Shihaisha no Tasogare (1997)

And now we skip forward a decade to talk about something I actually like: Shihaisha no Tasogare, or Twilight of the Dark Master as it’s known in English. Directed by Akiyuki Shinbo (who would go on to direct Mahou Shoujo Madoka Magica, which I’m not ashamed to admit is a favourite of mine) and featuring the character design talents of Hisaishi Abe (Chobits), art direction by Youichi Nangou (JoJo’s Bizarre Adventure OVA from 1993 – 94) and animation work by the one and only Madhouse, Shihaisha no Tasogare is a great example of a stylish and very enjoyable B-tier anime OVA from the 90s.

I would probably go so far as to say that Shihaisha no Tasogare is one of the main reasons I persevere with all the shit B-tier (and beyond) anime I tend to watch, in the hopes of finding another under-appreciated diamond. That means I should probably also hate it, given how much absolute shit I’ve ended up watching, but hey…

Twilight of the Dark Master takes place in 2089, in a grim, cyberpunky Neo-Shinjuku. A lovely night for Shizuka and her fianceé Eiji turns to horror when suddenly transforms into a grotesque demon and jumps out their apartment window. And, as if having her fianceé turn into a demon and disappear into the night wasn’t bad enough, demon Eiji was also so kind as to rip her left arm off, just for good measure.

Some time later, she ends up meeting a mysterious white-haired gentleman named Tsunami, agrees to help her find Eiji. We later find out that Tsunami is the last surviving guardian, tasked with protecting the Earth from demons that would see it destroyed and the human race enslaved. Tsunami and Shizuka’s quests, as it turns out, are intertwined, and everything leads to a final, decisive encounter between Tsunami and the supreme demon, with Earth’s fate hanging in the balance.

Along the way, we get some light detective work and big pharma conspiracy vibes, a fair bit of action and a visit to a sex club named Crystal Box, which has one of the best signs I’ve ever seen in anime:

But before I get on to the good stuff, a word about the story. It isn’t quite as one-note as most other anime of its ilk, and I did find myself caring a bit more for Shizuka and Eiji’s tale than I expected to, but it’s generally just… there. It doesn’t call too much attention to itself, and it isn’t particularly complex or memorable, but the visuals more than make up for any deficiencies when it comes to the quality of the plot and storytelling.

Which conveniently leads me back to Crystal Box. It is, as I mentioned before, a sex club. A futuristic, ultra-kinky sex club, too, where the wealthy and privileged of Neo-Shinjuku pay through the nose to be pleasured in some pretty freaky ways:

Needless to say, I liked Tsunami’s short visit to Crystal Box quite a lot.

It’s not just Shihaisha no Tasogare‘s kinky future mutant sex club that appeals to me, though: the character design, art direction and animation are all of a high standard, and what the OVA lacks in terms of story and narrative content it sure as hell makes up for in aesthetic pleasure.

The characters and backdrops are are drawn really well, with a fair bit of detail and, well, character; the vast majority of the shots in the OVA, of Neo-Shinjuku and of our characters going about their business (and more) among its high-rises, darkly-lit alleyways and ruined side streets all display a solid grasp of composition, lighting and style; and the animation is smooth and pretty detailed throughout the running time. Admittedly, the rest of the visuals never really reach the audaciousness of Crystal Box, but I don’t think they could really have topped it without going completely over the top, which would possibly have ruined the entire package.

Shihaisha no Tasogare manages to be both kinda creepy and very stylish at the same time. It’s a bit gothic, a bit noir, with a decent bit of cyberpunk vibes in there for good measure. And then there’s a hint of gore and sleaziness to bind it all together. It’s a really intoxicating mix, and Keishi Urata’s eerie score is just the icing on the cake. I’m pretty fond of the ending theme, which has some faint hints of Geinoh Yamashirogumi’s score for Akira running through it (although it’s overall a very different thing altogether, so don’t get your hopes up too much).

I have to say, though, that while director Akiyuki Shinbo is a capable craftsman, he just doesn’t quite have the stylistic flair of, say, someone like Yoshiaki Kawajiri. He’s not exactly boring, mind you, but I’d probably go so far as to say that his work here comes across as more stylish than it is due to the strength of the aesthetics. He does seem to have a decent eye for shots and doesn’t really do anything wrong over the 43 minute running time, but I don’t think he really excels either.

I have to give credit where credit’s due, though: Shinbo manages to tell a coherent story that’s also reasonably well-paced. That’s a lot more more than I can say for a number of other directors working in this “tier” of anime OVA. I was never pulled out of the experience by abject pacing or any exasperatingly dull attempts at storytelling. And, let’s face it, when things look this good, having a director who doesn’t fuck things up is plenty good enough.

I guess you could say the same for most of his work: he isn’t an excellent director by any stretch of the imagination, but, based on what I’ve seen of his, he’s the type of director that doesn’t let the side down, so to speak. Enjoyable and capable, but there’s a reason why he’s not exactly a household name.

Shihaisha no Tasogare isn’t a masterpiece by any stretch of the imagination, but it is very good for what it is. If you’re looking for something that will stick with you and bring up serious philosophical questions, then you’re barking up the wrong tree. But if you want action, a bit of violence, a bit of sleaze, great visuals, a moody score and great animation, and don’t mind that these are draped on top of an unspectacular—albeit competently delivered—story, then you could do a lot worse than Shihaisha no Tasogare.

Recommended.