The government doesn't want you to know about the superhumans. Concrete Revolutio builds its entire world around that one truth, then spends thirteen episodes proving the cover-up is more complicated than any single villain. You're not watching a superhero story. You're watching a political thriller that happens to have aliens and phantoms, told backwards and sideways until the pieces snap into focus and you realize the real enemy was the state apparatus all along. The non-linear structure isn't stylish noise. It's the point. Every episode recontextualizes what you thought you knew about the previous one. Fair warning: it doesn't explain itself, and most people quit before the pattern emerges.

Japan exists in an imagined age of gods, some twenty years after the war, where every superhuman ever dreamed up in fiction lives at the same time. Aliens from space, beings from a mystical realm, ancient phantoms and goblins, scientist-built cyborgs and relics of lost civilizations share a fast-growing nation. Some superhumans are open about what they are and have become popular, while others hide their identities and fight in secret. The government answers with the Superhuman Bureau, a lab under the Ministry of Health and Welfare charged with finding superhumans, watching over them and keeping them safe, while removing any judged too dangerous. Jiro Hitoyoshi is one of its agents. On a July day in the 41st year of the Shinka Era, a covert assignment goes wrong when a spy turns out to be a disguised alien, and Jiro gets help from Kikko Hoshino, a cafe waitress who is secretly a magical girl, who then joins the Bureau. Five years later, public hostility toward superhumans runs high in Tokyo, and Jiro has turned on the agency for reasons left unclear. Now a fugitive in Shinjuku, he is chased by the very superhumans he once brought in. The series mixes action, mystery and science fiction with questions of justice, corruption and superhuman rights.