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めぞん一刻 [Maison Ikkoku] #3
Maison Ikkoku, Volume 3
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 May 1, 1983
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 - 15 of 15 reviews
January 23, 2026
I really enjoy reading this book it makes me laugh.
May 18, 2017
From one of my favorite episodes in volume 2, we move on to some of my least favorite episodes in volume 3.
First, the unconscionable episode that I will call "Sexual Assault New Year's." (Spoiler popped for content: sexual assault, as one might expect.) What. The. Hell. As much as I love this series, that particular episode can die in a fire.
Second, the skating rink episode. There isn't anything wrong with it, necessarily. It just isn't all that funny, and doesn't move the story forward at all. It was cut from the original English translation, and wasn't much of a loss, to be honest.
But there's some good stuff in this volume. Kozue gets bolder--one could say a little too bold, as she skips straight to thoughts of marriage when she and Godai haven't even kissed, and tricks him into a "meet the parents" moment. While I'm not a fan of the particular type of "woman learning to negotiate a man's world" that Kozue represents, it's funny to see her transparent, inexperienced sallies completely pole-axe Godai.
We meet Kyoko's parents, and come to understand just why she is sticking with her in-laws and/or managing the apartment, rather than going back home. It's true that Kyoko is young--she's only 20 at this point in the story--so the desire to get her to come home and find a new husband is somewhat selfless on her parents' part. They want her to be happy, and for her mourning to not extend too far into her young adulthood. But at the least sign of resistance, it becomes all about them, about winning a battle over their daughter's will, which--understandably!--causes her to fight back even harder.
As kind as the narration is to most of the characters' foibles, it spares no mercy for Kyoko's parents. This part of the story, especially with Kozue's chapter right beforehand, feels very cynical. But it ends up relenting a bit, and even touched me, when, at Soichiro's grave site, Kyoko's father-in-law tells her that as a widow, she is not "a wife who isn't dead yet," but someone who is alive, and--my extrapolation of his words--someone who can move on when she is ready to.
In a discussion with a friend who's also been a fan of this series for a long time, they said that Maison Ikkoku changes gradually from a sex comedy to a "marriage prospects" comedy. I agree with this assessment, and would further say that the transition is gearing up even as early as the latter half of this volume. Well, I can only hope that that means my good memories of this series won't be further soiled by more abominations like the New Year's episode. You get docked a star for that piece of garbage, book!
First, the unconscionable episode that I will call "Sexual Assault New Year's." (Spoiler popped for content: sexual assault, as one might expect.) What. The. Hell. As much as I love this series, that particular episode can die in a fire.
Second, the skating rink episode. There isn't anything wrong with it, necessarily. It just isn't all that funny, and doesn't move the story forward at all. It was cut from the original English translation, and wasn't much of a loss, to be honest.
But there's some good stuff in this volume. Kozue gets bolder--one could say a little too bold, as she skips straight to thoughts of marriage when she and Godai haven't even kissed, and tricks him into a "meet the parents" moment. While I'm not a fan of the particular type of "woman learning to negotiate a man's world" that Kozue represents, it's funny to see her transparent, inexperienced sallies completely pole-axe Godai.
We meet Kyoko's parents, and come to understand just why she is sticking with her in-laws and/or managing the apartment, rather than going back home. It's true that Kyoko is young--she's only 20 at this point in the story--so the desire to get her to come home and find a new husband is somewhat selfless on her parents' part. They want her to be happy, and for her mourning to not extend too far into her young adulthood. But at the least sign of resistance, it becomes all about them, about winning a battle over their daughter's will, which--understandably!--causes her to fight back even harder.
As kind as the narration is to most of the characters' foibles, it spares no mercy for Kyoko's parents. This part of the story, especially with Kozue's chapter right beforehand, feels very cynical. But it ends up relenting a bit, and even touched me, when, at Soichiro's grave site, Kyoko's father-in-law tells her that as a widow, she is not "a wife who isn't dead yet," but someone who is alive, and--my extrapolation of his words--someone who can move on when she is ready to.
In a discussion with a friend who's also been a fan of this series for a long time, they said that Maison Ikkoku changes gradually from a sex comedy to a "marriage prospects" comedy. I agree with this assessment, and would further say that the transition is gearing up even as early as the latter half of this volume. Well, I can only hope that that means my good memories of this series won't be further soiled by more abominations like the New Year's episode. You get docked a star for that piece of garbage, book!
March 12, 2013
Another volume that was super cute. This had more of Kyoko's family drama with her parents and the issue of remarrying. I can't get enough of these.
April 2, 2013
The story took a more serious turn and suddenly it's not all about jokes. And it's still damn good, maybe even better than before.
April 21, 2024
The romantic mishaps continue at Maison Ikkoku in Volume 3, though with more of Kyoko deliberating about her future. The most powerful moments in this volume revolve around Kyoko's strained relationships with her parents (especially her manipulative mother) as they attempt to push her away from her fulfilling manager's job and toward a second marriage that she's clearly not ready for. It's also satisfying to see the Godai-Kozue side of the love triangle ratchet up in intensity over the pressures of a single kiss, along with larger character images throughout this volume.
