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めぞん一刻 [Maison Ikkoku] #14
Maison Ikkoku, Volume 14
From the creator of RANMA 1/2 and INUYASHA comes one of Rumiko Takahashi's most beloved series, the romantic (sort of) comedy MAISON IKKOKU, re-presented in a second edition in its original episodic order, with a "missing" episode! Take a trip down memory lane back into Japan's nuttiest apartment house and meet its volatile inhabitants: Kyoko, the beautiful and mysterious new apartment manager; Yusaku, the exam-addled college student; Mrs. Ichinose, the drunken gossip; Kentaro, her bratty son; Akemi, the boozy bar hostess who runs around the house in flimsy lingerie; and the mooching and peeping Mr. Yotsuya.
240 pages, Paperback
First published June 1, 1987
About the author
Rumiko Takahashi
1,595 books2,166 followersRumiko Takahashi (高橋留美子) was born in Niigata, Japan. She is not only one of the richest women in Japan but also one of the top paid manga artists. She is also the most successful female comic artist in history. She has been writing manga non-stop for 31 years.
Rumiko Takahashi is one of the wealthiest women in Japan. The manga she creates (and its anime adaptations) are very popular in the United States and Europe where they have been released as both manga and anime in English translation. Her works are relatively famous worldwide, and many of her series were some of the forerunners of early English language manga to be released in the nineties. Takahashi is also the best selling female comics artist in history; well over 100 million copies of her various works have been sold.
Though she was said to occasionally doodle in the margins of her papers while attending Niigata Chūō High School, Takahashi's interest in manga did not come until later. During her college years, she enrolled in Gekiga Sonjuku, a manga school founded by Kazuo Koike, mangaka of Crying Freeman and Lone Wolf and Cub. Under his guidance Rumiko Takahashi began to publish her first doujinshi creations in 1975, such as Bye-Bye Road and Star of Futile Dust. Kozue Koike often urged his students to create well-thought out, interesting characters, and this influence would greatly impact Rumiko Takahashi's works throughout her career.
Career and major works:
Takahashi's professional career began in 1978. Her first published story was Those Selfish Aliens, a comedic science fiction story. During the same year, she published Time Warp Trouble, Shake Your Buddha, and the Golden Gods of Poverty in Shōnen Sunday, which would remain the home to most of her major works for the next twenty years. Later that year, Rumiko attempted her first full-length series, Urusei Yatsura. Though it had a rocky start due to publishing difficulties, Urusei Yatsura would become one of the most beloved anime and manga comedies in Japan.
In 1980, Rumiko Takahashi found her niche and began to publish with regularity. At this time she started her second major series, Maison Ikkoku, in Big Comic Spirits. Written for an older audience, Maison Ikkoku is often considered to be one of the all-time best romance manga. Takahashi managed to work on Maison Ikkoku on and off simultaneously with Urusei Yatsura. She concluded both series in 1987, with Urusei Yatsura ending at 34 volumes, and Maison Ikkoku being 15.
During the 1980s, Takahashi became a prolific writer of short story manga, which is surprising considering the massive lengths of most of her works. Her stories The Laughing Target, Maris the Chojo, and Fire Tripper all were adapted into original video animations (OVAs). In 1984, after the end of Urusei Yatsura and Maison Ikkoku, Takahashi took a different approach to storytelling and began the dark, macabre Mermaid Saga. This series of short segments was published sporadically until 1994, with the final story being Mermaid's Mask. Many fans contend that this work remains unfinished by Takahashi, since the final story does not end on a conclusive note.
Another short work left untouched is One-Pound Gospel, which, like Mermaid Saga, was published erratically. The last story to be drawn was published in 2001, however just recently she wrote one final chapter concluding the series
Later in 1987, Takahashi began her third major series, Ranma ½. Following the late 80s and early 90s trend of shōnen martial arts manga, Ranma ½ features a gender-bending twist. The series continued for nearly a decade until 1996, when it ended at 38 volumes. Ranma ½ is one of Rumiko Takahashi's most popular series with the Western world.
During the later half of the 1990s, Rumiko Takahashi continued with short stories and her installments of Mermaid Saga and One-Pound Gospel until beginning her fourth major work, InuYasha. While Ran
Rumiko Takahashi is one of the wealthiest women in Japan. The manga she creates (and its anime adaptations) are very popular in the United States and Europe where they have been released as both manga and anime in English translation. Her works are relatively famous worldwide, and many of her series were some of the forerunners of early English language manga to be released in the nineties. Takahashi is also the best selling female comics artist in history; well over 100 million copies of her various works have been sold.
Though she was said to occasionally doodle in the margins of her papers while attending Niigata Chūō High School, Takahashi's interest in manga did not come until later. During her college years, she enrolled in Gekiga Sonjuku, a manga school founded by Kazuo Koike, mangaka of Crying Freeman and Lone Wolf and Cub. Under his guidance Rumiko Takahashi began to publish her first doujinshi creations in 1975, such as Bye-Bye Road and Star of Futile Dust. Kozue Koike often urged his students to create well-thought out, interesting characters, and this influence would greatly impact Rumiko Takahashi's works throughout her career.
