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MAO [マオ] #18
Mao, Vol. 18
Il palcoscenico della tragedia preparato dallo Scrigno della Metamorfosi, uno strumento proibito del clan Goko usato per scagliare maledizioni, è ormai pronto! Intanto, coloro che un tempo erano allievi dello stesso maestro faranno un incontro inaspettato e inquietante...
192 pages, Paperback
First published November 17, 2023
About the author
Rumiko Takahashi
1,602 books2,206 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 - 8 of 8 reviews
September 20, 2024
Another great volume, really like the growth of Nanoka’s powers.
August 15, 2025
the girls are fighting—and by girls I mean a bunch of immoral teenage exorcists who had a friendship split 900 years ago and have spent all their time since stewing~
December 14, 2024
Eventually, the box is tracked down to a girls’ boarding school. Hakubi also joins the battle, as he’s the only one able to use the Box of Monstrosity safely. The box escapes in the chaos, but Hakubi and Kamon get to meet and exchange formal but hostile words.
Nanoka and Mao visit the ayakashi swordsmith Meimeido to check on the progress of Nanoka’s cursed sword Akanemaru. It’s healing nicely, but Meimeido assures Nanoka that she has more to learn about unlocking its potential.
Then it’s time for Hosho family drama. Kagari, the younger sister, is trying to show that she is valuable to the Goko clan with her cursed needles. But lately, her older sister Ayame has been undoing all her curses with her superior magic skills. What neither of them know is that Hakubi has deliberately set them against each other in hopes of increasing Kagari’s skill and malice.
Hakubi allows Kagari to go to Mei’s garden of death to boost her needle’s power with the poisonous effluvia of the human kodoku. Kagari’s able to ambush her sister, but this calls in Mao and Nanoka, who the impulsive girl is still not quite a match for. Will the sisters ever be reconciled?
The Goko Clan has a new client, a dying man. He’s not foolish enough to ask for life extension, but he has one regret. There’s a village that needs to be destroyed.
Mao and Nanoka learn that Dragon Bone Village has been stricken with first floods and then a drought. Ayakashi waitress Tenko lets Mao and Nanoka know of this and her worries. You see, Dragon Bone Village is also known as The Village of Human Sacrifice, ritually murdering a maiden each time there’s a drought to bring back the rains.
When our heroes arrive, they learn that the drought is artificial, created by Renji and Sasuga. The sacrifice has already been chosen. Sasuga kind of fancies her, and is willing to save her if she will come with him. But the villagers claim that they no longer actually kill the “sacrifice”, and she’s chosen to believe that. The villagers shoo all the strangers away, even if there’s no killing they don’t want outsiders at the ritual. Sasuga shrugs.
You see, the reason he created the drought was so the ritual sacrifice would be performed, getting all the villagers in one spot as the Goko Clan destroys the village and everyone in it. Good riddance except that Mao and Nanoka are down there rescuing the maiden!
There’s no trips back to the 21st Century, though one of the chapter covers features Nanoka with her grandfather and housekeeper just to remind us that’s a thing.
No new continuing characters this time, and little myth arc progression. The “firestarter” and “human sacrifice” arcs are pretty cool in themselves. We get some expansion on the supporting characters, even if most of them don’t go very far.
The art continues to be excellent.
Still recommended to fans of Rumiko Takahashi’s work.
Nanoka and Mao visit the ayakashi swordsmith Meimeido to check on the progress of Nanoka’s cursed sword Akanemaru. It’s healing nicely, but Meimeido assures Nanoka that she has more to learn about unlocking its potential.
Then it’s time for Hosho family drama. Kagari, the younger sister, is trying to show that she is valuable to the Goko clan with her cursed needles. But lately, her older sister Ayame has been undoing all her curses with her superior magic skills. What neither of them know is that Hakubi has deliberately set them against each other in hopes of increasing Kagari’s skill and malice.
Hakubi allows Kagari to go to Mei’s garden of death to boost her needle’s power with the poisonous effluvia of the human kodoku. Kagari’s able to ambush her sister, but this calls in Mao and Nanoka, who the impulsive girl is still not quite a match for. Will the sisters ever be reconciled?
The Goko Clan has a new client, a dying man. He’s not foolish enough to ask for life extension, but he has one regret. There’s a village that needs to be destroyed.
Mao and Nanoka learn that Dragon Bone Village has been stricken with first floods and then a drought. Ayakashi waitress Tenko lets Mao and Nanoka know of this and her worries. You see, Dragon Bone Village is also known as The Village of Human Sacrifice, ritually murdering a maiden each time there’s a drought to bring back the rains.
