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MAO [マオ] #22
Mao, Vol. 22
Nanoka tries to help a woman possessed by a snake ayakashi, but can she exorcise the demon without killing its host? When it looks as if Nanoka is in over her head, an enemy (and rival) comes to her aid. But then Nanoka must battle her own jealousy! Plus, demon cat Byoki reveals more of the closely guarded secrets surrounding Sana’s death…
192 pages, Paperback
First published November 18, 2024
3 people are currently reading
42 people want to read
About the author
Rumiko Takahashi
1,593 books2,144 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 - 6 of 6 reviews
November 14, 2025
Another solid volume, really like the growth of Nanoka and her powers
December 29, 2025
Volume 22 opens with the end of the living doll battle. Kamon’s wood magic is weak against Hakubi’s metal magic, but he’s figured out a new trick that at least slows the soldier down. The doll maker faces his poetic fate, and Hakubi retreats, declaring this a win.
Nanoka decides that she should probably check in at home in the 21st Century, but on her way spots a child servant in an alley weeping. It turns out that the poor kid has been sent out to buy rats for her mistress, but now the cage is too heavy for her to carry, and she has no money left to get someone to carry it for her.
Despite being freaked out by the proximity of rats, soft-hearted Nanoka carries the cage for the younger girl. The girl’s mistress is gracious enough, but her hands are icy cold. Nanoka decides to peep over the wall to find out what the rats were wanted for. Turns out the woman wanted to eat them, with her jaw unhinging so she can swallow one.
Nanoka is discovered, and she must protect the servant girl Otama from the snaky woman. Worse, the ayakashi possessing the woman has set up a barrier so Nanoka can’t leave or signal Mao. She’ll have to battle this monster alone, and the ayakashi seems almost eager to have Nanoka use the magical sword Akanemaru on her.
This is a tough fight, but Nanoka begins to figure out a new property of Akanemaru. It’s not quite enough, and she needs to be bailed out by a surprise assist. This person drops some hints, so Nanoka needs to get more information from Mao.
Mao informs Nanoka of some of the plot developments she wasn’t present for, having not realized that she’d need to know these things. It’s painfully clear to the reader that Nanoka and Mao have been catching feelings for each other, but neither is ready to express them openly yet.
There’s a quick page of Nanoka trying to get some sleep in the present day, but mostly fretting.
Next up is the Oni’s Arm arc. A shaman is called in to pacify a relic of that name which has been acting oddly since the previous priest of the village passed away. It doesn’t work, and the shaman is possessed by the arm.
Mao and Nanoka go to exorcise the shaman, and she volunteers to use Akanemaru’s new power to accomplish this. Unfortunately she overdoes and only a strong barrier keeps the entire village from being showered in poison blood. Nanoka admits she feels like she’s competing with Yurako (Sana’s dark twin who currently works for the Goko Clan) but won’t quite tell Mao why.
Byoki wants to complete the revival of Daigo (earth-wielder and Mao’s first friend) but can’t do so until his soul is released by Natsuno (another earth-wielder.) Problem is, each time Byoki tries to kill Natsuno, Daigo’s zombified body acts to protect her.
To this end, Byoki curses a young woman to think she’s committing murders in her sleep, causing Hakubi and Yurako to come out of hiding. Then he invites Natsuno to the same location. If Daigo through Natsuno learns the truth of what happened the night Sana died, this may release his geas on Natsuno, allowing his soul to be placed back in his body.
So we start getting new information on the series’ primary mystery; will the truth finally be known?
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.
Nanoka decides that she should probably check in at home in the 21st Century, but on her way spots a child servant in an alley weeping. It turns out that the poor kid has been sent out to buy rats for her mistress, but now the cage is too heavy for her to carry, and she has no money left to get someone to carry it for her.
Despite being freaked out by the proximity of rats, soft-hearted Nanoka carries the cage for the younger girl. The girl’s mistress is gracious enough, but her hands are icy cold. Nanoka decides to peep over the wall to find out what the rats were wanted for. Turns out the woman wanted to eat them, with her jaw unhinging so she can swallow one.
Nanoka is discovered, and she must protect the servant girl Otama from the snaky woman. Worse, the ayakashi possessing the woman has set up a barrier so Nanoka can’t leave or signal Mao. She’ll have to battle this monster alone, and the ayakashi seems almost eager to have Nanoka use the magical sword Akanemaru on her.
This is a tough fight, but Nanoka begins to figure out a new property of Akanemaru. It’s not quite enough, and she needs to be bailed out by a surprise assist. This person drops some hints, so Nanoka needs to get more information from Mao.
Mao informs Nanoka of some of the plot developments she wasn’t present for, having not realized that she’d need to know these things. It’s painfully clear to the reader that Nanoka and Mao have been catching feelings for each other, but neither is ready to express them openly yet.
There’s a quick page of Nanoka trying to get some sleep in the present day, but mostly fretting.
Next up is the Oni’s Arm arc. A shaman is called in to pacify a relic of that name which has been acting oddly since the previous priest of the village passed away. It doesn’t work, and the shaman is possessed by the arm.
Mao and Nanoka go to exorcise the shaman, and she volunteers to use Akanemaru’s new power to accomplish this. Unfortunately she overdoes and only a strong barrier keeps the entire village from being showered in poison blood. Nanoka admits she feels like she’s competing with Yurako (Sana’s dark twin who currently works for the Goko Clan) but won’t quite tell Mao why.
Byoki wants to complete the revival of Daigo (earth-wielder and Mao’s first friend) but can’t do so until his soul is released by Natsuno (another earth-wielder.) Problem is, each time Byoki tries to kill Natsuno, Daigo’s zombified body acts to protect her.
To this end, Byoki curses a young woman to think she’s committing murders in her sleep, causing Hakubi and Yurako to come out of hiding. Then he invites Natsuno to the same location. If Daigo through Natsuno learns the truth of what happened the night Sana died, this may release his geas on Natsuno, allowing his soul to be placed back in his body.
So we start getting new information on the series’ primary mystery; will the truth finally be known?
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.
November 9, 2025
A lot going on in this volume. We finish off the fight from the previous volume then we get some solo action for Nanoka. The really big deal is Nanoka coming to terms with how she feels for Mao. Then of course we can all see how Mao feels for her as well. But boy is she sure jealous of Yurako! I am rooting for her but she does need to chill. Plus we are getting closer to finding out the truth of what happened back in the day with the Goko clan. I am curious what will happen when all the truth comes out.
August 9, 2025
Sono totalmente rapita da questa storia, ogni volume è qualcosa di più e mi fa scoprire sempre più dettagli sul passato dei personaggi, portandoci di conseguenza sempre di più nel cuore della storia ❤️🩹 io non posso che dire che è sempre più bello ogni cosa, e il rapporto tra Mao e Nanoka.. ❤️
January 21, 2026
We are tantalizingly close to the end of one mystery (Sanaa) but not much progress has been made so far on Byoki.
I feel like we have been spending a lot of time on the backstory and not much on Nanoka in the last few volumes. Its like she isn't even the main character.
I feel like we have been spending a lot of time on the backstory and not much on Nanoka in the last few volumes. Its like she isn't even the main character.
December 17, 2025
Major drama in this volume! I love it!
Displaying 1 - 6 of 6 reviews