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Samurai Flamenco
Samurai Flamenco
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Samurai Flamenco
Cover of the first home video release volume, featuring Masayoshi Hazama
サムライフラメンコ
(Samurai Furamenko)
Genre
Created byManglobe
Anime television series
Directed byTakahiro Omori
Produced by
  • Shinichirō Kobayashi
  • Kōji Yamamoto
Written byHideyuki Kurata
Music by
  • Agehasprings
  • Kenji Tamai
StudioManglobe
Licensed by
Original networkFuji TV (Noitamina)
Original run October 11, 2013 March 28, 2014
Episodes22
Manga
Samurai Flamenco: Another Days
Written bySeiko Takagi
Illustrated byShō Mizusawa
Published bySquare Enix
ImprintG Fantasy Comics
MagazineMonthly GFantasy
Original runOctober 18, 2013July 18, 2014
Volumes2
icon Anime and manga portal

Samurai Flamenco (Japanese: サムライフラメンコ, Hepburn: Samurai Furamenko) is a Japanese anime television series conceptualized by Manglobe and produced by Aniplex, Fuji TV, Kyoraku Industrial Holdings, Dentsu, Hobibox, Movic and DeNA. It was directed by Takahiro Omori, with Hideyuki Kurata handling series composition, Chinatsu Kurahana and Yoshimitsu Yamashita designing the characters, Masaki Yamada serving as main animator, and Agehasprings and Kenji Tamai composing the music. The series focuses on Masayoshi Hazama, a young adult who aspires to become a superhero despite having no superpowers. In doing so, he meets several people who support his cause.

It was broadcast for 22 episodes on Fuji TV's Noitamina programming block from October 2013 to March 2014. Aniplex of America has licensed the series for North America. A manga series by Seiko Takagi and Shō Mizusawa, titled Samurai Flamenco: Another Days, was published in Square Enix's Monthly GFantasy from October 2013 to July 2014, with its chapters collected in two tankōbon volumes.

Plot

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Male model Masayoshi Hazama decides to fulfill his childhood dream of becoming a superhero, despite having no superpowers or the technology to create a high-powered suit. He becomes the hero Samurai Flamenco and begins to fight crime in the name of justice. Police officer Hidenori Gotō finds out about Samurai Flamenco and his real identity by a twist of fate, which leads to him getting involved into much trouble, especially when they come across enemies that were not thought to exist outside of fiction. Nonetheless, these two young men will come face to face with hardships of being crime-fighters while discovering what it truly means to be a hero of justice.

Characters

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Main characters

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Masayoshi Hazama (羽佐間 正義, Hazama Masayoshi)
Voiced by: Toshiki Masuda
Masayoshi is a male model who assumes the identity of the costumed hero Samurai Flamenco (サムライフラメンコ, Samurai Furamenko). Inspired by his grandfather's tokusatsu-inspired "Samurai Flamenco Project", he initially combats ordinary criminals before facing genuine threats like the Torture organization. Following their defeat, he leads the Samurai Sentai Flamenger (サムライ戦隊フラメンジャー, Samurai Sentai Furamenjā) as Flamen Red (フラメンレッド, Furamen Reddo) against the From Beyond cadre. After this conflict, he becomes a fugitive and resumes his solo activities, eventually discovering that a being known as Alien Flamenco has been manipulating events. Despite his heroic persona, Masayoshi possesses a shy demeanor in his civilian life.
Hidenori Gotō (後藤 英徳, Gotō Hidenori)
Voiced by: Tomokazu Sugita
Hidenori is a diligent policeman with a cynical worldview. After discovering Masayoshi's secret identity as Samurai Flamenco, his life becomes increasingly complicated. He maintains the fiction of a long-distance relationship, though his girlfriend has been missing for years; he preserves his sanity by saving her old text messages. The villain Haiji exploits this vulnerability, deleting the messages to psychologically torment him. Despite his initial cynicism, Hidenori gradually develops a respect for Masayoshi's unwavering commitment to justice.

Mineral Miracle Muse / Flamenco Girls

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Mari Maya (真野 まり, Maya Mari)
Voiced by: Haruka Tomatsu
Mari is a member of the idol group Mineral Miracle Muse (ミネラル★ミラクル★ミューズ, Mineraru Mirakuru Myūzu), serving as its composer and lyricist. Her bright personality makes her sociable. She fights as the magical girl Flamenco Diamond (フラメンコダイヤ, Furamenko Daiya) and is aware of Masayoshi's dual identity. Her brutal, vengeful approach to crime contrasts with his idealism. After being kidnapped and tortured, she develops a hatred for superheroes and goes into hiding, wrestling with shame and inferiority. She eventually reconciles with her friends and resumes her role. Mari also has a distinct fondness for men in uniform.
Mizuki Misawa (三澤 瑞希, Misawa Mizuki)
Voiced by: M·A·O
Mizuki is the leader of the idol group Mineral Miracle Muse, known for her caring nature. She is recruited by Mari to join the superhero team as Flamenco Ruby (フラメンコルビー, Furamenko Rubī). A native of the Kansai region, she is later poisoned by the villain Haiji before a concert as part of his campaign against Masayoshi.
Moe Morita (森田 萌, Morita Moe)
Voiced by: Erii Yamazaki
Moe is a member of Mineral Miracle Muse and later becomes the magical girl Flamenco Sapphire (フラメンコサファイア, Furamenko Safaia). A reserved yet carefree high-school student and a native English speaker, she shares a close bond with Mari. During their kidnapping by King Torture, she offers herself in exchange for Mari's freedom, resulting in a severe injury. She later finds Mari in hiding and helps reconcile their relationship, leading to the Flamenco Girls' reunion. Like Mizuki, she is also poisoned by the villain Haiji.

Samurai Sentai Flamenger

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Anji Kuroki (黒木 闇児, Kuroki Anji)
Voiced by: KENN
Anji is recruited by Joji to serve as Flamen Black (フラメンブラック, Furamen Burakku), the weapons specialist of the Flamengers. In his civilian life, he farms and cares for his sickly grandfather. The villain Haiji later attacks his grandfather as part of a campaign to agitate Masayoshi.
Sakura Momoi (桃井 桜, Momoi Sakura)
Voiced by: Yukari Tamura
Sakura is the only female member of the Flamengers, serving as Flamen Pink (フラメンピンク, Furamen Pinku) and handling public relations. She joins due to her strong affection for Joji Kaname, causing friction with his wife. Hailing from a wealthy family, she is disowned for this obsession but is later reconciled. She enjoys knitting despite considering it overly feminine. Sakura is deeply proud of her long hair and is traumatized when the villain Haiji cuts it.
Soichi Aoshima (青島 蒼一, Aoshima Sōichi)
Voiced by: Showtaro Morikubo
Soichi is a longtime friend of Joji and serves as Flamen Blue (フラメンブルー, Furamen Burū), the Flamengers' second-in-command and strongest fighter. He initially resents Masayoshi's leadership, desiring the position of Flamen Red for himself due to his loyalty to Joji, but eventually gains respect for Masayoshi. Despite his youthful appearance, he is the team's oldest member. The villain Haiji later vandalizes his apartment, destroying his collection of Red Axe memorabilia to agitate Masayoshi. Following the team's dissolution, Soichi and Joji work together as actors portraying the hero "Neo Axe".
Hekiru Midorikawa (緑川 碧, Midorikawa Hekiru)
Voiced by: Toshiyuki Toyonaga
Hekiru is the stoic Flamen Green (フラメングリーン, Furamen Gurīn), the Flamengers' strategist and tactical analyst. He cares deeply for his sister and young niece. The villain Haiji exploits these attachments and destroys Hekiru's favorite book to torment him. After the team's dissolution, Hekiru attends graduate school, where he gains a number of persistent female admirers.

