Form Six is the only Mist Breathing name that specifies a light source, and that detail changes the whole logic of the technique. Every other form describes mist as an ambient, timeless condition; 月の霞消 anchors it to moonlight specifically, which matters because dispersing mist is only visually striking — or tactically blinding in reverse — when there's a light source behind it for the clearing haze to catch. The art bears this out: the two-page spread shows a night sky, and the 'mist' rendered as a school of ghostly fish-shapes (visual continuity with the slime-fish demon Muichiro is fighting) that scatter and vanish rather than gather.
The kanji pairing here is the clearest example in the whole style of Gotouge coining a compound that isn't standard Japanese but reads as immediately transparent to a fluent reader. 霞消 doesn't appear in dictionaries as a set word — but 消える (kieru, "to vanish") is basic vocabulary, so "mist that vanishes" parses instantly even though the two-kanji compound itself is invented for the technique. This is the same move as Form Three's 霞散 ("mist scatters"), and the two forms are worth reading as a matched pair: 散 (Form Three) is centrifugal, throwing mist outward to deflect projectiles; 消 (Form Six) is a clean erasure, mist disappearing rather than moving. Together they show the style's naming logic isn't just aesthetic — each verb attached to 霞 describes a genuinely distinct physical behavior of haze.
VIZ's "LUNAR DISPERSING MIST!" is a faithful, compact rendering that keeps all three ideas (moon, mist, dispersal) intact in four words — notably tighter than the Japanese needs to be, since 霞消 alone carries "dispersing mist" and 月の adds only "lunar." This is one of the style's cleanest translations precisely because the Japanese itself is already economical; contrast this with Form One, where a much denser classical allusion (垂天) had to be radically simplified to fit the same space.