Samurai Flamenco – 22 (Fin)

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First of all, we liked the choice of expanding on Goto’s grief and showing us how he came to message himself. Goto’s “long distance relationship” started out as something of a comedic element, but the more we’ve learned about the truth, the more tragic and compelling it became, especially when Sawada used it against him in what has to be the most emotionally charged deletion of a text message we can recall.

As Sawada predicted, erasing the last message Goto’s real girlfriend ever sent is like flipping a crazy switch. By the time Masayoshi arrives, all Goto wants to do is be free so he can kill Sawada. It’s all part of Sawada’s plan to sacrifice himself so Samurai Flamenco will have a traumatic past that will never leave him, turning him into a “dark hero” (a la Batman).

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Running in with nothing resembling a plan for victory, Masayoshi decides to fight crazy with crazy: refusing to put on the costume and stripping all his clothes off. This bizarre throws Sawada for such a loop he ends up dropping both the cuffs key and gun in Goto’s vicinity. With Sawada disarmed and thoroughly freaked out, now the still-naked Masayoshi has to convince Goto not to kill Sawada.

His method isn’t what we’d call elegant—he whips himself into a tantrum screaming “BAKA” over and over and oddly proposes to Goto—but the sheer ludicrousness of the situation snaps Goto out of his murderous rage. The idea that Masayoshi is so ignorant to the concept of love is a little silly, but in the end, his desperate improvisation wins the day. We’re glad no one was killed, but we still enjoyed Flamenco Diamond showing up to give Sawada a well-deserved beatdown for poisoning her friends.

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With Kaname recovered from his injuries, he opens up a new superhero museum which everyone attends, and we get some nice farewell moments with the Flamengers, Kanno and Ishihara (who have an awesome final exchange), and lastly, Goto and Masayoshi, who’s late for the opening. Goto receives a fresh text from his girlfriend (maybe she IS out there somewhere!), and Masayoshi runs after a litterbug.

7_very_goodRating: 7 (Very Good)
Average Rating: 8 (episodes 1-13), 7.111 (episodes 14-22), 7.636 (total)
MyAnimeList Score: 6.97

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Samurai Flamenco – 17

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Since bottoming out with the From Beyond battle, Samurai Flamenco has been clawing its way back to respectability at a pretty good clip. Last week the crucial bonds between friends were reaffirmed, and much like the Railgun, Masayoshi only becomes more powerful and capable when she’s surrounded by friends supporting her. After what happened to Flamen Blue last week, going up against Prime Minister Okuzaki wasn’t going to be a cakewalk.

But first, he had to get to the Diet, where the PM was putting the finishing touches on his campaign for 100% Approval. Goto was never in doubt as to whether Masayoshi was really a terrorist mastermind (he knows Masayoshi is too stupid to trick anyone), while Jun is happy for another chance to see his special stationary in action. His getaway car is a first-gen Toyota Harrier, AKA Lexus RX300. So he went for reliability and comfort, not speed.

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Konno’s also on Masayoshi’s side, and even Mister Justice shows up to clear their path to the Diet, while the reborn Flamenco Girls and Goto make sure no one disturbs Masayoshi’s chat with Okuzaki. Of course, Okuzaki has no intention of chatting, cutting the audio feed but keeping the cameras rolling as he dons his battle armor, which is fittingly powered by his constantly refreshing public approval ratings.

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His heart’s in the right place—he wants only to protect Japan—but he doesn’t respect the people and is willing to lie to them to increase his power.This is where Konno takes up the mantle of unlikely hero. Okuzaki may be invulnerable to physical attacks, but he’s extremely susceptible to the effects of the truth, which is shown to the world when Konno live-streams his megalomaniacal ranting to the nation (having probably snuck in when the Girls arrived). Okuzaki’s ratings plummet, and with them his strength, and it’s Bye-bye, Mr. Prime Minister. All thanks to Konno—and smartphones.

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It’s a satisfying, creative victory that gave everyone something to do, and it was Samurai Flamenco ridiculousness at its best. But it wouldn’t be Flamenco if the victory celebration lasted more than a few moments. Turns out Okuzaki was the country’s last best hope against the REAL foe: Mister Justice! Well, not really Mister Justice (no American bad guys here!) it was just a disguise for…Alien Flamenco! And just like that, the show expands its conflict all the way out into space. Never a dull moment for our hero and his integral support circle.

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Rating: 8 
(Great)

Samurai Flamenco – 09

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Three months into Samumenco’s battle against Torture, the public becomes bored with it, as does Mari, who contacts Konno for an interview where she calls out King Torture himself. Goto warns her to be careful, but she doesn’t listen, and when Masayoshi snaps at him for being late to the scene of a battle to clean up, Goto washes his hands of the whole situation. Konno is kidnapped and tortured by King Torture, and agrees to give up Mari in exchange for being “entertained.” King Torture calls Masayoshi on Mari’s phone, telling him she’s her prisoner, and to meet him for a final battle. When Samumenco’s way is barred by Torture grunts, Harazuka arrives with new weapons and holds them off, allowing Samumenco to proceed to the boss.

It’s a well-known fact that too much of just about anything initially exciting will eventually grow boring, and the interest of its initial admirers will peter out. Time marches on, and with it, new stories, incidents, disasters, scandals, or trends. Even Samumenco’s war against real, freakish, ferocious monsters isn’t immune. The fact is, as long as somebody takes care of them—a duty that falls exclusively to Samumenco once Mari loses interest—the public learns that they don’t really have to care anymore. Samumenco has become just another cop; it’s assumed he’ll deal with the bad guys, and if they keep being dealt with in the same formulaic way, there’s no reason to continue paying attention. Mari, meanwhile, had already half-checked out of the whole enterprise once King Torture named Samumenco, not her, as his nemesis.

