There is a clear distinction in the story from first to second volume, not just thematically but also in flow, with the second half being more sensational in delivery through inclusion of other vampires and newly awakened sexuality, from the protagonist in the first segment. The art in this particular project showcases his ability to merge various inspirations into something so nightmarish and unsettling. As unfortunate as this is, it does show the staying power of the manga's visual style which wonderfully merges concepts such as sex, violence, horror, imperialism, pop culture and absurdity. This statement can be proven through a simple Google image search which shows very few panels with accompanying text. Maruo has largely become a figure more established by visual aesthetics over storytelling here in the West, with most of his work not being published. Many of the panel transitions capture kinetic transitions that are seldom conveyed with such bravado, as in the pages of “The Laughing Vampire”.

In particular, the way he catches the motion of character through layering facial features is an intriguing way to capture rapid movement. The artwork of Maruo is undeniably stunning, and the manga is one of the finer showcase of his work. The two work together to keep a steady flow of victims, and eventually have to face off against other vampires. Centuries later, she comes across a young man she decides to make her apprentice. However, the earth rejects her body and she is reborn as a vampire.

A woman with twisted facial features scours the wasteland to rob corpses of valuables, but eventually she is found and murdered and buried.

Suehiro maruo the laughing vampire