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めぞん一刻 [Maison Ikkoku] #2
Maison Ikkoku, Volume 2
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.
232 pages, Paperback
First published July 1, 1982
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 - 21 of 21 reviews
April 12, 2016
Wow, I started reading this series because I believed all the reviews that said it was a heartwarming romantic comedy. I can't believe so many people like it so much. Maybe it just hasn't aged well. I got to chapter four of the second volume and I am done.
Hero Yusako is icky and unlikeable all the way through volumes one and two, but chapter four is really nauseating. Heroine Kyoko is afraid to be alone with Yusako, and she apparently has good reason. He spends the entire scene trying to work up the nerve to grab her, because they are alone in the building, and she can't call for help. The thought balloon literally says, "She could yell, and nobody would hear." Then afterward, he kicks himself for losing his nerve, while she thinks about what a gentleman he was, for not assaulting her.
I guess this is what romantic comedies were like in the 1980s? Rape culture with a laugh track. I'm going to stop reading, and pretend that Yusako got hit by a bus, and Kyoko married the cute tennis pro and lived happily ever after.
Hero Yusako is icky and unlikeable all the way through volumes one and two, but chapter four is really nauseating. Heroine Kyoko is afraid to be alone with Yusako, and she apparently has good reason. He spends the entire scene trying to work up the nerve to grab her, because they are alone in the building, and she can't call for help. The thought balloon literally says, "She could yell, and nobody would hear." Then afterward, he kicks himself for losing his nerve, while she thinks about what a gentleman he was, for not assaulting her.
I guess this is what romantic comedies were like in the 1980s? Rape culture with a laugh track. I'm going to stop reading, and pretend that Yusako got hit by a bus, and Kyoko married the cute tennis pro and lived happily ever after.
January 19, 2026
It is very fun book.
May 17, 2017
Godai's college life gets some time in the spotlight in this volume, as he meets ex-co-worker Kozue again for the first time, and joins the puppeteer club at his college. I get the feeling his world keeps getting bigger, while Kyoko's stays more or less the same. I can see why she joined the tennis club not long after becoming Maison Ikkoku's manager, because I see her as someone who could use more variety in her activities and acquaintanceship.
The creepy "Kyoko is sleeping, drunk, or otherwise incapacitated or off her guard, so I could grope her" sexism continues, but as I recall author Takahashi dials back on that as the series goes along. Thank goodness.
Kyoko and Godai are finding themselves drawn to each other, but are also wanting to play the field a bit before they commit. Both of them can be irrational and unthinkingly hypocritical when they grow jealous of the other's dates, dinners, etc. with people of the opposite sex who aren't themselves.
But as always with this author's work, the jabs aren't delivered with scorn or derision, but with an indulgent understanding that we all can be just that silly sometimes.
One of my favorite episodes is in this volume: the one where the pay phone is installed in the boarding house's hallway. A pay phone, you say? How old-fashioned! Well, this is a story written almost four decades ago. But Kyoko and Godai's Horrible Misunderstanding centered around land-line phone calls, exacerbated by the meddling of the other tenants in Maison Ikkoku, could well have played out exactly the same way if the two had been on social media instead. Some tropes are truly universal!
The creepy "Kyoko is sleeping, drunk, or otherwise incapacitated or off her guard, so I could grope her" sexism continues, but as I recall author Takahashi dials back on that as the series goes along. Thank goodness.
Kyoko and Godai are finding themselves drawn to each other, but are also wanting to play the field a bit before they commit. Both of them can be irrational and unthinkingly hypocritical when they grow jealous of the other's dates, dinners, etc. with people of the opposite sex who aren't themselves.
But as always with this author's work, the jabs aren't delivered with scorn or derision, but with an indulgent understanding that we all can be just that silly sometimes.
One of my favorite episodes is in this volume: the one where the pay phone is installed in the boarding house's hallway. A pay phone, you say? How old-fashioned! Well, this is a story written almost four decades ago. But Kyoko and Godai's Horrible Misunderstanding centered around land-line phone calls, exacerbated by the meddling of the other tenants in Maison Ikkoku, could well have played out exactly the same way if the two had been on social media instead. Some tropes are truly universal!