And who can blame the King? Masayoshi believes being a hero is his birthright and duty; a end unto itself. Mari has no such lofty aspirations. She fights to keep herself entertained, and when she’s no longer entertained, she ups the stakes. If King Torture is pure evil, pure good is his true foe, and that’s Masayoshi, not Mari. Mari’s impulse proves to be a serious error on her part, since she has no earthly idea what she’s dealing with (Harazuka implies Torture may not be earthly at all). And when all’s said and done, Konno decides to sacrifice Mari, that he might be furthr entertained rather than die an honorable but boring death. The more Harazuka reveals about what Torture is, the more Masayoshi—and we—recoil. The invincible glint in Masayoshi’s eyes in the beginning of the episode fades into doubt. Before he can talk about saving the world, he has to do it, starting with saving Mari.

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Rating: 9 (Superior)

Stray Observations:

  • Talk about a turnaround; Masayoshi now has more presence on a TV show poster(and attention at the presser) than MMM.
  • For one brief moment, Mari looks hurt when Masayoshi yells at her.
  • Goto’s great in this episode. He’s basically sick of being a doorstop (and occasional uniform model) and is fed up with all the whining. Masayoshi’s success, and the subsequent inflation of he ego has definitely been a blow to their friendship.
  • Wouldn’t it be grand if Masayoshi swoops in and save Mari, and she’s actually grateful to him, and even develops feelings for him? Yeah, we know…we’re thinking too far ahead
  • Very sneaky of the episode to portray Konno’s call to Sumi as another tease at first; turns out he thought he was going to die and his proposal was dead serious.
  • Kudos to the show for giving the Torture grunts a voice and some time in the spotlight to tell Samumenco that they’re perfectly content and willing to quickly set aside their lives in the service of evil, weak though they may be.
  • We had a feeling Mizuki and Moe were going to swoop in to aid Masayoshi, but Harazuka did just fine. A badass geezer, he.

Samurai Flamenco – 06

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Masayoshi meets with Harazuka Jun from the R&D department of Monsters Stationary, who provides him with an arsenal of weapons that are technically office supplies and thus legal. Mari invites Hidenori to her apartment and tries to seduce him, without success. Konno puts out a 10 million yen reward for Samumenco’s capture, and Masayoshi uses all of his new toys to elude them. One determined salaryman pursues him up a wall and falls, but Masayoshi saves him; and in return he gives up the chase.

Now that he’s superheroing alone again, Samumenco has his freedom and his dignity, but as the price of his bounty goes up, the threats to his person become greater. You know what that means: It’s Batman Time. Enter Masayoshi’s Lucius Fox: the ninth and final main cast member, Harazuka, and the ridiculous notion that his arsenal consists of pens, staplers, and tape measures. We have to admit, his pursuers look a little slow and hapless at times, but we’ll chalk it up to Menco’s training that he’s able to make them look as bad as they do while trying to grab him. Most importantly, he’s no longer dependent on Samurai Girl to bail him out.

As for Mari, she’s successfully wrangled her fellow idols into joining her crusade—Mizuki because she’s a good, loyal friend, and Moe, because she’s in love with her. Still, it’s clear she still has a specific itch no amount of Moe-kissing or gonad-stomping can scratch: she wants Hidenori to “arrest” her, and comes on strong and a little nuts in their meeting. Nothing doing; the good constable only has eyes for his girlfriend, whom we’ve never laid eyes on (and probably never will, as a running gag). With all the fame and power Mari enjoys, she can’t have the one thing she truly wants. But it’s not as if she’s going to give up…

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Rating: 8 
(Great)

The Girl Who Leapt Through Time

Konno Makoto is a normal high school girl who has a bad day and ends up about to be killed by a train when she suddenly leaps back in time a few minutes to avoid the accident. Once she realizes she can literally leap through time at will, she begins using the ability to improve her life in small ways. But she learns the misfortune she’s denying herself is forced on others, and there’s a number on her arm that is counting down. Her ability only makes her life and relationships more complicated, though not necessarily for the worse…

When all’s said and done, Makoto’s trails and tribulations present a pretty good case for why having the power to change the past is not a power any person should ever possess. Humans love to look back on their choices and wonder what coulda woulda shoulda. But we have enough trouble making the choices we make, without having the opportunity to go back and constantly alter them. To be blunt, a power like that would turn us into perfectionists, and even if time travel is possible, perfection is not. Yet we wouldn’t stop trying to grasp it, and it would consume us. When you can go back and change things, you’ll never stop.

That’s why we’re glad TokiKake sets certain limits to the scope of Makoto’s powers. She doesn’t try to go back to change world history, or even Japanese history, just her own history. And while she starts out goofing off, it turns out she had a finite number of leaps, most of which she squandered. In fact, her most important leaps are her first (which saves her life), and her last (which gives Chiaki his one leap back). Let’s not harbor any illusions: if she had unlimited leaps, she probably wouldn’t stop tweaking events, so it’s a good thing she ran out. In the end, she did the right things at the right time, and everything will be fine.

Anyway, we really got a kick out of this film. It fully immersed us in its lush and detailed world – one so much like ours, but where time leaping is possible – and made us care about that world and the people in it. The ordinary, clumsy Makoto’s epic ordeal is punctuated by moments of deep regret and longing, balanced with profound contentment and joy. She takes a lot of hard licks and learns hard lessons, most important of all, that “time waits for no man” (or in her case, girl); leaping back only leaves one further behind time’s unrelenting pace.


Rating: 4