What do you think?
Rate this book
めぞん一刻 [Maison Ikkoku] #12
Maison Ikkoku, Volume 12
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.
232 pages, Paperback
First published October 1, 1986
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
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 5 of 5 reviews
May 2, 2019
I've read very few things multiple times over the course of my life, and even fewer that have held up over multiple decades. Pride and Prejudice, and this series, are standouts. Maison Ikkoku is like wrapping up in a big fluffy blanket in the middle of winter: comfy, warm, and familiar.
This volume heads into the endgame of this fifteen-volume series. Kyoko has finally admitted--to herself, and no one else--who she's really in love with, and all that remains for the last three volumes is for the rest of it to fall into place.
This volume heads into the endgame of this fifteen-volume series. Kyoko has finally admitted--to herself, and no one else--who she's really in love with, and all that remains for the last three volumes is for the rest of it to fall into place.
February 18, 2026
Very funny indeed!
April 26, 2009
Fun storyline, though I admit I am a little tired of the leachlike behavior of the other tenants. Still, the many crazy experiences and conflicts make for an enjoyable read.
April 8, 2021
This was a tough volume to read, to be honest. We start off with Mitaka, who has managed to overcome his fear of dogs. He visits Asuna to break things off with her, but really enjoys playing with her dogs. And he just... can’t find the right time to do it.
Meanwhile Godai is flourishing at the pre-school, but the recession leads to lay-offs, and he loses his job. He doesn’t have the fortitude to tell Kyoko, since she’s so proud of him and has started preparing daily bentos for him. He gets a job at a night club and hides it from her, but the rest of Maison finds out and she sees him while she’s on a date with Mitaka.
Eventually she finds out that he was laid off and she doesn’t really understand why he didn’t tell her. It’s just something that happened, after all, not through any fault of his.
Mitaka decides to end the engagement, and tells Asuna he can’t marry her. She’s relieved when he says he doesn’t hate her, and joins his tennis class (when he thinks their relationship is sorted). Meanwhile, he’s putting the pressure on Kyoko and even meets her family at Soichiro’s grave. (Where she tells him, via prayer, that she’ll be remarrying, but not until summer - which is when Godai is supposed to finish his preschool teaching credentials). Kyoko and Godai seem to reach an unspoken understanding, in fact.
At the club, though, the babysitter in charge of the staff’s children calls off, so Godai starts taking care of the kids and they love him. One of the workers, though, runs off with a client and leaves her two children with Godai. This... is not going to end well.
I’m very amused that Mitaka has spent this series dissing Godai and now he’s in the exact same wishy-washy position. Kyoko could clear a lot of this up by telling someone how she feels, outright, but that’s just not her nature. :)
Meanwhile Godai is flourishing at the pre-school, but the recession leads to lay-offs, and he loses his job. He doesn’t have the fortitude to tell Kyoko, since she’s so proud of him and has started preparing daily bentos for him. He gets a job at a night club and hides it from her, but the rest of Maison finds out and she sees him while she’s on a date with Mitaka.
Eventually she finds out that he was laid off and she doesn’t really understand why he didn’t tell her. It’s just something that happened, after all, not through any fault of his.
Mitaka decides to end the engagement, and tells Asuna he can’t marry her. She’s relieved when he says he doesn’t hate her, and joins his tennis class (when he thinks their relationship is sorted). Meanwhile, he’s putting the pressure on Kyoko and even meets her family at Soichiro’s grave. (Where she tells him, via prayer, that she’ll be remarrying, but not until summer - which is when Godai is supposed to finish his preschool teaching credentials). Kyoko and Godai seem to reach an unspoken understanding, in fact.
At the club, though, the babysitter in charge of the staff’s children calls off, so Godai starts taking care of the kids and they love him. One of the workers, though, runs off with a client and leaves her two children with Godai. This... is not going to end well.
I’m very amused that Mitaka has spent this series dissing Godai and now he’s in the exact same wishy-washy position. Kyoko could clear a lot of this up by telling someone how she feels, outright, but that’s just not her nature. :)
This entire review has been hidden because of spoilers.
March 20, 2018
Vol. 12 continues the story of struggling young professional, Yusaku Godai, who attempts to find a job in order to feel worthy of the love of his life, Kyoko Otonashi. Twelve volumes into the series, and Takahashi still manages to find ways to keep things lively and fun. Yusaku is laid off of his job at a preschool, which leads to the embarrassing job as a sidewalk caller at a strip club. Of course, lecherous neighbor Mr. Yotsuya finds out about the new job, and Yusaku finds himself being exploited in exchange for keeping his secret. To his benefit, Yusaku's romantic rivel, Coach Mitaka, is struggling with a dilemma of his own - an arranged marriage orchestrated by his meddling uncle!
The situations remain fun, the emotions remain believable, and the art carries everything across to the reader with clarity and style.
The situations remain fun, the emotions remain believable, and the art carries everything across to the reader with clarity and style.
Displaying 1 - 5 of 5 reviews