Blood: The Last Vampire

It is foolish of me to think that somehow the West has a monopoly on vampires, popularized through many forms of media and history. One may think so, but the idea of the bloodsuckers and creatures of the night exists in many cultures. It's no surprise that many cultures have their versions of the creatures of the night. Japanese folklore, for example, features several vampire-like beings, though they differ significantly from Western vampires. The Nukekubi appears as a normal woman by day, but her head detaches and flies around at night, seeking blood from victims. The Gaki are wailing spirits with pale skin who suffer from insatiable hunger, while the Hannya are transformed beautiful women who drink blood and eat children.

That sounds intriguing, doesn't it? Naturally, anime creators, known for their resourcefulness, are familiar with the tales of vampirism. Comedies like Blood Lad and fan favorites like The Vampire Dies in No Time abound, but what about darker, more macabre ones? Can anime satiate my thirst for blood beyond the classics Vampire Hunter D and Hellsing Ultimate while keeping the juvenile fanservice to a minimum? Don't misunderstand; I appreciate fan service but also enjoy a satisfying dose of gore. So, dearest Being X (in my Tanya episode 12 voice), grant me my most resounding request, and if it’s no bother, can I have it neatly wrapped in a one-hour package? As ReplicantPhish would say, enough waffling.

Blood: The Last Vampire was released in Japan on November 18, 2000. The film was produced through a collaboration between Production I.G., Aniplex, and Sony Computer Entertainment. The 48-minute anime film tells the story of Saya, a vampire slayer working for a shadowy organization called the Council, set at an American military base in 1960s Japan. The film features both traditional 2D animation and groundbreaking 3D elements. It was conceived by "Team Oshii," Mamoru Oshii's production study group, and was designed to give young directors practical project implementation experience. The concept emerged from combining writer Kenji Kamiyama's vampire hunter story with Junichi Fujisaki's tale about a young female warrior named Saya.

Key staff members included director Hiroyuki Kitakubo, screenplay writer Kenji Kamiyama, and original creator Mamoru Oshii. Katsuya Terada handled character designs, while Yoshihiro Ike composed the music. The executive producers were Akira Sato, Mitsuhisa Ishikawa, and Ryūzō Shirakawa, with Ryūji Mitsumoto and Yukio Nagasaki serving as producers. The animation team featured industry veterans, including key animators Hiroyuki Okiura, Toshiyuki Inoue, Yutaka Nakamura, and Norio Matsumoto. The film received notable attention for its unique blend of traditional animation with digital effects, creating a distinctive visual style that effectively conveyed the story's dark atmosphere.

I have mentioned it before in other posts, but Marvel's Blade movie adaptation (1998) set the standard for the modern urban vampire hunter and the brooding vampire hunter in the same way we associate the brooding vigilante with Batman. And while I may be reaching, I believe it’s safe to say that Saya, the main protagonist of Blood: The Last Vampire, or BTLV for short, embodies much of the same persona. Saya, through the lens of its animation team, is presented as a wolf stalking its prey, and it’s within the production's first three minutes that I found myself immersed in something gritty. It’s Predator’s subway scene—the urban one, not the jungle one. The scene is filled with chaos, and I find it captivating! She wears a black coat and carries a mysterious object over her shoulder. Now, I’ve glanced at a few reviews, and the idea was that it was an art tube, but honestly, we knew the title when we popped in the DVD or streamed it. It’s like the Vampire Hunter D movie cover; he’s got a sword, and when you see her lunge at her prey, you tell yourself it’s a sword. Why? Because it’s a sword. You’ve seen this trope and can’t escape it, so don’t sell yourself short.

Most vampire media is tied to the Vatican or the Hellsing organization. Neither of those is negative; it's just enjoyable to see a different take, so instead of the Vatican priest, we get our version of a cop drama with Louis and David. Though David takes center stage, giving off the "I've got the mayor so far up my ass he's pickin' my nose for me!” vibe seen in a lot of Western cop dramas from the eighties and nineties. He is mainly wound up through most of the movie, though he is protective of Saya despite her lack of tact and friendliness, and interestingly enough, she shows some regard for him… and sharp swords. Dealing with Chiroptera requires the use of sharp swords. These beings can take human form and crosses; most small arms have limited effect as they don’t spill enough blood.

I am fond of horror films, particularly the trashy B-grade ones, and the sight of these Chiroptera instantly evoked a sense of "Q." In case you share similar leanings, Q: The Winged Serpent (1982) is a Larry Cohen film that follows NYPD detectives Shepard and Powell as they work on a bizarre case of a ritualistic Aztec murder. Meanwhile, something big is attacking the people of New York, and only greedy, small-time crook Jimmy Quinn knows where its lair is. I have not seen this movie in ages, but it’s worth checking out. I mention it because Chiroptera hide as humans and transform into winged beasts reminiscent of Quetzalcoatl, the man-eating flying serpent from the movie.

That’s sort of the story, as Saya is reassigned after the subway incident to investigate the suspicious death of a working girl named Mari in the area around Yokota Air Force Base. Still, it’s the suicide at the school located on the base that truly piques their interest. With David's help, Saya is enrolled as a student to investigate the possibility of a Chiroptera lurking about. It is here that, in my opinion, the beauty of the anime shines.