June 20, 2021
Another lighthearted continuation of the same characters living life in Maison Ikkoku. I like the slice of life story and building relationships throughout. This volume was less sexist which is always nice lol. I don't think there is much to learn from this series so far but it is enjoyable none-the-less.
Writing / Style: 6/10
Characters: 8/10
Plot: 5/10
Enjoyment: 6/10
Overall: 3/5
Writing / Style: 6/10
Characters: 8/10
Plot: 5/10
Enjoyment: 6/10
Overall: 3/5
November 6, 2013
When people learn how much I enjoy the romantic comedy they always ask me what is my favorite romcom, assuming that it will be a movie, or maybe a book. But my favorite romantic comedic work of fiction far and away is this Japanese comic book -- so much so that I have been afraid to go back and reread it again after I finished it many years ago, fearing that it couldn't be as good as I remembered. I am happy to say that so far it is that good. Rumiko Takahashi is a genius and her ability to get humor and so many emotions from her seemingly simple drawing style is miraculous. I am so glad to back at the boarding house with Godai and Kyoko and Akemi and Mrs. Ichinose and all the others.
March 22, 2021
We complete the first year of Kyoko managing Maison Ikkoku in this volume. She's kind of casually dating Mitaka, the shiny handsome tennis coach Godai has marked as his rival, and now Godai manages to accidentally secure a kind-of girlfriend (Kozue). They're both jealous, and there are all sorts of misunderstandings that make them blow up and then have a sweet moment together.
Highlights include the one-year anniversary dinner. Godai invites Kyoko on a date at Ma Maison, a fancy French restaurant. Kyoko thinks it's for her anniversary, as the other boarders at Maison Ikkoku have invited her for drinks as Mama-san. These kinds of communication hijinks are classic Maison Ikkoku, really.
I also loved the Christmas arc, where Godai buys her some lovely earrings, but then he runs into Kozue and gives her the present, since she knitted him a hat. He then goes searching through his room for the gift he didn't give Kyoko the year before (a brooch). She has knitted him a scarf. And it looks just like the one she knit for Mitaka, which makes both the men wonder what she sees or doesn't see in them. But they get to their Christmas gathering to learn that Kyoko has knitted similar scarves for everyone. :P
It was very cute and sweet, and so slice of life. It's clear that this is going to be a very slow burn, but Kyoko and Godai are just honest enough with themselves to make it a fun one.
Highlights include the one-year anniversary dinner. Godai invites Kyoko on a date at Ma Maison, a fancy French restaurant. Kyoko thinks it's for her anniversary, as the other boarders at Maison Ikkoku have invited her for drinks as Mama-san. These kinds of communication hijinks are classic Maison Ikkoku, really.
I also loved the Christmas arc, where Godai buys her some lovely earrings, but then he runs into Kozue and gives her the present, since she knitted him a hat. He then goes searching through his room for the gift he didn't give Kyoko the year before (a brooch). She has knitted him a scarf. And it looks just like the one she knit for Mitaka, which makes both the men wonder what she sees or doesn't see in them. But they get to their Christmas gathering to learn that Kyoko has knitted similar scarves for everyone. :P
It was very cute and sweet, and so slice of life. It's clear that this is going to be a very slow burn, but Kyoko and Godai are just honest enough with themselves to make it a fun one.
February 29, 2024
Yusaku comes across as slightly more mature in this second volume of Maison Ikkoku, though his blatant presumptuousness and borderline entitlement provide more than a bit of tension (for example, by moving in to kiss Kyoko too soon, both after their outing, and when they're playing with puppets) that Kyoko easily rebuffs. More importantly, though, the addition of a romantic rival for each of them provides the foundations for the misunderstandings that will continue throughout the series, with Yusaku intimidated by the suave, wealthier Coach Mitaka, and Kyoko assuming that Yusaku is playing the field and has feelings for Kozue. Both sides feel real and genuine, and highlight the uncertainty so many of us feel when encountering potential relationships. All in all, I can't recommend this series enough.
August 26, 2024
Ah, là, on commence à voir qu'il s'agit vraiment d'un manga qui se déroule vers la fin des années 70, et où les personnages principaux "tourmentés" par une expérience de premières amour ont entre 20 (Yusaku) , 22(Kyoko) et 26-27 ans (les deux autres locataires "bons à rien").