Career and major works:
Takahashi's professional career began in 1978. Her first published story was Those Selfish Aliens, a comedic science fiction story. During the same year, she published Time Warp Trouble, Shake Your Buddha, and the Golden Gods of Poverty in Shōnen Sunday, which would remain the home to most of her major works for the next twenty years. Later that year, Rumiko attempted her first full-length series, Urusei Yatsura. Though it had a rocky start due to publishing difficulties, Urusei Yatsura would become one of the most beloved anime and manga comedies in Japan.
In 1980, Rumiko Takahashi found her niche and began to publish with regularity. At this time she started her second major series, Maison Ikkoku, in Big Comic Spirits. Written for an older audience, Maison Ikkoku is often considered to be one of the all-time best romance manga. Takahashi managed to work on Maison Ikkoku on and off simultaneously with Urusei Yatsura. She concluded both series in 1987, with Urusei Yatsura ending at 34 volumes, and Maison Ikkoku being 15.
During the 1980s, Takahashi became a prolific writer of short story manga, which is surprising considering the massive lengths of most of her works. Her stories The Laughing Target, Maris the Chojo, and Fire Tripper all were adapted into original video animations (OVAs). In 1984, after the end of Urusei Yatsura and Maison Ikkoku, Takahashi took a different approach to storytelling and began the dark, macabre Mermaid Saga. This series of short segments was published sporadically until 1994, with the final story being Mermaid's Mask. Many fans contend that this work remains unfinished by Takahashi, since the final story does not end on a conclusive note.
Another short work left untouched is One-Pound Gospel, which, like Mermaid Saga, was published erratically. The last story to be drawn was published in 2001, however just recently she wrote one final chapter concluding the series
Later in 1987, Takahashi began her third major series, Ranma ½. Following the late 80s and early 90s trend of shōnen martial arts manga, Ranma ½ features a gender-bending twist. The series continued for nearly a decade until 1996, when it ended at 38 volumes. Ranma ½ is one of Rumiko Takahashi's most popular series with the Western world.
During the later half of the 1990s, Rumiko Takahashi continued with short stories and her installments of Mermaid Saga and One-Pound Gospel until beginning her fourth major work, InuYasha. While Ran
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Displaying 1 - 10 of 10 reviews
February 21, 2026
What a wonderful book.
April 10, 2021
Misunderstandings are a classic part of the rom com, and with characters like Godai, who can never get his words right, they’re the easiest thing to write. This volume was all about misunderstandings - more so than the average Maison volume, in fact.
First we deal with Mitaka learning that Asuna’s dog, and not Asuna, is pregnant. But they’re still engaged, and he’s decided to keep is promise even after learning that all they did was kiss that night. He decides that eventually he will be happy, because Asuna is a good person. It’s not something that translates well to a world where arranged marriages are practically unheard of, but it suits my heart wonderfully.
But now that Mitaka’s out of the way, Takahashi decided to bring Kozue back. She’s been proposed to, but she wants to get advice from Godai about it before she answers, because she still loves him. She kisses him, and Kyoko sees. So Kyoko and Godai argue, and Kyoko kisses him. Then he tells Kozue that it’s okay that she’s talking about this other guy, because the truth is that after his exam he’s going to propose - and she assumes he means to her. She runs off happily before he can correct her, and before anyone knows it all of Maison has heard that they’re engaged.
Kyoko leaves.
She angrily takes off, feeling like a fool for having kissed Godai when he was courting Kozue the whole time. He comes to her parents’ house daily and she ignores him. But when he stops showing (because he’s been made temporary manager) she gets mad. She talks to Akemi who tells her off and says that maybe *she* should sleep with Godai instead, to rile up Kyoko. Later, though, Akemi calls Godai to a love hotel to help her pay the bill, and while they’re leaving they run into Kozue. She dumps Godai.
Kyoko finds out that Kozue dumped Godai over this and seeks out Akemi to confirm. Akemi does (leaving room for assumptions) and chastises Kyoko for getting this upset over a guy she won’t even hold hands with. This runs through Kyoko’s head, even as Godai comes in and tries to clear things up. She says she’s really quitting, and hates Godai, and walks away with Akemi’s voice like a mantra. Godai follows her to bring her coat and explain, and when he finally gets through to her they’re standing in front of a love hotel - and they go in.
Kyoko feels that maybe having sex will make it easier to communicate and - just make everything easier by removing a barrier. She mentions that she’s thinking of Soichiro, but even after clarifying that she meant her dog (left at Akemi’s bar), now Godai can’t stop thinking about her late husband and can’t really finish. All in all, an awkward experience. Would not recommend.
