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MAO [マオ] #21
Mao, Vol. 21
Mao attempts to save the victim of a curse as well as the one who cast it. Then, a case of missing children attracts the attention of both our friends and the Goko clan. Next, a puppeteer creates dangerous, living dolls. Sometimes it’s hard to tell the perpetrator from the victim…and sometimes they’re one and the same.
192 pages, Paperback
First published August 17, 2024
4 people are currently reading
51 people want to read
About the author
Rumiko Takahashi
1,593 books2,147 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
August 22, 2025
I always enjoy this series, but I just don’t really see much progress in the overall story. It’s so much monster of the week stuff that it’s getting a bit stale.
April 13, 2025
un po' meno "interessante" rispetto al precedente, ma il finale mi porta a sperare che il numero 22 possa ribaltare la situazione 🙏🏻🤞🏻
December 29, 2025
Volume 21 opens with the continuation of Ayame’s request to deal with a cursed needle that’s gone awry. Wealthy young lady Miwako requested a curse to protect her friend/servant Sumiko from a young man she thought was toying with her affections. But it’s causing the man to take on a bestial appearance, not something in the original spell. It turns out that Miwako may not have been entirely honest about her intentions, and Mao must save her from a dark path.
The next plot arc begins with an entire schoolroom of children getting up and walking out, disappearing from the village. And something similar has happened in multiple villages, suggesting that it’s not an isolated incident. Ayakashi waitress Tenko worries that there might be a child-eating ayakashi involved as there used to be some of those. (They’re relatively rare as those are the ones demon hunters go after first.)
Shiranui, water-wielding co-leader of the revived Goko Clan, has a better idea of what might be going on, so he sends fire-using musician Renji and plant-using “healer” Mei to investigate.
The disappearances have been following a very predictable pattern, so Mao and Nanoka are able to figure out which village is next. The children become violent when prevented from leaving, hitting and biting. This is a problem as our heroes have poisonous blood and they don’t want to accidentally kill the children.
The issue turns out to be another of the Goko Clan’s cursed items, the Bewitching Flute. Its melody allows the player to control children, but is inaudible after some point in puberty. (So Nanoka, even though she’s still in high school, is already too old to be affected.) It had fallen into the hands of a slave trader but now is in the possession of one of his former victims, more sinned against than sinning, who is nevertheless dangerous.
Renji and Mei are very willing to kill their enemies and those they deem to be evil, but even they won’t kill children and in fact want to protect them. They take back the flute, and dispense “justice” in a way our heroes would not. There’s a reason they’re working for the Goko Clan, and not the good guys.
We next check in with Kuchinawa (aka Kamon, another plant-user.) He’s investigating a rich man who recently purchased a “living doll.” Tsuyako’s beautiful and extremely well-made. the size of a short human. The reason Kamon is looking into this is that the doll maker claims to be part of the Goko Clan, and you don’t find him, he finds you.
Kamon senses a touch of malice from the doll, but it instantly evaporates once he uses an exorcism on it. However, a few days later, the owner is dead, his ribcage crushed, and the doll is missing. When Kamon investigates, he notices traces of metal magic.
So it’s time to call in Mao, Nanoka, and Hyakka the fire-wielder. The heroes split up to investigate other “living dolls” that were recently purchased, but none of them are giving off traces of magic or malice. But a few days later, there is another rich man found dead with his ribcage crushed. The servants don’t recall any dolls, but the master was locking himself in his room every night and refusing to let anyone else enter for unknown reasons.
Sure enough, strong traces of metal magic are found, with the particular “flavor” of Hakubi (evil metal-user)’s spell, the “metal scarecrows” (basically magical war robots.)
So it’s time to track down Tsuyako and her creator. In a twist, the doll maker turns out not to be connected to the Goko Clan at all, or even know who Hakubi is. But decades before, he’d been at a battle between Hyakka and Hakubi, and accidentally come into possession of the power source of one of the metal scarecrows. After years of study, he was able to create living dolls.
But it takes a lot of money to create such beautiful and functional dolls, so he agreed to use one to kill for hire. He used the profit to make more dolls, but that used up the money, so he had to agree to another assassination, and the vicious cycle continued.
Hakubi shows up to take back his property, and attempt to kill his enemies. He shows his superior control of metal magic, turning Tsuyako into a full-on monster.
Content note: Fantasy violence and murder, with copious amounts of blood. Child abuse, slavery. Extramarital sex and infidelity is implied. Okay for most teens.
The series continues to have fascinating stories and good art. Unfortunately, the romantic subplot is taking up more and more of the plot.