Antagonists

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King Torture (キング・トーチャー, Kingu Tōchā)
Voiced by: Shō Hayami
King Torture is a criminal mastermind who delights in torturing his victims. He commands hypnotized individuals, transforming them into monsters whose crimes grow increasingly absurd to mask his true goal: merging humanity into a single hive-minded entity to enforce a twisted peace. A former enthusiast of superheroism who embraced villainy, he views heroism as futile. He claims his followers willingly undergo transformation for their shared dream, memorializing them in a shrine. In his fanatical devotion, he amputates his own arm to attach a chainsaw weapon. King Torture is ultimately impaled on a fragment of his own statue and dies after his final missile is destroyed. His defeated followers shout "Viva Torture" upon death.
From Beyond (フロム・ビヨンド, Furomu Biyondo)
From Beyond is an alien organization that supplied King Torture with the power to create monsters. It introduces its threats through stylish promotional videos. The group is structured into smaller cadres, which the Flamengers confront individually. Its de facto leader is Beyond Flamenco, a being identical to Masayoshi who claims to be his brother but is actually an alternate version who abandoned his ideals in a crusade against evil. After Beyond Flamenco dies by suicide with Masayoshi's gun, the entire remaining membership of From Beyond vanishes. Its defeated monsters recite the oath "From Beyond to Heaven" upon death.
Shintarō F. Okuzaki (尾久崎・F・慎太郎, Okuzaki F. Shintarō)
Voiced by: Kōji Ishii
Shintarō is the Prime Minister of Japan who spearheads an anti-vigilante campaign to raise his public approval rating. He possesses a special suit of armor that grows stronger as his ratings increase. The "F" in his name stands for "Flamenco", a pattern Masayoshi notices is recurring. He is ousted from office after the public learns his campaign was motivated by ratings rather than civic concern. In reality, his goal was to amass enough power to defeat the extraterrestrial threat, Alien Flamenco.
Haiji Sawada (澤田 灰司, Sawada Haiji)
Voiced by: Suzuki Haruhisa [ja]
Haiji is a delinquent youth first encountered by Masayoshi. After the defeat of Alien Flamenco, he re-emerges, destroying Masayoshi's apartment and revealing a deep obsession with Samurai Flamenco. He orchestrates a campaign of psychological torment against Masayoshi's allies, aiming to transform the hero into a dark anti-hero called "Samurai Flamenco Darkness". His plan culminates in an attempt to be killed by Hidenori to provide Masayoshi with a tragic backstory, which fails. Haiji is subsequently subdued by Mari and incarcerated. He vows to return, a challenge Masayoshi accepts on the condition that his friends remain unharmed.

Other characters

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Joji Kaname (要 丈治, Kaname Jōji)
Voiced by: Jūrōta Kosugi
Joji Kaname is a famous action actor, known for starring in the television show Red Axe (レッドアックス, Reddo Akkusu). He becomes Masayoshi's combat trainer and later reveals he is a member of a secret organization, recruiting Masayoshi and others to form the Flamengers. He subsequently discloses that he is the genuine Red Axe, having secretly fought monsters for years alongside other heroes like Harakiri Sunshine and his wife, Lady Axe. Joji is critically injured when Haiji runs him over with a truck. After recovering, he becomes the director of a museum dedicated to heroes.
Jun Harazuka (原塚 淳, Harazuka Jun)
Voiced by: Tōru Ōkawa
Jun Harazuka is a middle-aged developer for the stationery company Monsters Stationery. He provides Masayoshi with non-lethal weapons disguised as stationery to aid his crime-fighting. Habitually wearing protective body armor of his own design, this precaution saves him from grave injury when the villain Haiji pushes him down a flight of stairs.
Sumi Ishihara (石原 澄, Ishihara Sumi)
Voiced by: Chie Nakamura
Sumi is a strict and competent manager at the production company Caesar Pro, acting as Masayoshi's employer. She suspects his secret identity early on and works diligently to protect it until he makes a public revelation. After being saved by Samurai Flamenco, her demeanor softens. She suspects a close relationship between Masayoshi and Goto, often encouraging Masayoshi to confide in him. Sumi later confirms to Masayoshi that she had deduced his identity long before his official disclosure.
Akira Konno (今野 明, Konno Akira)
Voiced by: Satoshi Mikami
Akira is the manager of the news website High Rollers Hi! and takes a professional interest in uncovering Samurai Flamenco's identity. He pursues Sumi Ishihara romantically, despite her repeated rejections, even proposing to her during a torture session. After being tortured by King Torture, he leaves the country to recuperate. Konno later films Mari's challenge to King Torture and the subsequent battle between the Prime Minister and Samurai Flamenco.
Totsuka (戸塚)
Voiced by: Masayuki Katou [ja]
Totsuka is Goto's colleague and section chief at the police box. Preferring to remain focused on his duties, he is nonetheless observant of Goto's personal life. He notices Goto's concern for Masayoshi, having been present when Masayoshi first returned a dry-cleaned shirt and on numerous occasions when Goto was researching Samurai Flamenco.

Media

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Anime

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The series, directed by Takahiro Omori and written by Hideyuki Kurata, was broadcast on Fuji TV's Noitamina programming block from October 11, 2013, to March 28, 2014.[3][4][a] It was simulcast by Crunchyroll. The episodes have been collected in eleven DVD and Blu-ray volumes released between December 25, 2013, and October 22, 2014.[6] The anime is licensed by Aniplex of America in North America, Anime Limited in the United Kingdom, and Madman Entertainment in Australia.

For the first part of the series, the opening theme for the anime is "Just One Life" performed by Spyair and the ending theme song is "Date Time" (デートTIME, Dēto Taimu), performed by Haruka Tomatsu, Erii Yamazaki, and M·A·O as their characters' band Mineral Miracle Muse. For the second part, the opening is "Ai Ai Ai ni Utarete Bye Bye Bye" (愛愛愛に撃たれてバイバイバイ, Ai Ai Ai ni Utarete Bai Bai Bai) by Flow and the ending is "Flight 23-ji" (フライト23時, Furaito Nijūsanji) also performed by Mineral Miracle Muse.

Episodes

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Episodes 6, 8, 12, 15, 17, 19 and 20 were written by Takahiro. All other episodes were written by Hideyuki Kurata.

