Not exactly winning any points for originality, but so few things are. I’m far more interested in execution. Hideout is the rare kind of horror story that’s exactly what I like out of the genre: sparse and stark. That’s it. While narration is constant and flashbacks are frequent, the former is brief and incisive, sharp glances into a mad pseudo-intellectual who’s run out of things to say but is desperate to convey them. The atmosphere is nothing short of phenomenal, aiming for a near-perfect realism in the art style that assists the story’s attempt at plausibility in order to make its horror effective; real.

While going through paces familiar to a horror fan, it does them so eloquently it’s hard to care about the destination when every motion is so captivating. The reliance on heavily detailed imagery that nonetheless never sacrifices immediacy makes single panels full-course meals with only a short gaze. Momentum and tension are never at the mercy of overwrought dialogue. While not perfect in that department, the story attempts to stick to a “seen but not heard” approach to its emotions. The narrator makes it clear he’s angry, but it’s only in the brutal visual depictions of his violence that you can see the depth of that anger.

A short, well-executed concept that has an unambitious target but reaches it in a highly ambitious way. Given the absolute saturation of Japanese media that’s expository ad nauseum, this story along with its tactful art and brief verbal phrasing whet my appetite. It’s not the slightest bit surprising the author writes in his afterword that he’s heavily inspired by western horror. From the art to the way the story is told, this is almost indistinguishable from underground western horror comics. The biggest example of J-horror‘s influence is the other-worldly, grotesque designs of the “monsters.” Recommended for those looking for great craftsmanship. The story in isolation is solid but unlikely to blow anyone’s mind. Depends on priorities.