The next plot arc begins with an entire schoolroom of children getting up and walking out, disappearing from the village. And something similar has happened in multiple villages, suggesting that it’s not an isolated incident. Ayakashi waitress Tenko worries that there might be a child-eating ayakashi involved as there used to be some of those. (They’re relatively rare as those are the ones demon hunters go after first.)
Shiranui, water-wielding co-leader of the revived Goko Clan, has a better idea of what might be going on, so he sends fire-using musician Renji and plant-using “healer” Mei to investigate.
The disappearances have been following a very predictable pattern, so Mao and Nanoka are able to figure out which village is next. The children become violent when prevented from leaving, hitting and biting. This is a problem as our heroes have poisonous blood and they don’t want to accidentally kill the children.
The issue turns out to be another of the Goko Clan’s cursed items, the Bewitching Flute. Its melody allows the player to control children, but is inaudible after some point in puberty. (So Nanoka, even though she’s still in high school, is already too old to be affected.) It had fallen into the hands of a slave trader but now is in the possession of one of his former victims, more sinned against than sinning, who is nevertheless dangerous.
Renji and Mei are very willing to kill their enemies and those they deem to be evil, but even they won’t kill children and in fact want to protect them. They take back the flute, and dispense “justice” in a way our heroes would not. There’s a reason they’re working for the Goko Clan, and not the good guys.
We next check in with Kuchinawa (aka Kamon, another plant-user.) He’s investigating a rich man who recently purchased a “living doll.” Tsuyako’s beautiful and extremely well-made. the size of a short human. The reason Kamon is looking into this is that the doll maker claims to be part of the Goko Clan, and you don’t find him, he finds you.
Kamon senses a touch of malice from the doll, but it instantly evaporates once he uses an exorcism on it. However, a few days later, the owner is dead, his ribcage crushed, and the doll is missing. When Kamon investigates, he notices traces of metal magic.
So it’s time to call in Mao, Nanoka, and Hyakka the fire-wielder. The heroes split up to investigate other “living dolls” that were recently purchased, but none of them are giving off traces of magic or malice. But a few days later, there is another rich man found dead with his ribcage crushed. The servants don’t recall any dolls, but the master was locking himself in his room every night and refusing to let anyone else enter for unknown reasons.
Sure enough, strong traces of metal magic are found, with the particular “flavor” of Hakubi (evil metal-user)’s spell, the “metal scarecrows” (basically magical war robots.)
So it’s time to track down Tsuyako and her creator. In a twist, the doll maker turns out not to be connected to the Goko Clan at all, or even know who Hakubi is. But decades before, he’d been at a battle between Hyakka and Hakubi, and accidentally come into possession of the power source of one of the metal scarecrows. After years of study, he was able to create living dolls.
But it takes a lot of money to create such beautiful and functional dolls, so he agreed to use one to kill for hire. He used the profit to make more dolls, but that used up the money, so he had to agree to another assassination, and the vicious cycle continued.
Hakubi shows up to take back his property, and attempt to kill his enemies. He shows his superior control of metal magic, turning Tsuyako into a full-on monster.
Content note: Fantasy violence and murder, with copious amounts of blood. Child abuse, slavery. Extramarital sex and infidelity is implied. Okay for most teens.
The series continues to have fascinating stories and good art. Unfortunately, the romantic subplot is taking up more and more of the plot.
This entire review has been hidden because of spoilers.
August 15, 2025
A bit of a 'filler volume' here, but it's always a good time when Mei and Renji are paired up as the goku clan antagonists. They are arguably the most interesting villains in the series, bc they do have a sense of justice and fairness alongside their viciousness and ruthlessness. It's easy to see why they are the way they are, and they make a compelling case for continuing on as such, though Mao is quick to point out that even when they do adhere to their moral code and it results in 'doing the right thing' their path to get there is still unscrupulous. They still murdered to get there. It's an interesting problem, and it makes the characters feel flawed and human to the reader. It's moments like these in the series that questions humanity and the nature of humans that keeps this series' momentum even on the 'monster of the week' stories.
November 29, 2025
Just when I thought we were solving some good, standalone mysteries for a change, Takahashi sneaks in some possible backstory right at the end. We will have to see in the next volume how a confrontation with turns out.
August 20, 2025
Kind of a chill volume just some episodic tales. The final story though left with a cliffhanger so hopefully it ties into something a little bigger next volume.
October 10, 2025
The mysteries, the action, the slow-burn..... Criminally underrated series!!
Displaying 1 - 8 of 8 reviews