No.TitleStoryboard byDirected byAnimation supervision byOriginal release date
1"Samurai Flamenco Debuts!"
Transliteration: "Samurai Furamenko, Debyū!" (Japanese: サムライフラメンコ、デビュー!)
Takahiro OmoriTakahiro Omori, Shinpei NagaiMasaki Yamada, Wataru YamamotoOctober 11, 2013 (2013-10-11)
Masayoshi Hazama, who has always dreamed of being a hero, becomes the masked vigilante "Samurai Flamenco" to fight for justice. His efforts are ineffective and lead to considerable trouble. A police officer, Hidenori Gotō, discovers his secret and offers his assistance.
2"My Umbrella Is Missing"
Transliteration: "Kasa ga Nai" (Japanese: 傘がない)
Katsumi TerahigashiShunsuke MachitaniNaoyuki Asano, Kenichi Kutsuna, Masaki TakasakaOctober 18, 2013 (2013-10-18)
Masayoshi struggles to concile his work as a model and his secret life of crimefighting with no success, until he rushes to stop a man who stole an umbrella and the ensuing situation brings him the attention of the media.
3"Flamenco vs. Fake Flamenco"
Transliteration: "Furamenko VS Nisefuramenko" (Japanese: フラメンコVSニセフラメンコ)
Yoshiharu AshinoAki HayashiYūji Hakamada, Masaiku TayoriOctober 25, 2013 (2013-10-25)
As the ruse about Samurai Flamenco increases, Masayoshi meets Joji Kaname, a veteran actor of action hero shows and one of his idols since childhood. However, tension rises between them when Joji attempts to take advantage of Flamenco's sudden fame to bolster his own career.
4"Idol Devastation"
Transliteration: "Aidoru Jūrin" (Japanese: アイドル蹂躙)
Wakiichi YūtaMamiko SekiyaTakao Hasegawa, Shunryō YamamuraNovember 1, 2013 (2013-11-01)
Masayoshi is approached by Mari Maya, an idol and aspiring superheroine who drags him to do her bidding as she starts fighting crime in the city as the "Flamenco Girl".
5"The Meaning of Justice"
Transliteration: "Seigi to wa" (Japanese: 正義とは)
Fumiya KitajōFumiya KitajōWataru Yamamoto, Saka Ikeda, Yūji HakamadaNovember 8, 2013 (2013-11-08)
The partnership between Samurai Flamenco and Flamenco Girl soon attracts the media's attention, until their conflicting views of justice puts a divide between them and Mari decides to join forces with her fellow idols instead.
6"Capture Samumenco!"
Transliteration: "Samumenko o Tsukamaero!" (Japanese: サムメンコを捕まえろ!)
Eiji SuganumaYūsuke OnodaMasaiku Tayori, Masaki Takasaka, Akane UmezuNovember 15, 2013 (2013-11-15)
A huge sum is offered to whoever exposes the identity of Samurai Flamenco and Masayoshi is facing the risk of his secret identity exposed, until scientist Jun Harazuka appears with some weapons disguised as stationary to help him.
7"Change the World"
Transliteration: "Chenji za Wārudo" (Japanese: チェンジ・ザ・ワールド)
Jirō NakamuraAkira SatōToshie Nakamura, Yūji Hakamada, Takao Hasegawa, Yōko Kutsuzawa, Masahiro YamanakaNovember 22, 2013 (2013-11-22)
The efforts of Samurai Flamenco and the Flamenco Girls bear fruit and the city becomes a safer place, but Masayoshi is devastated upon learning the secret behind his parents' death. When doing a PR event with the police, Masayoshi and Hidenori find themselves in a pinch when a real monster appears before them.
8"Attack! Army of Evil"
Transliteration: "Mōkō! Aku no Gundan" (Japanese: 猛攻!悪の軍団)
Futoshi HigashideFutoshi HigashideTakaaki Wada, Yoshihiro Kanno, Shunryō Yamamura, Saka IkedaNovember 29, 2013 (2013-11-29)
King Torture, leader of the evil "Torture" organization declares his intention to enslave the people of Japan and dares Samurai Flamenco to challenge him. Since then a monster attacks the city every week, just to be defeated by Flamenco with assistance from Hidenori and the Flamenco Girls. As the heroes always defeat Torture's monsters, the Japanese Government stops caring about it at all and both Masayoshi and Mari's band have a huge leap in their careers, unaware that according to King Torture, everything is going as he planned.
9"Predetermined Quota"
Transliteration: "Aragaenu Noruma" (Japanese: 抗えぬノルマ)
Miyana OkitaAki HayashiToshie Nakamura, Masaiku Tayori, Yūji Hakamada, Katsuhiro Kumagai, Saka Ikeda, Masahiro Yamanaka, Masaki TakasakaDecember 5, 2013 (2013-12-05)
As the monsters sent by Torture are continuously defeated by Masayoshi without further casualties, the population stop bothering at all for their battles and even Mari stops lending him a hand, determined to confront King Torture herself instead. However, Mari ends up captured by King Torture who uses her as a hostage to challenge Samurai Flamenco for a decisive battle.
10"Final Battle at the Enemy Base!"
Transliteration: "Kessen! Teki no Kichi" (Japanese: 決戦!敵の基地)
Katsumi TerahigashiHiroyoshi AoyagiToshie Nakamura, Manabu Nii, Emi Hirano, Naoaki Hōjō, Akane Umezu, Kazuma Uike, Takao HasegawaDecember 12, 2013 (2013-12-12)
Having captured both Mari and Moe, Torture brutally tortures Moe, who expresses her desire to take Mari's place in order to save her. Torture in turn releases Moe, stating to Mari that she herself never really cared for her. Masayoshi eventually arrives and confronts Torture, who explains how he was a boy who enjoyed superhero stories but once realizing that the heroes he idolized never attain the true peace they fight for, he decided to turn to evil instead. When Torture corners Masayoshi, he is impaled after Hidenori arrives on the scene. Torture then reveals his master plan, in which he plans to launch a rocket that will release particles that will combine with particles left behind by the defeated monsters and create a giant monster. However, Hidenori manages to stop the rocket from launching whilst Masayoshi defeats Torture. After defeating the villain and stopping his master plan with Hidenori's help, Masayoshi reveals his secret identity to the world.
11"From Beyond"
Transliteration: "Furomu Biyondo" (Japanese: フロム・ビヨンド)
Wakiichi YūtaToshiaki KidokoroYoshinori Deno, Yūji Hakamada, Masaki Takasaka, Saka Ikeda, Masaiku Tayori, Takao Hasegawa, Yukinori UmetsuDecember 19, 2013 (2013-12-19)
Just as the press question Masayoshi about his identity, a mysterious floating island rises from the Tokyo Bay. Joji reveals to Masayoshi that this is the work of From Beyond, an alien organisation that provided Torture with the power to make monsters. To this end, Joji has been assembling a team known as the Flamengers, planning on recruiting Masayoshi as their leader. Upon reaching their secret base, however, they discover it has been infiltrated by a toxic commander from the From Beyond organisation named Ugly Toxic Poison. Joji assembles four more Flamengers, who are all confused over being allegedly recruited as Red Rangers, asking them to sort amongst themselves who gets to be leader whilst he goes to confront Poison. After Joji's noble 'sacrifice', the group decide to let Masayoshi be the leader and confront Poison, who soon grows to enormous size but is defeated by the Flamengers' Flamen Robo.
12"Documentary! We Are the Flamengers!!"
Transliteration: "Dokyumento! Kore ga Furamenjā da!!" (Japanese: ドキュメント!これがフラメンジャーだ!!)
Yoshimitsu ŌhashiYasuto NishikataEmi Hirano, Erika Arakawa, Akane Umezu, Kazuma Uike, Shunryō Yamamura, Kumiko Takayanagi, Katsuhiro Kumagai, Masahiro Yamanaka, Masaiku Tayori, Yukinori Umetsu, Eiji SuganumaJanuary 9, 2014 (2014-01-09)
As the Flamengers continue to defeat monsters from the From Beyond organisation, Masayoshi is still trying to adjust to his role as a team leader. Meanwhile, Mari has been hiding from the public eye at Hidenori's place, feeling she has no place to return to. The Flamengers have a documentary filmed about them as they go against some From Beyond monsters turning cities into an ice age. After defeating two monsters who were holding some kids hostage, they are soon confronted by a large group of monsters, but with some teamwork and new weapons, they overcome them. The team soon act on more friendlier terms with Masayoshi, until they learn there are yet more From Beyond monsters to come.
13"The Eve of the Final Battle"
Transliteration: "Kessen Zen'ya" (Japanese: 決戦前夜)
Eiji SuganumaYūsuke OnodaToshie Nakamura, Manabu Nii, Emi Hirano, Akane Umezu, Naoaki Hōjō, Masaki Takasaka, Takao Hasegawa, Yōko KutsuzawaJanuary 16, 2014 (2014-01-16)
With From Beyond allegedly sporting over 60,000 monsters at their disposal, Masayoshi finds himself under a lot of stress, particularly when he learns of an all-out attack on Japan being planned for February 7. Joji convinces Prime Minister Shintaro Okuzaki to make an announcement, on the condition it be made after the leaders and their families are evacuated first, giving the Flamengers 24 hours to each choose five people to move to the shelters with them. Whilst going to speak with Hidenori, Masayoshi discovers Mari staying with him and is unable to tell him about the evacuation. As Masayoshi finds he cannot limit his choices to just five, Joji tells him his decision to not tell anyone, only to disappear the next morning. Masayoshi, paranoid that an attack could occur at any moment, decides to make his own announcement during a talkshow appearance.
14"The Destruction of Japan"
Transliteration: "Nippon Kaimetsu" (Japanese: ニッポン壊滅)
Katsumi TerahigashiSayo AoiToshie Nakamura, Emi Hirano, Akane Umezu, Kazuma Uike, Erika Arakawa, Yūji Hakamada, Masahiro Yamanaka, Saka Ikeda, Shunryō YamamuraJanuary 24, 2014 (2014-01-24)
Just as Masayoshi makes his announcement, members from the From Beyond organisation call all the cellphones in the area, stating they will attack the next morning. After the prime minister declares a state of emergency, Masayoshi is picked up by Sumi and Akira, who had learned of the government's plans. Feeling responsible, Masayoshi makes his own broadcast to encourage the panicked citizens to be heroes in their own way, allowing them to reach shelters without hassle. The next morning, Hidenori brings Moe and Mizuki to his apartment to talk things out with Mari before heading to his post. As From Beyond's attack begins, they bring forth a 'Destruction of Japan Device', which plots to drill into Mt. Fuji, causing it to erupt. Just as things look their worse, Joji returns, bringing with him various tokutatsu heroes to help the fight, encouraging the citizens to fight alongside them. Just as the Flamengers are about to take on the destruction device, Masayoshi receives a call from the From Beyond organisation's final member, Beyond Flamenco, who looks exactly like Masayoshi.