I no like this volume because the maturity level in Godai and their situation has ramped up and now the problem really appears to be Kyoko being to angry and stubborn to listen. There are moments when she seems to be saying “okay, I’ll hear you out” and then storms off halfway through because she’s heard something that makes her angry. This is such a great/realistic flaw, and yet it’s so frustrating to read. I want to be a mediator for them and lay it all out in ways they’ll understand and work past, lololol.
First we deal with Mitaka learning that Asuna’s dog, and not Asuna, is pregnant. But they’re still engaged, and he’s decided to keep is promise even after learning that all they did was kiss that night. He decides that eventually he will be happy, because Asuna is a good person. It’s not something that translates well to a world where arranged marriages are practically unheard of, but it suits my heart wonderfully.
But now that Mitaka’s out of the way, Takahashi decided to bring Kozue back. She’s been proposed to, but she wants to get advice from Godai about it before she answers, because she still loves him. She kisses him, and Kyoko sees. So Kyoko and Godai argue, and Kyoko kisses him. Then he tells Kozue that it’s okay that she’s talking about this other guy, because the truth is that after his exam he’s going to propose - and she assumes he means to her. She runs off happily before he can correct her, and before anyone knows it all of Maison has heard that they’re engaged.
Kyoko leaves.
She angrily takes off, feeling like a fool for having kissed Godai when he was courting Kozue the whole time. He comes to her parents’ house daily and she ignores him. But when he stops showing (because he’s been made temporary manager) she gets mad. She talks to Akemi who tells her off and says that maybe *she* should sleep with Godai instead, to rile up Kyoko. Later, though, Akemi calls Godai to a love hotel to help her pay the bill, and while they’re leaving they run into Kozue. She dumps Godai.
Kyoko finds out that Kozue dumped Godai over this and seeks out Akemi to confirm. Akemi does (leaving room for assumptions) and chastises Kyoko for getting this upset over a guy she won’t even hold hands with. This runs through Kyoko’s head, even as Godai comes in and tries to clear things up. She says she’s really quitting, and hates Godai, and walks away with Akemi’s voice like a mantra. Godai follows her to bring her coat and explain, and when he finally gets through to her they’re standing in front of a love hotel - and they go in.
Kyoko feels that maybe having sex will make it easier to communicate and - just make everything easier by removing a barrier. She mentions that she’s thinking of Soichiro, but even after clarifying that she meant her dog (left at Akemi’s bar), now Godai can’t stop thinking about her late husband and can’t really finish. All in all, an awkward experience. Would not recommend.
I no like this volume because the maturity level in Godai and their situation has ramped up and now the problem really appears to be Kyoko being to angry and stubborn to listen. There are moments when she seems to be saying “okay, I’ll hear you out” and then storms off halfway through because she’s heard something that makes her angry. This is such a great/realistic flaw, and yet it’s so frustrating to read. I want to be a mediator for them and lay it all out in ways they’ll understand and work past, lololol.
This entire review has been hidden because of spoilers.
March 21, 2018
Here is my ultimate compliment for Ikkoku - Very few series last thirteen volumes and still keep me reading. I bailed before finishing Transmetropolitan, before finishing 100 Bullets, before finishing Y: The Last Man, before Battle Royale could conclude --- It's hard to keep a series fresh and engaging and fun for this long.
Maison Ikkoku has not only kept me interested, but knowing that it all concludes next volume is killing me. I NEED that book NOW!!
Mitaka is out of the picture. Yusaku is doing something FOR HIMSELF. Kyoko is *gasp* admitting her feelings. Everything is building, and yet there is so much ground to cover in that final book. If this book doesn't live up to the spectacular standard set thus far, I might actually cry.
Maison Ikkoku has not only kept me interested, but knowing that it all concludes next volume is killing me. I NEED that book NOW!!
Mitaka is out of the picture. Yusaku is doing something FOR HIMSELF. Kyoko is *gasp* admitting her feelings. Everything is building, and yet there is so much ground to cover in that final book. If this book doesn't live up to the spectacular standard set thus far, I might actually cry.
Read
January 22, 2023i am SICK and TIRED what the hell
May 30, 2009
Things are finally wrapping up. The ending of this volume was a little unrealistic in my opinion, but it does set the stage for the final phase of the story.
November 5, 2011
A little too many farcical misunderstandings for my taste, but it's close enough to the end to bear.
April 7, 2012
note to all writers of romantic comedies: THIS is how to do misunderstandings.
Read
September 10, 2013With all the marriage proposals misunderstandings flying about, you'd think this was a Wodehouse novel
April 14, 2015
"Misunderstandings"
"See everything that's happened up till now... They're all misunderstandings...things we could easily clear up by talking"
"See everything that's happened up till now... They're all misunderstandings...things we could easily clear up by talking"
August 9, 2019
Thực sự không muốn nó end 😥 nhưng bộ này dài như vậy là vừa đủ rồi...
Displaying 1 - 10 of 10 reviews