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めぞん一刻 [Maison Ikkoku] #5
Maison Ikkoku, Volume 5
Follows the tenants of Japan's nuttiest apartment house where Kyoko, the manager, Yusaku, the college student, Mrs. Ichinose, the drunken gossip, Akemi, the boozy bar hostess, and Mr. Yostuya, the mooching peeper, reside.
208 pages, Paperback
First published January 1, 1984
2 people are currently reading
80 people want to read
About the author
Rumiko Takahashi
1,586 books2,144 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
January 27, 2026
This is so funny !
March 26, 2021
Some more slice-of-life for Godai and Kyoko. It's been three years at Maison now, and it's marked by Godai spending New Year's alone. At first he thinks he'll be alone with Kyoko, but then it turns out she has somewhere to go, as well. :P
Then there's a little adventure with drunken Akemi. She kisses Godai (calling him "Hiroshi", the name of the fellow who just dumped her) - and when Kyoko gets a little jealous, she kisses her, too. This puts kissing on the brain for everyone, which results in Godai basically offering himself to Akemi, and then nearly kissing Kozue. In the end, though, he's helping Kyoko replace a broken porch light and she falls on him, and they accidentally kiss. It gets it out of their system, at least.
Mitaka is back in the picture with this one, too - first in a story where Kozue turns to him for advice. That makes Godai think she's leaving him for Mitaka, which he doesn't challenge, but upon wishing her well, puts his arm around her. Turns out that's all she wanted! And then in the final story, Kyoko's mother, upon the anniversary of Soichiro's death, is wishing that Kyoko would remarry and give her grandchildren. She takes Kyoko and Mitaka out for drinks, and Kyoko invisted Mrs. Inchinose and Godai along. When the conversation turns to children, Mitaka shows that he's gung-ho about kids. Kyoko imagines a life where he's constantly adopting children for her to care for. Godai says he's okay with two kids, and Mitaka questions whether he has the finances even for that, which leads Kyoko to imagine a life of poverty and hungry children with Godai. Finally on the way home, Godai tells her that it's okay to not want any children - so she imagines herself in her old age - with Godai - lying in bed and asking if the other is still alive. She determines that she wouldn't mind having one child, and when Godai says he'll go along with her there anytime, she smacks him for his impertinence. :P
Same old silly, but the characters are really growing on me. Even Yotsuya the peeping tom is somehow endearing while still gross AF? I don't get it, but I can understand why this series is so beloved (especially given the time it came out). Some say it's Rumiko Takahashi's masterpiece, and I'm beginning to understand why they might say that.
Then there's a little adventure with drunken Akemi. She kisses Godai (calling him "Hiroshi", the name of the fellow who just dumped her) - and when Kyoko gets a little jealous, she kisses her, too. This puts kissing on the brain for everyone, which results in Godai basically offering himself to Akemi, and then nearly kissing Kozue. In the end, though, he's helping Kyoko replace a broken porch light and she falls on him, and they accidentally kiss. It gets it out of their system, at least.
Mitaka is back in the picture with this one, too - first in a story where Kozue turns to him for advice. That makes Godai think she's leaving him for Mitaka, which he doesn't challenge, but upon wishing her well, puts his arm around her. Turns out that's all she wanted! And then in the final story, Kyoko's mother, upon the anniversary of Soichiro's death, is wishing that Kyoko would remarry and give her grandchildren. She takes Kyoko and Mitaka out for drinks, and Kyoko invisted Mrs. Inchinose and Godai along. When the conversation turns to children, Mitaka shows that he's gung-ho about kids. Kyoko imagines a life where he's constantly adopting children for her to care for. Godai says he's okay with two kids, and Mitaka questions whether he has the finances even for that, which leads Kyoko to imagine a life of poverty and hungry children with Godai. Finally on the way home, Godai tells her that it's okay to not want any children - so she imagines herself in her old age - with Godai - lying in bed and asking if the other is still alive. She determines that she wouldn't mind having one child, and when Godai says he'll go along with her there anytime, she smacks him for his impertinence. :P
Same old silly, but the characters are really growing on me. Even Yotsuya the peeping tom is somehow endearing while still gross AF? I don't get it, but I can understand why this series is so beloved (especially given the time it came out). Some say it's Rumiko Takahashi's masterpiece, and I'm beginning to understand why they might say that.
This entire review has been hidden because of spoilers.
July 29, 2018
1. i need to try those fortune machines! (the one that was in the cafe ch.41)
2. okay akemi-kisses chapter! omg what a plot-twist! XD!!
3. and when they briefly kissed omg! i need to put this moment in history!
4. this volume had tiny filler chapters but fun at the same time but i don’t think they are filler since they might be referenced? but they were a bit of a drag.
5. i adored ch.46 when they all dressed up costumes ! i feel like all the characters are integrated and are fun!
6. okay i have not commented on this so Kyoko’s ex-husband was her high school teacher?! i don’t know if i should be shocked cuz this manga is like from the 90s but even tho, does this make me kinda see her character in another level? maybe, i like kyoko’s character but she seems so hesitant but thats also good or this manga would’ve ended in like 3 chapters lol. all in all its just the age gap shocked me lol.
7. ah kyoko’s mother finally met Mikata lol! he is a husband material if you ask me but he’s a player (as a i said before)
8. ch.49 was a fun read!!! i love when all the characters appear in one chapter! ( i love the hug at the end)
9. also speaking of ch.50 when kyoko said that yusaka would take that girl to a motel, even the story went that way, i do not think yusaka would cuz he’s too in love with kyoko and just nah, it would ruin the story.
Vol. 5 was all in all; another good read, I’m am enjoying this manga!
June 1, 2024
I found the stories in this volume sillier than previous ones, perhaps after the larger story arc from Volume 4? Highlights from this volume include the Akemi kissing chapter (a masterpiece of understatement in how both Yusaku and Kyoko react), and the final"Oh, Baby" chapter featuring high-pressure meddling from Kyoko's mother that will no doubt ring true for twenty- and thirtysomethings today.
April 7, 2019
Oh that kiss 😆😆😆😆
June 11, 2020
まあまあ面白かった。キャラクターたちはまだ好きではない。五代くんと管理人さんの関係はびくにとって面白くない。二人とも馬鹿だと思う。
全巻は誤解ばかり。この本はいつも五代くんがずるいことをしている。こずえちゃんと付き合ってるけど好きではない。管理人さんを壁の穴を使って見てる。まだまだはっきり言うってない。嫌なやつ。
全巻は誤解ばかり。この本はいつも五代くんがずるいことをしている。こずえちゃんと付き合ってるけど好きではない。管理人さんを壁の穴を使って見てる。まだまだはっきり言うってない。嫌なやつ。
December 17, 2010
maison ikkoku continutes to be excellent. i just wish the 2nd ed had the same paper quality as the first (and that my copy of 5 didn't have a misbound signature, resulting in a run of pages being repeated and others being omitted. argh.)
April 5, 2013
Another stellar volume. There's simply no excuse for not giving every volume of this series 5 stars so far. This is Rumiko Takahashi at her best. This is manga at its best. No matter that it's almost 30 years old.
September 14, 2015
Cute, fun, and as always, almost impossible to put down! I LOVE this series ^_^
April 20, 2016
If Kyoko's parents want to hug a baby so badly, they should just by a doll.
Displaying 1 - 10 of 10 reviews