15"Imitation Justice"
Transliteration: "Imitēshon Jasutisu" (Japanese: イミテーション・ジャスティス)
Akira SatōAkira Satō, Mitsutoshi SatōManabu Nii, Naoaki Hōjō, Wataru Yamamoto, Hitomi Hasegawa, Kumiko Takayanagi, Takao Hasegawa, Masaki Takasaka, Tomokazu ShimabukuroJanuary 31, 2014 (2014-01-31)
Beyond Flamenco states a lot of cryptic messages, before taking his own life, causing all the From Beyond members to disappear. With the destruction device still running, the Flamengers try to use all their Flamen Robo's weapons to try and stop it, managing to stop it in time and safely escape. With peace returned to Japan, the Flamengers disband and return to their daily lives. Meanwhile, Masayoshi, still curious about Beyond Flamenco's last words, is approached by an American hero named Mr. Justice, who protects him from the Bureau of Peace who are after him and the other Flamengers for some reason. Justice informs Masayoshi that the Japanese government, led by the prime minister, created From Beyond as a means to distract countries from wars and improve their political standing, just like in his country. As the Flamengers were seen as a threat to the Japanese government's plans, they decided to frame the Flamengers for attempting to overthrow the government. Justice helps Masayoshi escape whilst he himself is apprehended, leaving Masayoshi fleeing as he is put on Japan's Most Wanted list.
16"The Wandering Hero"
Transliteration: "Sasurai no Hīrō" (Japanese: さすらいのヒーロー)
Eiji SuganumaMichita ShiraishiToshie Nakamura, Manabu Nii, Erika Arakawa, Sachiko Sugimoto, Emi Hirano, Kazuma Uike, Katsuhiro Kumagai, Masahiro Yamanaka, Saka Ikeda, Takao Hasegawa, Tomokazu ShimabukuroFebruary 7, 2014 (2014-02-07)
Mari, who had run off from Moe and Mizuki after backlashing at them, revisits King Torture's hideout, reminding herself of the horrors she and Moe went through and lamenting her own worthlessness. Moe and Mizuki catch up to her and the three manage to make up with each other. Meanwhile, Mazayoshi, who is still in hiding from the authorities and growing weak from hunger, meets a short-sighted homeless man who offers him some food. He explains how when life was treating him badly, it was Samurai Flamenco who taught him to help others. Encouraged by his words, Mazayoshi goes to Hidenori, who has been waiting for him to come seek his help.
17"The Ultimate Prime Minister"
Transliteration: "Saikyō Sōri" (Japanese: 最強総理)
Atsushi WakabayashiYūsuke OnodaYūji Hakamada, Saka Ikeda, Hitomi Hasegawa, Naoaki Hōjō, Akane Umezu, Kazuma UikeFebruary 14, 2014 (2014-02-14)
Masayoshi escapes with Hidenori and Jun, who have been in contact with each other whilst he was in hiding, arriving at a secret base where Akira awaits, later joined by Mr. Justice. The next day, Masayoshi and Hidenori arrive at the Diet to stop Prime Minister Okuzaki from passing an anti-superhero bill. Okuzaki equips himself with a powerful mech suit, powered by support from the public, and starts attacking Masayoshi, overpowering all of his techniques. Whilst Mari and the others hold off Okuzaki's guards, Hidenori joins the fight but is also beaten. However, Akira manages to stream the action, and Okuzaki's plot, on television to the world, rapidly decreasing his support and weakening his suit, allowing Masayoshi and Hidenori to defeat him. However, it is soon revealed that Mr. Justice is actually an Alien Flamenco, whose race had replaced all the world's leaders, which Okuzaki was trying to put a stop to. Stepping outside, Masayoshi and the others are shocked to find a giant spaceship in the sky.
18"Flamenco in Space"
Transliteration: "Uchū de Furamenko" (Japanese: 宇宙でフラメンコ)
Miyana OkitaInuo InukawaManabu Nii, Takao Hasegawa, Emi Hirano, Masahiro Yamanaka, Kazuma Uike, Masaki Takasaka, Kazuyuki IkaiFebruary 28, 2014 (2014-02-28)
A mysterious being calling himself a Flamencolian appears before Masayoshi and the others, wishing to speak to Masayoshi alone. Despite concerns that he might not make it back alive, Hidenori encourages Masayoshi to go into the Flamencolian's spaceship, where he explains he was the one responsible for King Torture and From Beyond's monsters, believing evolution is the key to universal peace. Unable to persuade him to join their cause, the Flamencolian grows in size to attack Masayoshi, who uses the Flamencolian's evolutionary device to grow in size too, becoming Space Final Flamenco, knocking the Flamencolian into an endless journey into deep space. Stranded on the moon following the battle, Masayoshi is greeted by a being calling itself the universe's will. He explains all of the enemies Masayoshi has faced came because he wished for them, giving him the choice of whether to continue fighting evil, or live on in peace. Masayoshi decides to return to his own world, choosing to keep being a hero not to fight enemies, but to do what is right. After getting to speak with the spirit of his grandfather and learning the somewhat uneventful meaning of "Flamenco", Masayoshi is sent back home where he meets up with Hidenori.
19"The Quiet Life"
Transliteration: "Shizuka na Seikatsu" (Japanese: 静かな生活)
Katsumi TerahigashiYukio Kuroda, Kōji KobayashiHitomi Hasegawa, Yukinori Umetsu, Masaiku Tayori, Katsuhiro Kumagai, Tomokazu Shimabukuro, Kazuyuki Ikai, Yūji Hakamada, Masaki TakasakaMarch 7, 2014 (2014-03-07)
Six months has passed and life has been peaceful for Masayoshi, who people are keen to make World President. Meanwhile, Hidenori makes plans to meet up with his girlfriend for a long-awaited date. Upon hearing about this, Mari drags Masayoshi along with him to follow Hidenori to his hometown. There, Hidenori's mother explains that Hidenori had a girlfriend during high school, who disappeared one day and was never found. She then reveals that Hidenori had in fact been sending texts to himself impersonating the girlfriend in order to keep his sanity. As Mari feels downhearted upon learning about this, she spends the evening with Moe and Mizuki. Meanwhile, Masayoshi encounters a boy named Haiji Sawada, who sets off an explosion which destroys Masayoshi's apartment.
20"Boy From The Past"
Transliteration: "Itsuka Mita Shōnen" (Japanese: いつか見た少年)
Masayuki☆MiyajiAkira SatōHitomi Hasegawa, Masahiro Yamanaka, Masaiku Tayori, Takao Hasegawa, Kazuyuki Ikai, Yūji Hakamada, Masaki Takasaka, Naoaki Hōjō, Akane Umezu, Sachiko Sugimoto, Toshie NakamuraMarch 14, 2014 (2014-03-14)
As Masayoshi is left with many questions about Haiji, he receives a call from him whilst staying in a hotel, explaining how he became obsessed with him after witnessing his earliest superhero efforts, deciding he wanted to become his arch nemesis dedicated to doing bad things to Samurai Flamenco. Masayoshi becomes further confused when he hears from the police that Haiji Sawada allegedly died from illness one year ago. The next day, after Haiji tells Masayoshi he intends to do something 'colorful', malicious things are done to the Flamengers, with Jun being pushed down the stairs and Joji being hit by a truck. After receiving more threats from Haiji, Masayoshi meets up with Hidenori, who offers little comfort and even becomes angry when he brings up her missing girlfriend. Upon realising that the only one who has seen or heard Haiji is himself, Masayoshi starts to wonder if he is just imagining him.
21"Teaching Love"
Transliteration: "Ai o Oshiete" (Japanese: 愛をおしえて)
Katsumi Terahigashi, Wakiichi YūtaMichita ShiraishiHitomi Hasegawa, Masaiku Tayori, Kazuyuki Ikai, Yukinori Umetsu, Shunryō Yamamura, Katsuhiro Kumagai, Emi Hirano, Manabu Nii, Kazuma Uike, Erika ArakawaMarch 21, 2014 (2014-03-21)
After being informed about Haiji, Mari steps up on stage for her concert, only to find Moe and Mizuki had been poisoned. Meanwhile, Masayoshi is called to the hospital by Joji, who had heard someone mention Samurai Flamenco before he was hit by the truck, telling him that he needs to learn to love to become stronger. As Masayoshi becomes hung up over what that means, Sumi offers to give him advice about his situation, asking Akira to investigate Haiji before teaching Masayoshi about the various types of love. Meanwhile, Haiji lures Hidenori into a trap and kidnaps him, instructing Masayoshi to go to his old apartment.
22"Samurai Flamenco, Naked!!"
Transliteration: "Samurai Furemenko, Neikiddo!" (Japanese: サムライフラメンコ・ネイキッド!!)
Eiji SuganumaTakahiro Omori, Inuo InukawaMasahiro Yamanaka, Takao Hasegawa, Masaiku Tayori, Masaki Takasaka, Emi Hirano, Manabu Nii, Naoaki Hōjō, Akane Umezu, Kazuma Uike, Erika Arakawa, Toshie NakamuraMarch 28, 2014 (2014-03-28)
Hidenori recalls how he started sending messages to himself after his girlfriend went missing, despite attempts from his mother to get him to stop, eventually joining the police force in the hopes of one day finding her. Back in the present, Haiji attempts to drive Hidenori into killing him by deleting the texts that have kept him going all this time. After hearing from Akira that Haiji had his parents fake his death, Masayoshi arrives at the apartment to confront Haiji, who desires to turn Samurai Flamenco into a 'dark hero' by having Hidenori kill him. Believing fighting him as Samurai Flamenco will not solve anything, Masayoshi strips naked in order to confront him as himself. As Hidenori tries to aim Haiji's gun at him, Masayoshi stands in his way and manages to calm him down in his own way, whilst Mari apprehends Haiji. Six months later, a museum is opened to celebrate heroes, whilst Masayoshi, who occasionally pays visits to Haiji, continues to act as Samurai Flamenco to help solve the little crimes.

