“Born in darkness, a young boy steps into the light. Raised in a cellar steeped in solitude, his entrance into English society at the turn of the nineteenth century is anything but painless. From place to place he journeys, seeking companions who share his unusual interests. But always, always a red fog follows, consuming everything in its path…” (Yen Press)
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Manga based around vampiric lore vary greatly within the format, from the romance to the common shonen structure that places the emphasis on action over horror. The genre can also act in extremities as seen in the ultra hypersexualized “Laughing Vampire” from Suehiro Marou to the dark coming-of-age tale of Shuzo Oshimi's “Happiness” that blends teenage isolation with bloodshed. As such, one never really knows what to expect from any title that leads to vampiric characters, though the overtly violent or mature psychological titles are certainly few and far between when compares to a more family-friendly take on the bloodsuckers.
This is where “From the Red Fog” proves to be a pleasant surprise in the genre, as it incorporates elements of drama, action, coming-of-age and extreme violence. Landing the work in a delicate balance between those ‘family-friendly' vampire tales you would expect but delivering an abundance of depravity and violence that will appeal to those who like added shock value. These statements might seem in contrast to each other, especially with a title that deals with the likes of sexual assault and graphic panels of murder, yet the characters balance their destructive nature with the innocence of youth–a page can read like an adolescent drama only to erupt in violence the next. Ultimately, the story is a dizzying mix of extremity and engaging drama that makes “Red Fog” one of the most notable vampire titles in recent memory.
A prime example of the constant playing with the perceptions of the reader comes in the protagonist's discovery of a young woman struggling with violent tendencies. Seeing this troubled youth as a possible romantic partner, the tryst is short-lived when the protagonist learns the girl is a tool to lure in victims for her parents. This theme plays out often through the book and is perfectly complemented by the early industrial-era setting that sees clashes among the upper and lower classes as well as the general grit of a bustling city. Consequently, in the “Red Fog,” it seems there is a predator lurking around every corner, waiting for their chance.
The visual stylings of Mosae Nohara are impactful, since there are plenty of panels that will jump out at the reader. Furthermore, the mangaka shows an understanding of action sequences and capturing frenetic movement. The result is a book that not only is exemplary in art but flows with ease. The violence can be overtly graphic in nature but is never exploitive, since, even though it deals with themes of sexual assault it is never overly descriptive and is largely implied. Regardless, it is important to note that those coming into the book blind should take note of the amount of violence among and to children.
“From the Red Fog” is one of the most exciting vampire titles to drop in recent memory, particularly for those who prefer the mature titles in the genre. The only caveat is whether the series will stay as explosive as the first volume, or if the dramatic elements will begin to outweigh the sensationalism that is the major driving appeal of the work. Overall, Mosae Nohara proves to be an intriguing voice in the realm of horror and a mangaka to keep an eye on.