While Saya and David make up the action of the anime, its humanity lies with the school nurse, Makiko Caroline Asano. Saya meets her in the hallway after a glance at her name badge; Makiko's presence takes up a large part of the anime. Makiko is voiced by Saemi Nakamura, who does a phenomenal job of moving her from intrusive nurse to witness to the horrors of what has made Saya so cold-hearted. I won’t say that she breaks down Saya’s walls, but I will say that she takes Saya from “Be glad I can’t kill humans” to “Don’t give up.” Earlier, I presented a neat undertone of connection; allow me a moment to elaborate.

The anime is set in World War II Japan, specifically in 1966, approximately 21 years after the war ended. As one might expect, the United States has been heavily involved in the region since the Pacific Theater of World War II. The Korean War was over, and the United States was gradually entering the war with Vietnam. As of 1955, the United States had already been involved in Vietnam, with President Eisenhower sending advisors to train the Southern Vietnamese Army. Additionally, before the events in this anime, the United States had already been doing what is called Operation Rolling Thunder (1965–1968), and the base where this anime takes place was a base for B-47s and B-52s, which were making missions into Vietnam. I believe this base is still in use; nevertheless, it’s of note that both Japanese and American students were attending school on the base, and when Makiko stops Saya in the hallway and, upon saying “young lady” in English, Saya stops, with Makiko recognizing her and speaking to her in Japanese. Those familiar with the Japanese's shift between embracing and rejecting Western culture will find it subtle yet overt. The mention of Saya as the last of her kind reflects this cultural blurring.

As I mentioned above, Blood: The Last Vampire was groundbreaking for its use of 2D and 3D animation. The movement is fluid and the action is visceral. The sword fights against monstrous Chiropterans evoke a sense of dread reminiscent of classic horror films. For me, the action was immersive, but you're talking to a Blade/Hellsing fan. Much of the scenery takes place at night with warm colors used throughout. The character designs are closer to a Western style, which may turn off some modern purists. Nevertheless, BTLV reminds me of anime made during the golden age of anime; Sol Bianca and the Goku: Midnight Eye series come to mind.

The animation and character designs blend well with the audio of this series. The background music and sounds work well to produce a competent atmosphere, which is further enhanced by the voice acting. Saya and David, as well as the majority of the supporting cast, do excellent voice acting, and the use of English and Japanese voice actors blends well and feels natural. Again, it was reflective of its time. Youki Kudoh (also spelled Yuki Kudō) voiced Saya. Unlike Joe Romersa (David), she is not known for her anime roles but is well known for 2005's Memoirs of a Geisha, Rush Hour 3" (2007)—appearing alongside Jackie Chan and Chris Tucker—and Snow Falling on Cedars" (1999)—playing Hatsue Miyamoto opposite Ethan Hawke.

If I could gush over anyone, it would be Saemi Nakamura. Like her contemporary Youki Kudoh, her work as an actress is broad, while her work in anime is limited. She has too many works to list here, but for fans of Natural Born Killers and The Truman Show, she has graced both films. Her portrayal of Makiko, particularly her vocal performance, is truly remarkable.

Let’s not kid ourselves—Blood: The Last Vampire didn’t just fade into the night after its 48-minute runtime. Like Saya herself, this film spawned a brood of successors, each clawing at its legacy:

Blood+ (2005): A 50-episode series swapping Cold War grit for Victorian-era vampiric sibling drama. Saya’s now an amnesiac schoolgirl battling her twin sister, Diva, because nothing says “eternal conflict” like family reunions with katana clashes.

Blood-C (2011): CLAMP’s reboot where Saya’s a shrine maiden slicing eldritch horrors in modern Tokyo. Plot twist: Everyone’s a liar, and the finale’s so bloody even Hellsing fans might blush.

Live-Action (2009): Gianna Jun slays in fishnets, but the script swaps shadowy councils for a “Mommy Issues: The Movie” plot. Onigen’s here, but the 1960s tension? The tension vanished more quickly than David's patience could endure.

And for the purists? Dive into the 2000/2002 manga sequels or Mamoru Oshii’s Night of the Beasts novel—both cling to the original’s “show, don’t tell” ethos like Saya clings to her sword.

Why It Endures? Blood: The Last Vampire is a textbook example of minimalist horror in an age when vampire media sways between the glitzy drama of Twilight and the gothic grandeur of Castlevania. It’s the Aliens of anime—lean, mean, and allergic to exposition. The Chiropterans? Still nightmare fuel. That subway scene? Still tighter than David’s grip on his sanity. And Saya? Saya is forever the blueprint for brooding antiheroes who'd rather stab small talk than engage in it. So grab your katana, cue up Yoshihiro Ike’s haunting score, and let this relic of anime’s golden age remind you: Some monsters don’t need sequels… but they’ll damn well get them anyway. Final line (for your Blade-loving soul): “When you’re tired of Vatican priests and Hellsing’s theatrics, Saya’s 1966 mission remains the purest shot of vampire-slaying adrenaline this side of Wesley Snipes.