Manga

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A manga series written by Seiko Takagi and illustrated by Shō Mizusawa, titled Samurai Flamenco Another Days (サムライフラメンコ Another Days), was serialized in Square Enix's Monthly GFantasy magazine from October 18, 2013, to July 18, 2014.[7][8][9] Its chapters were collected in two tankōbon volumes, released on March 27 and September 27, 2014, respectively.[10][11]

Mobile phone game

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A mobage of Samurai Flamenco was released on February 28, 2014. It works on iPhone, iOS6 and Android. The genre is RPG.[12]

Reception

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"Samurai Flamenco has its ups and downs, and the production itself doesn't quite live up to the story it's telling, but there's a solid show here that ranks among the best of the year, and I know I'm not the only one who thinks that."

Joseph Luster from Otaku USA[13]

The series' early episodes were noted for their depiction of the protagonist confronting non-superpowered criminals and for introducing its core cast, who were often perceived as likeable.[13][14] While Carl Kimlinger of Anime News Network considered these initial episodes underwhelming, he reported that the series became more engaging as it progressed.[1] Joseph Luster of Otaku USA compared these early installments to the films Kick-Ass and Super, noting Samurai Flamenco utilized similar concepts in a distinct manner.[13] His colleague David Cabrera named it his favorite 2013 series, citing its multiple narrative transitions.[15]

A significant genre shift beginning with episode seven surprised reviewers.[16] Kimlinger remarked that while the new arc might otherwise seem like a "baffling train wreck," its execution was highly effective, praising the integration of character actions with science fiction elements.[16] Luster also reacted positively, observing that this shift provided further development for the protagonist Masayoshi and his allies as they confronted a new threat.[13] Andy Hanley from UK Anime Network, while enjoying these episodes, expressed concern that the story might become overly serious.[14] Reviewing the series' second half, Kimlinger wrote that initial surprise at its twists gave way to a "half-bored curiosity" due to a lack of narrative payoff; he criticized the delivery of certain story arcs and described some plot twists as nonsensical, though he praised the series' humor and its avoidance of stagnation.[17] The animation quality was also criticized, with Hanley singling out episode 11 as particularly poorly animated.[13][14][16]

Notes

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Samurai Flamenco is a Japanese television series directed by Takahiro Ōmori, written by Hideyuki Kurata, and produced by the studio , which originally aired 22 episodes on Fuji TV's programming block from October 5, 2013, to March 29, 2014. The narrative centers on Masayoshi Hazama, a fashion model who, inspired by childhood admiration for heroes, creates the costumed persona of Samurai Flamenco to combat petty crime using improvised weapons and basic , without superpowers or advanced technology. The series begins as a satirical homage to Japanese superhero genres like Super Sentai, depicting Hazama's earnest but inept vigilantism and his alliance with off-duty policeman Hidenori Gotō, who provides logistical support and grapples with the ethical ambiguities of extralegal justice. As the plot progresses, it incorporates escalating threats from organized villain groups, mysterious artifacts, and interdimensional entities, shifting toward darker themes of fanaticism, identity, and the psychological toll of heroism, which divide viewer interpretations between comedic absurdity and profound character study. A manga adaptation illustrated by Seiko Takagi serialized in Square Enix's Monthly Big Gangan from May 2013 to July 2014 further expanded the universe, though the anime remains the primary medium. The production concluded Manglobe's operations, as the studio ceased activities post-broadcast due to financial issues.

Plot Overview

Initial Vigilantism Arc

Masayoshi Hazama, a male model based in , decides to realize his longstanding aspiration of emulating tokusatsu heroes by creating a rudimentary samurai-themed costume and initiating patrols against minor urban crimes. Lacking any superhuman abilities or sophisticated equipment, Hazama confronts everyday infractions such as public flashing and petty theft using improvised tactics and physical restraint. His debut as Samurai Flamenco occurs in episode 1, where he subdues a flasher in an alley, marking the start of his self-imposed mission to uphold justice in a manner reminiscent of Japanese special effects television series. During one such patrol, off-duty Hidenori Gotō stumbles upon Hazama disrobing in a secluded area to conceal his identity, compelling Gotō to learn of the vigilante's civilian . Initially skeptical and concerned about legal ramifications, Gotō gradually assumes a supportive role, offering practical guidance on safety protocols and occasionally aiding in pursuits, though he repeatedly urges Hazama to cease operations due to the inherent risks of unlicensed . This partnership underscores the arc's exploration of contrasting worldviews, with Gotō's grounded realism tempering Hazama's unyielding heroism. Hazama documents his encounters with a camera and uploads footage to , propelling Samurai Flamenco to online celebrity status as videos accumulate millions of views and spark public discourse on justice. The ensuing popularity inspires a wave of imitators, including fraudulent claimants like aging Kaname Jōji who impersonates Flamenco for personal gain in episode 3, and more volatile copycats such as the extreme vigilante From Beyond, whose aggressive methods blur the line between heroism and . These developments amplify the narrative's satirical lens on conventions, depicting the logistical absurdities and societal ripple effects of amateur crime-fighting in a modern, media-saturated environment without escalating to otherworldly conflicts.

