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Earth's former inhabitants return to reclaim their homeworld after 100 million years' absence, planning their conquest by sending rapist-agents to breed an invading army with young women. The Interplanetary Mutual Observation Agency sends three agent sisters to stop them, including the beautiful Ash, who is perhaps named for Hunting Ash, the 1992 live-action tentacle film from Angel of Darkness-director Mitsunori Hattori. Meanwhile, Terran schoolgirls are overwhelmed by attacking space-demons, who mix violence with plaintive cries for maternal affection. Ash falls in love with an Earth boy, eventually sacrificing her own life to destroy the beast within him.
Based on a story by Urotsukidoji's Toshio Maeda, DBI repeats his insidiously clever storytelling-beneath the horrific sex and violence is a masterful exploitation of adolescent fears. Hero Muneto and sometime girlfriend Kayo pay the price of sex when she gives birth to a monster. As with the subtext of much of the Cream Lemon series, most of the remaining action involves their attempts to turn back the clock to the days before the loss of innocence. The series also cleverly survives multiple endings; the threat is defeated in episode four, but returns to haunt the young lovers on vacation in Hong Kong. Muneto teams up once more with the IMO Agency, only to discover that its plan is to end the threat forever by killing Kayo. The "final" episode, with the lovers on another vacation, reveals that the Demon Beast's spirit can live on even after its body is killed.
Three two-part spin-offs were released after the original series in 1995. Revenge of the Demon Beasts (also available in the U.S.) featured the return of Ash's sisters, BB and Dee, with a plan to bring their sister back from the dead to fight a new enemy. Descent of the Goddess and Ecstasy of the Holy Mother continued the story in Japan, with the last of the IMO, Captain "O," helping Kayo destroy her horrific past.
DBI features a dramatic drop in quality of animation and music when compared to Maeda's earlier work and, like the similar Adventure Kid, attempted to compensate for these shortcomings by using real-life erotic stars as voice actresses. It also inadvertently contributed to anime's reputation abroad as child pornography. The American release from Anime 18 (for which the long-suffering "Moe I. Yada" turned in a thanklessly superior translation) removed the blurs, dots, and mosaics of the Japanese version, although the original animators had never intended the images to be seen uncensored. The genitals revealed are thus incompletely drawn, devoid of hair or distinguishing marks, and give the false impression that all the sexually active characters are underage. LNV