years, as well as his later success as a novelist.