Escalation to Supernatural Threats

As the series progresses beyond localized , the introduces the extraterrestrial organization "From Beyond," which deploys massive, kaiju-like monsters to ravage Japanese cities starting around episode 8. These creatures, engineered for destruction and often featuring grotesque, biomechanical designs, overwhelm individual heroes and necessitate coordinated responses, marking a shift from petty crime to apocalyptic-scale invasions. In response, Samurai Flamenco—now operating as Flamen Red—recruits allies to form the squadron Flamengers by 12, comprising vigilantes such as the rebranded idol trio from Mineral Miracle Muse, who adopt the Flamenco Girls identities (Flamen Pink, Flamen Yellow, and Flamen Lemon) to contribute combat support and reconnaissance. Additional members include power-suited fighters like the blade-wielding Anji (Flamen Black) and ranged specialist Sakura (Flamen Green), alongside strategic input from base commander Joji, head of the government-backed Samurai Base counter-agency dedicated to combating From Beyond incursions. This team formation emphasizes tactical specialization, with Flamengers utilizing suits and combined attacks to counter the monsters' superior size and regenerative abilities. The supernatural assaults precipitate severe societal repercussions, including widespread public hysteria evidenced by chaotic evacuations in and surrounding prefectures, economic disruptions from exceeding billions of yen, and a surge in crises reported by local authorities. Media coverage intensifies the disorder through 24-hour broadcasts sensationalizing hero-monster clashes as spectacle, often prioritizing ratings over factual reporting and fostering a culture of dependency on unverified vigilante exploits. Concurrently, official government intervention escalates via the covert Samurai Base operations, which provide logistical support like fortified headquarters and experimental weaponry, though bureaucratic oversight begins imposing regulations on deployments to mitigate collateral risks.

Climactic Time Travel and Resolution

In the anime's concluding arc, spanning episodes 19 through 22 aired between March 13 and March 27, 2014, antagonist Haiji Sawada—Masayoshi Hazama's former rival who faked his death earlier in the series—returns to orchestrate a psychological assault aimed at corrupting Hazama's ideals. Sawada systematically harms Hazama's associates, including injuring allies like Kaname Jōji and targeting Hidenori Gotō, to provoke a descent into vengeful , positioning himself as a catalyst for Hazama's transformation into a "dark hero" burdened by trauma. This manipulation culminates in Sawada forcing Gotō, at gunpoint, to shoot him in Hazama's presence, exploiting Gotō's unresolved grief over his long-missing high school girlfriend, whose disappearance ties into a subtle causal loop revealed through Gotō's self-directed text messages spanning years. Hazama arrives at the confrontation stripped of his Samurai Flamenco suit, confronting Sawada in vulnerability to emphasize personal resolve over powered armament. Rejecting Sawada's scheme, Hazama intervenes to prevent Gotō from completing the act, de-escalating through appeals to and individual salvation rather than destruction, thereby dismantling Sawada's without lethal force. The arc underscores causal realism in heroism's costs, as Hazama's persistence breaks the cycle of induced despair, resolving global-scale threats from prior arcs by reverting to foundational amid everyday perils. The narrative resolves with Hazama's recommitment to justice, intervening in a mundane littering offense post-confrontation, affirming that true heroism endures sans superpowers or spectacle, while Gotō continues his loop-like communications, hinting at ongoing personal stakes. This denouement, critiqued for its abrupt tonal pivot from escalations to , ties back to Hazama's family legacy of loss—his parents' murder revealed earlier as a random act, not —reinforcing that unresolved personal voids fuel but do not define heroic causality. The manga's later chapters extend beyond the anime with an additional arc involving temporal displacement: following an accident, Hazama awakens in Edo-period (1603–1868), navigating historical contexts without modern trappings, which thrilled him per narrative framing, though specifics on alternate timelines or devices remain undetailed in available synopses. This manga-exclusive element amplifies existential threats to identity and continuity, contrasting the anime's grounded closure by introducing era-spanning battles absent verifiable ties to manipulations or specific familial historical interventions.

Characters

Protagonists

Masayoshi Hazama, the primary protagonist, is a 19-year-old male model who operates as the unpowered Samurai Flamenco. Inspired by a fictional created by his grandfather to help him cope with his parents' deaths, Hazama pursues his childhood dream of becoming despite possessing no superpowers or advanced technology. His motivations stem from an idealistic commitment to justice, leading him to combat petty crime in a custom red suit using everyday items like stationery as improvised weapons. Throughout the series, Hazama demonstrates growth from a solitary figure driven by personal conviction to a leader capable of fostering teamwork, though his naivety often exposes his physical limitations. He adheres strictly to a no-kill code, refusing to end lives even when enemies target his loved ones to provoke him into breaking it. Hidenori Gotō serves as the secondary , a 24-year-old whose initial cynicism contrasts Hazama's fervor. Encountering Hazama by chance, Gotō discovers his dual identity and transitions from skepticism toward vigilante antics to active partnership, providing pragmatic support grounded in skills. His traits include level-headedness and diligence, balanced by personal struggles such as coping with a missing girlfriend through self-texting, which underscores his emotional realism. Gotō's growth manifests in his willingness to aid Hazama against supernatural threats, such as contributing to the defeat of King Torture, while upholding ethical boundaries that prioritize protection over unchecked heroism. This evolution highlights his role in anchoring the narrative's exploration of unpowered heroism through loyalty and measured intervention rather than idealism alone. The duo's dynamic drives the story's focus on ordinary individuals confronting extraordinary challenges, with Hazama's unyielding optimism tempered by Gotō's realism, fostering mutual reliance without reliance on superhuman abilities. Their partnership begins with Gotō's reluctant involvement in Hazama's escapades and solidifies through shared trials, emphasizing themes of personal resolve over external power.

Supporting Allies

The Flamenco Girls, derived from the idol group Mineral Miracle Muse (MMM), consist of Mari Maya, Mizuki Misawa, and Moe Morita, who transition from performers to vigilantes by adopting combat suits and engaging in street-level alongside Samurai Flamenco. Mari Maya, aged 18 and the group's composer-lyricist, embodies an energetic drive that propels her into heroism primarily for personal thrill and media exposure, contrasting the of core protagonists while amplifying the performative spectacle of . Mizuki and Moe provide complementary support, with Moe as Flamenco Sapphire emphasizing agility in battles, their celebrity status introducing tensions between public adoration and the risks of identity exposure in a fame-obsessed society. This dynamic underscores heroism's commodification, as their idol backgrounds blur lines between authentic and staged entertainment, fostering team reliance on media savvy for operations. The Samurai Sentai Flamengers, assembled by media mogul Joji Kaname to combat escalating monstrous threats, comprise diverse recruits like Jun Harazuka (Flamen Green) and others with individualized motivations rooted in unresolved personal vendettas or quests for redemption, enhancing collective resilience against foes. Kaname's recruitment strategy leverages each member's backstory—such as Harazuka's grounded —to forge a sentai-style unit, where roles like the public relations-focused Flamen Pink (the team's sole female operative beyond idols) highlight internal divisions over publicity versus efficacy. These alliances reveal heroism's societal ripple effects, including fragmented amid viral exploits and the psychological toll of fame, as recruits grapple with heroism's allure clashing against isolation and scrutiny. Their integration bolsters world-building by depicting as a scalable network, dependent on interpersonal trust amid external pressures like governmental oversight.

