Since I've chosen to rate the concluding arc of ROSARIO as a near-myth, I'm not going to devote a lot of time to detailing the fine points of said arc. Suffice to say that Ikeda never totally exploits the mythic power of his original conception. At the series' opening, the reader meets Moka, a thoroughly winsome girl vamp when mortal Tsukune accidentally gets enrolled in a "school for monsters." Moka, though she projects an aura of sweet innocence, actually has a "Miss Hyde" side, which is restrained by the "rosario" (a cross-pendant hung around her neck). Tsukune is the only one who can remove this talisman from Moka, and whenever he does, it's the equivalent of unleashing the demon within the innocent girl. Tsukune, in addition to being chased around the school by four other hot monster-babes, is frequently confused by his relation to "the two Mokas": the "outer" one that wears the rosario and is usually cute and rather shy, and the "inner" one without the cross-pendant, who's a powerful badass who often regards the weak Tsukune with contempt. Even when one plotline obliges Moka to infuse Tsukune with her own blood, making him into an "instant monster," the male character is still nowhere the equal of "inner-Moka" in terms of power.
Since the series starts out wiith, and is named for, the mystic seal that inhibits Moka's formidable powers, the concluding story-arc also involves the necessity for binding a far more dangerous demon. This is Alucard, who appears as a crossover between Godzilla and one of the Aliens--
--though, to be sure, he was originally a more human-like monster, when he was known as (big surprise) the 15th-century lord Dracula. Ikeda eventually pits Tsukune and his fighting harem-girls against a monster-organization called "Fairy Tale," who are responsible for a plot to unleash this titanic monster on humankind. Alucard, though technically not related to Moka, serves as a kind of "evil father-figure," particularly because his first wife, the vampire Akasha, binds him into a deep sleep by infusing him with her energies.
Akasha is then rescued from her bondage to Alucard for a time, apparently so that she can sire Moka by another vampire, one Issa. However, because Alucard remains a threat to Moka, Akasha designs the rosario-charm as a means of protecting Moka from the Big Bad-- though to be sure, the nature of the charm is re-interpreted in the finale a few times as the protagonists learn new information.
The most interesting psychological myth of the series is that Akasha doesn't just make the rosario, but also imposes a clone of herself over the natural personality of Moka when she's still a child. Thus, "angry Moka" is closer to the real nature of the heroine, while "sweet Moka's" personality is modeled on that of Akasha-- though, to be sure, Akasha always comes off as being no less of a badass than "angry Moka."
Does this mean that, throughout the early arcs of the series, young Tsukune is actually falling in love with Akasha, not with "inner Moka?" Ikeda tries to provide his readers with reasons as to why this is not the case: that the Akasha-persona is essentially a clone, a nearly blank slate, and that once Akasha completely departs the series for good, the two Moka-personas become interfused, and she's more like a combination of her Jekyll aspect and her Hyde aspect. I suppose Ikeda's basic idea here is that of a mother shielding her daughter from the depredations of an evil father-figure, but the symbolic discourse never really gells.
Still, though "Dawn" and its preceding arcs are decent reads, I never felt that Ikeda had a good handle on the symbolic aspects of his vampire mythology, or any of the other monsters, whether they were derived from the stories of Japan (the "snow maiden" Mizore) or Europe (the "succubus" Kurumu). They're all very amusing, but never intrinsically fascinating, in contrast, say, to the much more rigorous vamp-mythos of DANCE IN THE VAMPIRE BUND.
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