Média typique de cette génération, assez ennuyeux mais au même temps assez comptèt pour entrevoir les moeurs de l'époque tels que imaginés ou carricaturés pour la jeune génération également de l'époque.
Média typique de cette génération, assez ennuyeux mais au même temps assez comptèt pour entrevoir les moeurs de l'époque tels que imaginés ou carricaturés pour la jeune génération également de l'époque.
November 17, 2019
今年古本屋でこのシリーズを見つけた。実は昔最初の巻を読んで、あまり好きではなかったけど、全部買いました。とても安かったね。でも本当の理由は安いだけではなく、憧れる人がこの漫画家が好きです。多分このシリーズをその人に貸せると思ったけど、ダメみたいですね。だから僕自分で読んでいます。
最初の巻はあまり好きではなかったけど、今回はちょっと好きになりました。今回もキャラはとてもわがままですね。ごだいくんはいつも響子ちゃんに狙っていますね。でも今回響子ちゃんはテニスを練習している、テニスのコーチも響子ちゃんに興味があります。響子ちゃんは二人とも彼女が好きが知っていると思うけど、彼らの心をいじっていると思います。ひどいですね。でもごだいくんもこずえさんの心を遊んでいると思います。
でも今回は温かい場面もあるし、時々ユーモアも受けるし、まあまあ楽しかった。
最初の巻はあまり好きではなかったけど、今回はちょっと好きになりました。今回もキャラはとてもわがままですね。ごだいくんはいつも響子ちゃんに狙っていますね。でも今回響子ちゃんはテニスを練習している、テニスのコーチも響子ちゃんに興味があります。響子ちゃんは二人とも彼女が好きが知っていると思うけど、彼らの心をいじっていると思います。ひどいですね。でもごだいくんもこずえさんの心を遊んでいると思います。
でも今回は温かい場面もあるし、時々ユーモアも受けるし、まあまあ楽しかった。
This entire review has been hidden because of spoilers.
March 13, 2020
It’s so frustrating to see Yusaku and Kyoko dance around each other, and I find myself liking Kyoko less and less even though she is a strong lead. I guess it’s that she blames Yusaku for his distance even though she is constantly undercutting his feelings.
I think I like the supporting cast more than most readers. :) Who hasn’t known an Akemi at least?
I think I like the supporting cast more than most readers. :) Who hasn’t known an Akemi at least?
July 4, 2021
I liked this a little less than the first because although we got to see a 'different' side of Kyoko, it seemed ingenuine and a bit childish(?). Yusaku was also a bit conflicted and after the first volume, I didn't think there would be any room for that but hey-ho. I'll probably stop here because I see the story drawling on like this for the next few volumes, which I'm not a fan of.
March 2, 2019
Dịch hay vl 👏
November 29, 2020
A little bit disappointed with the FL character. She seems to not know her own thought & heart. The story still a little bit quirky & fun tho.
May 31, 2024
This manga feels like home
September 9, 2015
I loved the first book in this series, but I think book 2 was even better! Lots of crazy situations, a loveable cast of characters, and plenty of laughs! I was smiling ear to ear for most of this book, and finished it in record time!
October 31, 2012
Como me gustan las historias cotidianas y locas de rumiko
March 10, 2013
This was just as cute as the first volume and I laughed many times.
April 1, 2013
The hilariousness continues. It's almost unbelievable how good this manga is, considering the year of origin. It's also much better than Ranma 1/2 or Inuyasha.
April 20, 2013
The best manga
January 31, 2017
The mangaka has dropped some of the slapstick for a bit more involved plot, now. Still pretty light, and all the main characters are sort of frustrating, in an endearing way.
July 27, 2018
1. When yosaku joined a club and he received all these phone calls and kyoko was jealous, I loved when he used the pay phone to explain to kyoko everything.
2. AWWW WHEN HE FINALLY ASKED HER OUT ON A DATE that was cute omg and when she heard the restaurant name wrong, and it did end up kinda messy and that is the cute part
3. And when she came to the festival and did the puppet show omg just cute
4. AND WHEN SHE STRAINED HER ANKLE omg
5. This volume is so cute
6. And she’s only 22!
7. The only comment about the New Year’s Eve chapter was like the translation or ???
8. The cat named “kyoko baby”
All in all, fun read
Displaying 1 - 21 of 21 reviews