Like other reviewers, I'll knock this volume down a star for both the ice skating episode (which is really just a sequence of predictable jokes strung together) and some dated humor in the New Years episode where Godai intends to (but ultimately shies away from) making physical advances on Kyoko. In reading between the lines, one can view this setup as Takahashi developing the character thread (planted in earlier chapters) of Godai being sexually immature and unable to appropriately convey appropriate romantic intentions toward women, a flaw that one can read as deliberately planted, rather than thrown in for cheap laughs. Part of the reward of Maison Ikkoku, I've found, is following Godai's process of maturity as he leaves these more rape-y intentions behind and grows into a more suitable partner for Kyoko -- and in this sense, the New Years episode represents the end of this brand of sexual humor and the beginning of a new set of values for Godai that, appropriately enough, coincides with the start of the new year.
Like other reviewers, I'll knock this volume down a star for both the ice skating episode (which is really just a sequence of predictable jokes strung together) and some dated humor in the New Years episode where Godai intends to (but ultimately shies away from) making physical advances on Kyoko. In reading between the lines, one can view this setup as Takahashi developing the character thread (planted in earlier chapters) of Godai being sexually immature and unable to appropriately convey appropriate romantic intentions toward women, a flaw that one can read as deliberately planted, rather than thrown in for cheap laughs. Part of the reward of Maison Ikkoku, I've found, is following Godai's process of maturity as he leaves these more rape-y intentions behind and grows into a more suitable partner for Kyoko -- and in this sense, the New Years episode represents the end of this brand of sexual humor and the beginning of a new set of values for Godai that, appropriately enough, coincides with the start of the new year.
July 27, 2018
"fun read and i do not wanna finish it"
1. chapter 21, the poster is so cute
2. we get to meet kyoko’s parents and how they are pushing her to move out of maison ikkuko and remarry, remove her husband’s name from her name etc.
3. gotta say i need to screen shot cute pics of yusako and kyoko specially when he saved her from the ruined laundry balcony.
4. this chapter is so cute (ch22)
5. we see another chapter her parents try to take her back home, usin every tactic in the book
6. and yusako that idiot is having dinner at kozue? let me tell you he is a little wimp ! break up with her already!
7. i like the fact that he told her to wait, he’s willing to do as much as he can but really?
8. look mikata is a bit of player (even if its a misunderstanding since he fears dogs) still no, altho in rl he is a catch.
9. ok ok he tried to break up with her but omg still try harder.
10. okay when Yusaka FOUND THE DOG AND HE LOOKED LIKE HER LATE HUSBAND isn’t that ENOUGH sign??????
all in all, nice volume.
March 23, 2021
Things are picking up a bit at Maison Ikkoku... in this volume we have some arcs that demonstrate two very important things: Kyoko is aware of her feelings for Godai, and her family (both natural and the one she married into) think it's time for her to consider moving on and re-marrying. Her folks are jerks about it, but her father-in-law agrees with kindness, and that gets her thinking. Right now her options are Mitaka, who says he can give her three years. In that time, he'll be ready to live with her dog (who he's scared to death of). Godai is still a student - but he asks her to wait three years for him to be done with school. He then amends it to 4+5 years.
And Kyoko is considering this. She's not ready to move on - she's still in love with her dead husband. At one point, when everyone is pressuring her to just choose someone, he yells at them to consider her feelings, since she's still in love with her husband. I think this won Godai some massive points in Kyoko's book. Too bad he can't find a way to not be Kozue's boyfriend....
And Kyoko is considering this. She's not ready to move on - she's still in love with her dead husband. At one point, when everyone is pressuring her to just choose someone, he yells at them to consider her feelings, since she's still in love with her husband. I think this won Godai some massive points in Kyoko's book. Too bad he can't find a way to not be Kozue's boyfriend....
This entire review has been hidden because of spoilers.
November 19, 2019
バカなロマンスは続いている。みんなはバカ。五代くんは響子ちゃんが好きけど、こずえちゃんの方がいい人と思う。響子ちゃんは嫌なやつじゃない？でもこずえちゃんは少ししつこいだよね。
December 7, 2020
What's new?
1. Kyoko's parents especially her mother
2. Kozue household
What's old?
1. The love triangle
2. The episodic story still entertaining
1. Kyoko's parents especially her mother
2. Kozue household
What's old?
1. The love triangle
2. The episodic story still entertaining
August 4, 2021
Really like the Maison Ikkoku series, a sweet little love story with funny characters.
November 8, 2012
Me encantan lo enredos y malentendidos de este manga
April 9, 2016
I'm reading this series in the original Japanese, and they are SO. FUNNY.
December 30, 2016
Good insight on Alzheimers and other aging issues. First published in 1981, it's in its 4th edition.
April 2, 2017
2.5 stars
April 20, 2013
Great manga story...
Displaying 1 - 15 of 15 reviews