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MAO [マオ] #19
MAO 19
九百年続くの因縁…元凶・猫鬼が動き出す!
「人身御供の村」へ
向かった摩緒と菜花は、
村を滅ぼそうと企む流石に遭遇する。
水の術の天才に、
菜花は一人で立ち向かうが…
一方、大五・白眉と共に
姿を消した猫鬼に動きがーー
「人身御供の村」へ
向かった摩緒と菜花は、
村を滅ぼそうと企む流石に遭遇する。
水の術の天才に、
菜花は一人で立ち向かうが…
一方、大五・白眉と共に
姿を消した猫鬼に動きがーー
192 pages, Paperback
First published February 16, 2024
1 person is currently reading
58 people want to read
About the author
Rumiko Takahashi
1,586 books2,143 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 - 5 of 5 reviews
January 17, 2025
Amazing volume, finally some growth for Nanoka!!!
June 4, 2025
The nineteenth volume opens with the conclusion of the Dragon Bone Village story. Water-wielding monk Sasuga has been assigned to destroy the village as a former resident’s revenge for their practice of human sacrifice. To do this, he triggered a drought so they’d gather to perform this atrocity again, this time on a girl named Sachiko. Sasuga took a fancy to the girl and offered to take her away instead, but the villagers lied and told her the ritual was only symbolic.
It wasn’t, so Sasuga doesn’t have any qualms about using his conch shell to begin the destruction. Nanoka goes off to stop him, reasoning that her Earth energy will be able to overcome his Water magic. While their elemental affinities do work that way, Sasuga is far more powerful and skilled with his element than Nanoka. Meanwhile, Mao works to save Sachiko from the villagers, and then the villagers from Sasuga’s waterspout.
There’s no loss of life, but all the groundwater was removed from the area, so the village is effectively dead. Sasuga knew he could rely on the good-hearted Mao to save the girl, and is only a little disappointed when Sachiko chooses to live a respectable life rather than go with him.
Natsuno, the earth-wielder, approaches Kamon the wood-wielder to assist her in investigating some ayakashi spirits that have been spotted flying above Shinobazu Pond. By nightfall, they’re joined by Mao and Nanoka.
The ayakashi turn out to be controlled by cat monster Byoki, who reveals that he was the one behind Natsuno’s immortality, using his ability to manipulate lifespan. He was using her to reassemble Daigo, but while that Earth mage has physically come back to life, his “soul” is still missing. Byoki has decided to kill Natsuno on the suspicion that she’s the missing piece.
It doesn’t work. Natsuno’s body is repaired by clay flying in from nowhere. Clearly, Byoki is not the only puppet master here.
Elsewhere, a mysterious mound capped by a stone is about to be flattened for a construction site. The stone has writing engraved on it, but lichen has obscured the kanji. This being the kind of series it is, toppling the stone and opening the mound results in a catastrophic mudslide.
The mound turns out to be the entombment site of Nuemaru, a notorious bandit. According to legend, he repented and became a monk, then volunteered to become a Shokushinbutsu, a monk who enters a deep meditation state to become mummified while still alive.
The legend is a little off, and Nuemaru is far more of a menace because of that. Natsuno uses the battle to train Nanoka further in the use of Earth energies, and in using her cursed sword Akanemaru without killing herself. (Nanoka still does use too much blood.)
This volume explores Natsuno’s character more, and shows that she does in fact care for people, despite her stoic nature. We also see that while not everyone can be redeemed, sometimes you can persuade them they’ve gotten enough revenge.
As usual, good art and interesting writing, most recommended to time travel fantasy fans.
It wasn’t, so Sasuga doesn’t have any qualms about using his conch shell to begin the destruction. Nanoka goes off to stop him, reasoning that her Earth energy will be able to overcome his Water magic. While their elemental affinities do work that way, Sasuga is far more powerful and skilled with his element than Nanoka. Meanwhile, Mao works to save Sachiko from the villagers, and then the villagers from Sasuga’s waterspout.
There’s no loss of life, but all the groundwater was removed from the area, so the village is effectively dead. Sasuga knew he could rely on the good-hearted Mao to save the girl, and is only a little disappointed when Sachiko chooses to live a respectable life rather than go with him.
Natsuno, the earth-wielder, approaches Kamon the wood-wielder to assist her in investigating some ayakashi spirits that have been spotted flying above Shinobazu Pond. By nightfall, they’re joined by Mao and Nanoka.
The ayakashi turn out to be controlled by cat monster Byoki, who reveals that he was the one behind Natsuno’s immortality, using his ability to manipulate lifespan. He was using her to reassemble Daigo, but while that Earth mage has physically come back to life, his “soul” is still missing. Byoki has decided to kill Natsuno on the suspicion that she’s the missing piece.
It doesn’t work. Natsuno’s body is repaired by clay flying in from nowhere. Clearly, Byoki is not the only puppet master here.
Elsewhere, a mysterious mound capped by a stone is about to be flattened for a construction site. The stone has writing engraved on it, but lichen has obscured the kanji. This being the kind of series it is, toppling the stone and opening the mound results in a catastrophic mudslide.
The mound turns out to be the entombment site of Nuemaru, a notorious bandit. According to legend, he repented and became a monk, then volunteered to become a Shokushinbutsu, a monk who enters a deep meditation state to become mummified while still alive.
The legend is a little off, and Nuemaru is far more of a menace because of that. Natsuno uses the battle to train Nanoka further in the use of Earth energies, and in using her cursed sword Akanemaru without killing herself. (Nanoka still does use too much blood.)
This volume explores Natsuno’s character more, and shows that she does in fact care for people, despite her stoic nature. We also see that while not everyone can be redeemed, sometimes you can persuade them they’ve gotten enough revenge.
As usual, good art and interesting writing, most recommended to time travel fantasy fans.
This entire review has been hidden because of spoilers.
June 17, 2025
The good thing is the story has stopped jumping in time so much so it's slightly easier to follow. In the last few volumes, we've only really cared about two time lines -- the taisho era, or "present" for Mao (ie: about 100 years in our past), and the heian period, or "past" for Mao when Sana was killed and the Goko clan disbanded (ie: about 1000 years in our past).
The (large) cast of characters has also seemed to stabilize with fewer new apprentices being introduced lately. For a while it was quite difficult to track the loyalties of assorted spell casters.
Byoki Natsuno decides to train Nanoka more fully; lets see if she gets distracted as usual and again drops our main crew to pursue her own goals.
The (large) cast of characters has also seemed to stabilize with fewer new apprentices being introduced lately. For a while it was quite difficult to track the loyalties of assorted spell casters.
Byoki Natsuno decides to train Nanoka more fully; lets see if she gets distracted as usual and again drops our main crew to pursue her own goals.
January 8, 2025
A lot going on in this volume. Byoki gives us another piece of the puzzle and the past begins to become a little clearer. Still a lot of questions though. Watching Nanoka develop in her abilities is fun and now with Natsuno also giving her training I think big things are coming for her.
This entire review has been hidden because of spoilers.
October 6, 2024
QUANTO MI STA PIACENDO ❤️🔥
Displaying 1 - 5 of 5 reviews