Bara-iro no Kaibutsu (means the Monster in Rose Red) is the first recueil of a Japanese comic-artist, Maruo Suehiro. Maruo is maybe some kind of outsider artist. He has been commonly recognized as a Ero-Gro-Nonsense(1 Artist for a long time (recently, he draws some comicalizes of Edogawa Rampo, the most influential Japanese horror and detective writer and then becomes little a bit popular). Even today, he is famous only in a sub-cultural scene, but formerly, he was considered as, not sub-culture, but underground artist.
This book was first published in 1982, by 青林堂(Seirindo). Most of the works included here are written in 1981, and 1982. And almost all of them were first appeared in S&M magazines.
The works in this books are:
「カリガリ博士復活（Kari gari hakase fukkatsu: The Resurreciton of Dr. Caligari）」: This is apparently an hommage to a German expressionism film, Das Kabinett des Dr. Caligari. And the story of it, though we can hardly recognize 'story' here, is a summarize of the film.
「リボンの騎士（Ribon no Kishi: The Knight in a Ribbon）」: Its information of the first appearance is unknown (Only written its date, 1980). But we can easily guess that it should have appeared in some kind of underground magazine, because its whole story and character are strongly perverted.
「下男の習性（Genan no Shûsei: The Custom of the Houseman）」: This is an expression of Enfent Terrible. The background of the story is maybe a Japanese bourgeois class in Meiji or Taishô era. Maruo loves that kind of background for his works.
「少女椿（Shôjo Tsubaki: Girl Camellia）」: This is a prequel to his most beautiful story,『少女椿（Shôjo Tsubaki）』.The book which has a same title to this sketch is one of his masterpiece and I think that the book is his best. But in this story, main heroïn, Midori suffers misfortunes. She sells a flower standing on the street, but no one helps her. A gentleman helps her but he embrace her in the dark. Her mother dies being eaten her abdomen by rats. She goes to the gentleman. But it is a freak show and she is raped by freaks. A song she sang in the opening is 「酋長の娘（Shûchô no musume: Chieftain's Daughter）」. This song was first appeared in 1930, and inspired by 石田一松（Ishida Ichimatsu, 1902-1956）, who settled in Micronesia and married with chieftain's daughter.
「僕らの眼球譚（Bokura no Gankyû-tan: Our Story of the Eye）」: This work resembles little a bit to 'Genan no Shûsei,' but this one has rather incest feeling.
「私ハアナタノ便所デス（Watashi ha Anata no Benjo desu: I am your toilet）」: This is a scatologic sketch. The boy who wears the costume of a hero evacuates on the face of his maid. He apologies himself, saying "I don't go to school, not because I am a retard, but because I want to be with you." This is a pervert love story (without hope).
「少年Z アレマ!!テオレマ（Shônen Z Arema!! Teorema: Boy Z Arema!! Teorema）」: This is a very surrealistic sketch. A young man stands in front of a house in the night. The young man says: "Please let me in." But an answer: "Please go elsewhere, we are not an inn." But the young man enters in the house, and plays with sleeping family, talking each other by monologue, and finally he stays the house. Maybe this is a parody of Teorema, an Italian film directed by Pasolini.
「天然の美（Ten-nen no Bi: Natural Beauty）」: This is a kind of intermission. In the big Japanese room, people laughs madly. Then they have an orgy. That's all. There's no story, no message, no meaning.
「童貞厠之介（Dôtei Kawaya-no Suke）」: This is a first of the "Kawaya-no Suke" triptych. Kawaya means toilet in a old Japanese. So Kawaya-no Suke stand for a toilet boy. As his name, he was abandoned by his mother in a toilet when he was a baby. He dwells in a toilet, and drags girls in a toilet (The toilet in classical Japanese style is quite different from western style. They have rooms under their lavatory basin to pool the 'one'.). One day, he drags an old lady, and the story suggest that the old lady would be his mother, then story ends.
「血と薔薇（Chi to Bara: Blood and Rose）」: There are three volume magazines which has been titled 'Chi to Bara.' They are directed by 澁澤龍彦（Shibusawa Tatsuhiko）and published in 1968-69. But in this case, the story would be influenced the french horror film, Et mourir de plaisir (The Japanese title of it is 'Chi to Bara'). The film was directed by Roger Vadim, and released in 1960.
「最モ痛イ遊戯（Mottomo itai Yûgi: The Most Painful Play）」: This is a play of children. Two boys play as Nazi officers, and a girl prisoner. Boys demand the girl sexual offerings and the demand escalates.Finally one boy says, "Captain! The spy is dead..."
「腐った夜（Kusatta Yoru: Rotten Night）」: This is a typical love triangle. A beautiful young girl marries with a rich old man for a money, but she has another young lover. They love secretly but the old man finds them out, and slashes them with a sword, then throws them in the storage. Though its expression is quite barbarous and grim, the story has certain beauty in its lyricism.
「腐ッタ夜 ちんかじょん（Kusatta Yoru Chinka Jyon: Rotten Night Chinka Jyon）」: A boy was run down by a horse cart with his left leg. His father remarries but the boy doesn't like his new mother. One day he was shouted by a dirty homeless, "What d'ya see, Chinka-Jyon!" (I don't quite clear the meaning of Chinka-Jyon). The homeless' left leg was lost, like him. The boy invites the homeless to his house and makes him rape his mother. His mother becomes nymphomaniac because of the affair. Then one day, the mother sees her napping son's broken leg. She takes it to her vagina, but the boy wakes up and stabs her with scissors. The boy sees now dead mother's vagina, and digs his head into her body. Then he shouts, "Darkness! I can see nothing!"
The book has a afterwords by 遠藤ミチロウ（Endô Michirô）. He was a vocal of the punk band 'The Stalin,' at that time.
Left: Original Version
Right: Revised Version
(This article is based on the Original version)