Antagonists and Villains

The From Beyond organization functions as a primary antagonistic force, comprising a large network—estimated at 60,000 members—that employs advanced technology to engineer and deploy kaiju-scale monsters against Japanese cities. These entities, often released on a weekly basis with accompanying promotional videos, embody an ideology of enforced societal , positing that purification through cataclysmic upheaval leads to ultimate peace, thereby critiquing unchecked by mirroring real-world terrorist tactics augmented with pseudoscientific monstrosities. Upon destruction, the creatures intone the mantra "From Beyond to Heaven," underscoring the group's quasi-cultic devotion to transcendence via destruction. Led nominally by Beyond Flamenco—a figure bearing a striking resemblance to Masayoshi Hazama—the group supplies monster-summoning capabilities to allied villains, escalating threats from localized attacks to attempts at geophysical catastrophe, such as inducing volcanic eruptions. King Torture emerges as a central villainous operative, a cyborg-augmented enthusiast whose motivations stem from disillusionment with heroic narratives; having initially idolized superheroes, he concludes that genuine harmony demands villainous , including the assimilation of humanity into a hive-minded mega-entity. His actions include deploying specialized monsters, such as the Guillotine Gorilla for decapitating , and scheming with particle-based missiles to propagate monstrous transformation globally, all rooted in a resentment-fueled rejection of simplistic as ineffective against entrenched societal flaws. Secondary adversaries, such as Haiji Sawada, intensify personal dimensions of antagonism through vendettas born of obsessive fixation on Hazama's heroic persona, manifesting in targeted assaults on his associates to undermine perceived heroic . These figures collectively challenge protagonists' unyielding moral framework by operationalizing ideologies of radical restructuring—whether evolutionary purification or authoritarian unification—grounded in perceived failures of and heroism.

Production and Development

Concept and Creative Team

Samurai Flamenco originated as an original project developed by the studio , Inc., founded in 2002 by former Sunrise producers, with the intent to explore and subvert conventions of the genre, particularly influences from Super Sentai-style superhero narratives, without reliance on pre-existing or licensed properties. The series was directed by Takahiro Ōmori, whose prior credits include Baccano! (2007) and Durarara!! (2010), productions noted for their ensemble casts, action sequences, and unconventional storytelling that often incorporated satirical or meta elements within genre frameworks. Series composition was handled by Hideyuki Kurata, who contributed scripts for 16 episodes, emphasizing a blend of comedy, drama, and escalating absurdity in the protagonist's vigilante journey. Announced and produced in 2013 for broadcast on Fuji TV's block starting October 5, 2013, the initial vision focused on a grounded of heroism, portraying a powerless individual's obsessive pursuit of justice amid real-world consequences, diverging from typical escapist tropes. This approach drew critical commentary for parodying and reconstructing clichés, such as team formations and villain escalations, while avoiding direct licensing to allow unbridled narrative experimentation. Manglobe's bankruptcy filing on September 29, 2015, amid financial liabilities exceeding 555 million yen, effectively ended prospects for studio-led sequels or expansions, as ongoing projects were left unresolved and staff dispersed. The closure, following a pattern of industry instability, precluded further development despite the series' open-ended resolution and fan interest in continuations.

Anime Adaptation Details

The Samurai Flamenco anime adaptation consists of a 22-episode television series produced by the studio . Directed by Takahiro Ōmori, with series composition handled by Hideyuki Kurata, it originally aired weekly from October 10, 2013, to March 27, 2014, within Fuji Television's late-night programming block. Aniplex served as the primary distributor, facilitating a simulcast release on for international audiences during its broadcast run. Each episode runs approximately 24 minutes, structured across two cours that shift from lighthearted parody of and tropes in the early episodes to intensified action sequences involving larger-scale threats in the latter portion. The principal voice cast includes as the lead character Masayoshi Hazama, portraying the aspiring superhero's earnest determination. Home video distribution in comprised Blu-ray and DVD volumes released by starting in late 2013. Internationally, licensing agreements enabled physical releases such as Anime Limited's Region B Blu-ray collector's editions in the , with Part 1 issued on December 21, 2015, and Part 2 on September 19, 2016; a complete series set followed in 2021. holds North American rights, though no widespread physical release materialized there. No official English dub exists, with available streams and releases limited to Japanese audio with .

Manga and Supplementary Media

The manga adaptation of Samurai Flamenco, illustrated by Takagi, began in Square Enix's Monthly G Fantasy magazine with its first chapter released on October 18, 2013. This version adheres closely to the anime's primary storyline, emphasizing the and escalating threats faced by Masayoshi Hazama, and concluded shortly after the television series wrapped in March 2014, limiting its scope to the core plot without additional expansions. A companion , Samurai Flamenco: Another Days, comprising two volumes of side stories, further explores supporting elements such as the dynamics between Hazama, Hidenori Gotō, and the idol group Mineral Miracle Muse, serving to supplement rather than extend the main canon. A mobile RPG launched on February 28, 2014, for devices (including iOS 6) and Android platforms, enabling players to participate in interactive scenarios mirroring the series' heroics and challenges. The game aligned with the anime's thematic focus on self-made but ceased operations after 2014, consistent with the lack of ongoing support for its dated mobile infrastructure. No novels, sequels, or other derivative media have emerged since the original run, reflecting the production's constrained output and absence of franchise expansion as of October 2025.

Themes and Motifs

Heroism and Justice

Masayoshi Hazama's portrayal in Samurai Flamenco centers on an unyielding moral code that elevates the imperative to protect the vulnerable and eradicate threats above legal or procedural boundaries. From the outset, Hazama initiates by intervening in everyday injustices, such as reclaiming stolen umbrellas or subduing petty criminals, driven by a childhood-inspired conviction that heroes must act decisively against any form of wrongdoing. This absolutism manifests in his refusal to compromise, even as his actions draw scrutiny from authorities, positioning heroism as an individual duty unbound by institutional permissions. In contrast, Hidenori Gotō embodies pragmatic institutionalism, emphasizing evidence-based and the risks of unregulated intervention, viewing Hazama's approach as idealistic and prone to escalation. Gotō's assignment to monitor vigilantes underscores this , as he prioritizes systemic order—such as coordinated task forces—over solitary exploits, yet recurrently confronts the limitations of state mechanisms when confronting novel threats. Episodes depict tangible repercussions, including disrupted public order during skirmishes and the unintended spawning of copycat heroes and villains, which amplify collateral hazards like and bystander peril from high-stakes battles. The narrative rejects relativist framings of , asserting instead that true heroism derives from personal resolve to confront proactively, independent of societal approval or governmental monopoly. Hazama's persistence catalyzes alliances and averts catastrophes that formal structures prove ill-equipped to handle, illustrating causal pathways where individual conviction preempts greater harms amid mounting existential dangers like otherworldly invasions. This motif evaluates through first-principles—prioritizing empirical protection of over procedural equity—against real-world precedents, where unchecked actions often yield overreach or inefficacy, yet the series contends that state-bound realism falters precisely when threats outpace bureaucratic adaptation, vindicating agency-rooted intervention as a necessary counter to inertia.

Identity and Performance

Masayoshi Hazama, a professional male model, adopts the persona to enact his childhood aspiration of heroism, juxtaposing his poised public image with the vigilante's flamboyant costume and actions. This duality serves not as mere deception but as a deliberate performance enabling authentic pursuit of justice, as evidenced by his initial low-stakes interventions against petty crimes like returning lost umbrellas, which align his heroic ideals with tangible civic contributions. Hazama's commitment manifests in rigorous physical training and costume fabrication without superpowers or advanced technology, underscoring performance as a disciplined extension of personal conviction rather than escapist fantasy. A pivotal event occurs post-confrontation with the villain King Torture, where Hazama publicly unmasks himself as to affirm transparency and accountability in heroism. This revelation, occurring around episode 11 in the adaptation aired from 2013 to March 2014, shifts his dual life toward integration, exposing the hero's identity to scrutiny while reinforcing that true authenticity emerges from verifiable deeds over concealed motives. Earlier pressures, including a 1 million yen bounty for unmasking, highlight how external incentives test the resolve behind the performance, yet Hazama's persistence demonstrates causal links between sustained effort and heroic legitimacy. The narrative incorporates motifs linking unconventional relational dynamics, including homoerotic tensions between Hazama and ally Hidenori Goto, with character immaturity, but empirical progression occurs through sequential trials like escalating threats and alliances rather than identity-centric resolutions. Such elements correlate queerness with youthful naivety without establishing causation, as growth derives from action-oriented confrontations—defeating antagonists via coordinated teamwork and moral steadfastness—prioritizing observable behavioral adaptation over speculative psychological or political framings. This approach critiques non-causal associations by grounding development in trial-by-fire realism, evident in arcs where immature impulses yield to pragmatic heroism without reliance on affirmative narratives. Rising fame as Samurai Flamenco erodes Hazama's through media , as plot developments depict opportunistic coverage amplifying exploits while inviting exploitation, such as fabricated scandals and public hunts for personal details. Verifiable instances include intensified pursuit following viral heroics, mirroring real-world dynamics where notoriety commodifies identity, compelling performers to navigate authenticity amid invasive scrutiny. These elements illustrate causal realism: unchecked undermines operational , forcing adaptive strategies like selective disclosures to sustain heroic efficacy without succumbing to performative erosion.

