An outlaw pushes the residents of Edo's red light district to rebel against a growing number of stifling, moralistic laws.

Mighty Jack was a tokusatsu SF/espionage/action TV series. Created by Japanese effects wizard Eiji Tsuburaya, the show was produced by Tsuburaya Productions and was broadcast on Fuji TV from April 6, 1968 to June 29, 1968, with a total of 13 one-hour episodes. The music for the episodes was done by Isao Tomita and Kunio Miyauchi. Reportedly, Eiji Tsuburaya considered this series his masterwork because the focus was on the people rather than on the vehicles and special effects This focus on the people was similar to the works of Gerry Anderson, of which Eiji was a big fan. The Mighty Jack mecha/HQ featured in this series also has some similarities to Eiji's previous TV masterpiece, Ultra Seven. Even for the original series of 13 one hour-long episodes, the ratings were low. The follow-up series, Fight! Mighty Jack, fared better in the ratings, perhaps because of its inclusion of monsters and aliens rather than purely human evil-doers like Q.

Sawaki is released from prison after serving eight years for murdering a rival gang leader in order to obtain the land rights to a landfill for the Kotaki clan and he discovers that the world has changed significantly in that time. The police have forced the disbanding of all yakuza groups in and around Tokyo and most of the former yakuza have moved on to legitimate jobs. Sawaki is disgusted that his yakuza brothers have abandoned their codes of honor and are abusing their newfound power in the legitimate business world to exploit the poor. Sawaki feels partly responsible for making them so powerful and enabling their corruption, so he decides to follow his traditional code of honor to save the residents of a small town where his former lover lives.

Captain Murakami takes over as skipper of the Azuma Maru, replacing the well-liked former captain. Murakami forces the crew to work harder than they ever have, creating enmity and exhaustion. Just when the ship has taken a huge catch of tuna in its nets, Murakami learns that his ship is the only one in position to rescue the crew of another ship, sinking in a storm. He must choose between saving the catch or saving lives. Either choice may mean his ruin.

In post-war Japan, it is difficult for private business to stay afloat. The small atelier has a debt of several million yen. To get a loan, his proprietress is forced to turn to a successful businessman, owner of entertainment establishments and bars. But she has nothing to guarantee the return of the debt, and then she offers herself as collateral. A drama about the contradictory nature of human feelings.