When our heroes arrive, they learn that the drought is artificial, created by Renji and Sasuga. The sacrifice has already been chosen. Sasuga kind of fancies her, and is willing to save her if she will come with him. But the villagers claim that they no longer actually kill the “sacrifice”, and she’s chosen to believe that. The villagers shoo all the strangers away, even if there’s no killing they don’t want outsiders at the ritual. Sasuga shrugs.
You see, the reason he created the drought was so the ritual sacrifice would be performed, getting all the villagers in one spot as the Goko Clan destroys the village and everyone in it. Good riddance except that Mao and Nanoka are down there rescuing the maiden!
There’s no trips back to the 21st Century, though one of the chapter covers features Nanoka with her grandfather and housekeeper just to remind us that’s a thing.
No new continuing characters this time, and little myth arc progression. The “firestarter” and “human sacrifice” arcs are pretty cool in themselves. We get some expansion on the supporting characters, even if most of them don’t go very far.
The art continues to be excellent.
Still recommended to fans of Rumiko Takahashi’s work.
October 18, 2026
This volume was so entertaining. And, I know I’ve said this like a million times, but the truth is the story keeps getting better and better with each volume and I’m here for all the good fight choreo and action scenes. For a hot second I thought Ayame was done for with the black needle curse and I was truly afraid this would be her last volume, but I’m glad Mao was able to help and hopefully we get the Ayame/Kagari showdown in the future. Once again Kagari got a spoonful of her own medicine and she totally deserved it for being a full time hater. Hubris is going to be her downfall, because she really thought she was gonna take one of my favorite characters, her sister Ayame, down just because she got some kodoku needles. Sooner or later she’ll learn that when you play with fire you eventually get burn, and I’m just here waiting patiently for that realization to dawn on her. I admit I was not totally on board with all the pity Nanoka and Mao were feeling, like wasn’t Kagari trying to kill y’all like a second ago? People, get your shit together!
I have to say that as the story progresses and we are constantly moving away from the perimeter of Mao’s base, the world has begun to feel more expansive and less constricting, which was one of my criticism regarding the world building.
Now I can’t wait to see what is in store for Mao and Nanoka as they try to stop Sasuga from destroying the Human Sacrifice village in volume 19. Im giving this one 5/5⭐️
I have to say that as the story progresses and we are constantly moving away from the perimeter of Mao’s base, the world has begun to feel more expansive and less constricting, which was one of my criticism regarding the world building.
Now I can’t wait to see what is in store for Mao and Nanoka as they try to stop Sasuga from destroying the Human Sacrifice village in volume 19. Im giving this one 5/5⭐️
January 4, 2025
1.5 stars.
February 25, 2025
Ah, at least this volume recovered from the boring of #17
July 25, 2025
La historia avanza y nuevos personajes aportan más a la historia. Nanoka desarrolla más sus poderes.
This entire review has been hidden because of spoilers.
September 10, 2024
A bit of a lull in the story as we continue on with some more 'monster of the week' type adventures, which is fine, the last few volumes have given us quite a bit of main plot development, so this was a nice change of pace. This volume concludes the Box of Monstrosity story which I found satisfying. I liked the reveal regarding that one.
The biggest thing going on in this volume is more development with the very bratty Kagari, who is rather unlikeable to begin with, so not gonna lie, I'm very much team Ayame, the ambiguous older sister, and arguably better curse wielder. It was an interesting story for me mostly because it highlights Mao's inherent nature to try and help everyone, even someone so willfully awful like Kagari, who really just doubles down on her awful instead of having any real character development here. I will admit that I find her family dynamic interesting, but as characters go, I couldn't care less about Kagari when Ayame is sitting right there being far more complex and interesting.
Perhaps bc the main story of the volume centred around a character I don't really care about, and it never really made me care about her either (like Mei), I found this volume not as interesting as past volumes. Still, that being said, Mao is still my current favourite manga to read, and with any ongoing serial, not every volume is gonna be a total winner.
The biggest thing going on in this volume is more development with the very bratty Kagari, who is rather unlikeable to begin with, so not gonna lie, I'm very much team Ayame, the ambiguous older sister, and arguably better curse wielder. It was an interesting story for me mostly because it highlights Mao's inherent nature to try and help everyone, even someone so willfully awful like Kagari, who really just doubles down on her awful instead of having any real character development here. I will admit that I find her family dynamic interesting, but as characters go, I couldn't care less about Kagari when Ayame is sitting right there being far more complex and interesting.
Perhaps bc the main story of the volume centred around a character I don't really care about, and it never really made me care about her either (like Mei), I found this volume not as interesting as past volumes. Still, that being said, Mao is still my current favourite manga to read, and with any ongoing serial, not every volume is gonna be a total winner.
Displaying 1 - 8 of 8 reviews