Satire of Superhero Tropes

Samurai Flamenco deconstructs and conventions by initiating its narrative with a powerless , Masayoshi Hazama, who patrols urban streets in a homemade costume to combat petty crimes like bicycle thefts and vandalism, thereby exposing the causal implausibility of genre heroes operating without institutional support or superhuman abilities in a realistic modern setting. This grounded approach contrasts sharply with traditional formulas, such as those in or , where heroes swiftly acquire transformative powers and to address escalating threats, highlighting how such rapid empowerments often sidestep logistical and physical realism. The series' early episodes parody the "monster-of-the-week" structure by substituting fantastical with mundane antagonists, underscoring the repetitive, unresolved nature of episodic villainy that perpetuates endless conflict without addressing root societal causes. As the plot advances, Samurai Flamenco satirizes power escalations inherent to genres through abrupt shifts to elements, including bio-engineered monsters and later interdimensional invasions involving time manipulation, mimicking the absurd progression from street-level to world-ending apocalypses seen in series like , where threats inflate to justify mecha battles and team expansions without narrative justification beyond spectacle. These developments critique the genre's reliance on perpetual escalation, as villains like the S-Club organization deploy kaiju-scale entities that demand disproportionate responses, revealing the causal flaw of heroes perpetually adapting to bigger foes rather than achieving lasting victories or systemic change. Team formations further lampoon tropes, with Hazama assembling reluctant allies into a color-coded unit akin to squads, but the process incorporates real interpersonal tensions and resource constraints, contrasting the seamless, plot-convenient alliances typical of the genre. The series achieves satirical depth by blending comedic absurdity with heightened stakes, such as the physical toll of unpowered combat against giant adversaries, which empirically critiques the invulnerability assumed in without dismissing the heroism's appeal. However, it falters in these shifts, as the transition from realism to battles in episode 7 lacks prior causal buildup, resulting in tonal whiplash that undermines the deconstruction's coherence compared to more gradual escalations in referenced productions. This empirical weakness highlights a production choice prioritizing parody's shock value over consistent causal logic, though it effectively illustrates the genre's formulaic predictability when stripped of .

Reception and Impact

Critical Analysis

Critics have lauded Samurai Flamenco for subverting and conventions through its escalating absurdity and rejection of formulaic progression, a fresh approach amid 2013's more predictable genre entries. A analysis describes the narrative's erratic shifts as potentially "brilliant" if viewed as deliberate genre , challenging viewer expectations in ways that reward reinterpretation over surface-level coherence. Similarly, Diabolical Plots praised the series' adept fusion of and , highlighting scenes that seamlessly integrate both for emotional impact without diluting tension. These elements underscore its originality, evidenced by the aggregate score of 6.88 from 49,141 users, which signals solid appreciation among niche audiences despite broader polarization. Conversely, execution drew scrutiny for plot inconsistencies, including abrupt escalations from street-level vigilantism to world-threatening threats without adequate buildup, resulting in rushed resolutions and tonal whiplash. Kotaku observers noted the storyline's "total mess" appearance when taken literally, with characterizations and stakes altering capriciously. MyAnimeList reviews echo this, critiquing "plot-twists" lacking foreshadowing or explanation, which undermine credibility and leave arcs feeling disposable. Such flaws likely arise from the 22-episode format's demands on studio Manglobe, whose experimental style—evident in prior works—prioritized bold pivots over polished continuity, compounded by the studio's subsequent 2015 bankruptcy amid financial strains that may have curtailed revisions. Ultimately, Samurai Flamenco transcends simplistic "mess" labels through its probing of justice's psychological toll, where serves thematic rigor rather than mere ; professional assessments affirm this depth as a counterweight to structural lapses, positioning the series as a flawed yet innovative artifact in anime's lineage.

Audience Response and Ratings

Upon its 2013 simulcast release by , Samurai Flamenco generated significant initial online buzz among international fans, particularly for its early episodes' humorous take on real-world and tokusatsu-inspired heroism, sparking discussions on platforms like about the feasibility of non-powered superheroes. This enthusiasm contributed to a dedicated niche focused on themes of personal justice, evidenced by ongoing fan analyses and watch-through threads persisting into the . Audience ratings reflect a polarized response, with high marks for the charming, grounded opening arc giving way to criticism of the mid-series tonal shift toward darker, more chaotic elements, often described as "whiplash" in viewer feedback. On , the series holds a weighted score of 6.88 from over 49,000 users as of recent tallies, ranking it #5093 in popularity with a distribution skewed toward middling scores (e.g., 6-7 range dominant), indicative of drop-offs during later . Similar sentiments appear in aggregated user reviews on sites like , where early episodes average around 7-8/10 while later ones dip below 7, citing exhaustion from escalating absurdity. By 2025, Samurai Flamenco maintains a cult-like niche appeal without mainstream revival or major awards, frequently cited in lists of underrated or prematurely abandoned series for its bold experimentation, though its legacy remains confined to enthusiast circles rather than broad viewership metrics. Fan engagement underscores its influence on meta-superhero narratives in , with post-2014 works echoing its of escalating hero tropes, as noted in comparative analyses to series like .

Controversies and Criticisms

Criticisms of in Samurai Flamenco have centered on the portrayal of female characters, particularly from feminist-leaning outlets that emphasize dynamics in media. Maya Mari, an idol and , is depicted enduring and by the King Torture, after which she is sidelined with her framed as contributing to emotional unavailability and lack of commitment, contrasting with deeper explorations of male leads' bonds. Similarly, Flamenger Pink embodies the "token girl" in , reduced to stereotypes like without substantive growth or agency beyond romantic pursuit of the commander. Such analyses, often from sources predisposed to scrutinize patriarchal tropes, argue these elements reinforce disposability of women in action narratives, though the series' satirical of conventions—exaggerating genre clichés for critique—provides contextual framing where female roles rather than endorse real-world inequities. The plot's structure has drawn debate over its perceived messiness, with abrupt escalations from grounded antics to battles and interdimensional threats lacking consistent foreshadowing or logical progression, prompting descriptions of it as an "uneven " indicative of creative disarray or failure to commit to a unified vision. Critics note inconsistent character arcs, such as shifting competencies and motivations, as evidence of poor writing rather than deliberate escalation. Counterviews posit these shifts as intentional reflections of Hazama Masayoshi's mental fracture following trauma, rendering later events as hallucinatory delusions amid his pursuit of , aligning with the series' themes of and reality's fragility without confirmed directorial endorsement. Discussions of queerness in Samurai Flamenco have highlighted links to immaturity, portraying characters' non-normative attractions and escapist fixations on superhero media as intertwined forms of rebellion against adult conformity, with growth achieved through relational commitments and heroic deeds rather than identity-centric resolutions. This framing avoids pathologizing ness as mere juvenility, emphasizing causal drivers like action-oriented bonds (e.g., the finale's proposal between Hazama and ) over progressive identity narratives. Creators have rejected interpretations of such elements, contributing to accusations of queerbaiting or erasure in retrospective analyses.

References

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