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The Art of Rumiko Takahashi: Colors 1978–2024
400 pages, Hardcover
Published September 30, 2025
2 people are currently reading
21 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
December 25, 2025
a perfect collector’s gift for takahashi’s super fans! it was so cool to see her thoughts and favorite panels from each series she wrote; it was especially cool to see her thoughts on my favorite series inuyasha, although i felt she didn’t have a lot to say about it ☹️
August 9, 2025
3.5
I am reviewing a digital ARC I received via NetGalley.
While I wouldn't necessarily call myself a Rumiko Takahashi fan, it would be impossible not to be familiar with her style as an anime/manga fan growing up in the 2000s. Though I have not read much of her work, I watched my fair share of Inuyasha on Adult Swim, and Ranma 1/2 is the first manga I ever noticed anyone else reading in public. I am interested in the development of manga as on art form in general, and I have a soft spot for manga art books, so I decided to give this one a read.
This art book is divided into sections for each of Takahashi's series, arranged chronologically from her first to her most recent. Each section contains reproductions of original drafts of chapters from the series, many of which are in full color. It is cool to be able to see the lines from where dialogue has been printed and pasted onto the page and other details of how manga is constructed. These manga pages are in the original Japanese and untranslated; part of me wishes they were able to present the original Japanese pages but then also have some kind of text translation on the margins, but that would likely be tricky so I understand why there is no translation--just don't expect to actually be able to read from these excerpts unless you read Japanese. This is meant as an art book after all.
These chapter reproductions are accompanied by brief notes/commentary from Takahashi, mostly about the development of each series in general. After these pages, each section contains tons of full-color images, as well as a section where Takahashi identifies some of her favorite panels from the series and why they stand out to her. I found it so cool to get insight into her approach to creating manga, especially as someone who has been doing so for 45+ years. However, I did feel that this commentary was uneven across each section of the book. For example, the first couple of sections feel like they speak very specifically to how Takahashi designed and came up with specific characters and concepts for those series, but for other sections, like the one on Inuyasha, the commentary switches to very general statements about her approach to creating manga in general. I have the most familiarity with Inuyasha so I was a little disappointed to not hear more about its development.
Overall I would recommend this to any anime/manga fan who wants an attractive volume to flip through that will give them insight into the creation of manga as a process and career. It is a little too specific in its scope for general library collections, but if you are interested in Takahashi it is definitely worth seeking out.
I am reviewing a digital ARC I received via NetGalley.
While I wouldn't necessarily call myself a Rumiko Takahashi fan, it would be impossible not to be familiar with her style as an anime/manga fan growing up in the 2000s. Though I have not read much of her work, I watched my fair share of Inuyasha on Adult Swim, and Ranma 1/2 is the first manga I ever noticed anyone else reading in public. I am interested in the development of manga as on art form in general, and I have a soft spot for manga art books, so I decided to give this one a read.
This art book is divided into sections for each of Takahashi's series, arranged chronologically from her first to her most recent. Each section contains reproductions of original drafts of chapters from the series, many of which are in full color. It is cool to be able to see the lines from where dialogue has been printed and pasted onto the page and other details of how manga is constructed. These manga pages are in the original Japanese and untranslated; part of me wishes they were able to present the original Japanese pages but then also have some kind of text translation on the margins, but that would likely be tricky so I understand why there is no translation--just don't expect to actually be able to read from these excerpts unless you read Japanese. This is meant as an art book after all.
These chapter reproductions are accompanied by brief notes/commentary from Takahashi, mostly about the development of each series in general. After these pages, each section contains tons of full-color images, as well as a section where Takahashi identifies some of her favorite panels from the series and why they stand out to her. I found it so cool to get insight into her approach to creating manga, especially as someone who has been doing so for 45+ years. However, I did feel that this commentary was uneven across each section of the book. For example, the first couple of sections feel like they speak very specifically to how Takahashi designed and came up with specific characters and concepts for those series, but for other sections, like the one on Inuyasha, the commentary switches to very general statements about her approach to creating manga in general. I have the most familiarity with Inuyasha so I was a little disappointed to not hear more about its development.
Overall I would recommend this to any anime/manga fan who wants an attractive volume to flip through that will give them insight into the creation of manga as a process and career. It is a little too specific in its scope for general library collections, but if you are interested in Takahashi it is definitely worth seeking out.
November 21, 2025
A Special Thanks to Viz Media and NetGalley for the ARC.
Like the book we’re about to review, it is a celebration of one of the most iconic manga creators in Manga history. Her name is Rumiko Takahashi, known for works such as Ranma 1/2, Urusei Yatsura, and Maison Ikkoku has thrilled fans over the years with her versatile storytelling. Today, my review covers something inspirational to not only fans, but to creators who have looked for guidance on creating a manga with The Art of Rumiko Takahashi: Colors 1978–2024.
I have reviewed an art book previously, but this focuses on a career spanning 45+ years with notes and commentary, artwork that starts from the sketching phase up to the final product that is presented in its original right-to-left format. The book is separated into sections that focus on Takahashi’s career from the very beginning up to her most recent work, keep in mind that the pages that contain reproductions of original drafts of chapters from the series, many of which are in full color.
Speaking of chapters, they include comments from Takahashi herself, walking the reader through the developmental process of each story. She also identifies some of her favorite panels from the series and why they stand out to her. Keep in mind, some of the commentary was uneven in the book, but it is most likely due to translation. As an artist, this felt like a learning experience that was not only helpful, but it was something that could motivate creators to try new things creatively with art and stories. Her artwork in this book is wonderful, whether it be sketches, or the finished product it is a piece of history in both of the Manga Industry and history itself.
While I enjoyed her earlier stories later in life, Ranma 1/2 and Inuyasha were the first stories that introduced me to Takahashi’s unique storytelling and her artwork. Speaking of Inuyasha, in that part of the book she switches up her commentary with statements about her approach to creating manga in general. Overall, this art book is another way of providing insight into the creation of manga as a process and career. One of her newest stories, MAO is getting an anime adaptation, confirming that all of her work in Shogakukan’s Weekly Shonen Magazine has been adapted into anime.
Like the book we’re about to review, it is a celebration of one of the most iconic manga creators in Manga history. Her name is Rumiko Takahashi, known for works such as Ranma 1/2, Urusei Yatsura, and Maison Ikkoku has thrilled fans over the years with her versatile storytelling. Today, my review covers something inspirational to not only fans, but to creators who have looked for guidance on creating a manga with The Art of Rumiko Takahashi: Colors 1978–2024.
I have reviewed an art book previously, but this focuses on a career spanning 45+ years with notes and commentary, artwork that starts from the sketching phase up to the final product that is presented in its original right-to-left format. The book is separated into sections that focus on Takahashi’s career from the very beginning up to her most recent work, keep in mind that the pages that contain reproductions of original drafts of chapters from the series, many of which are in full color.
Speaking of chapters, they include comments from Takahashi herself, walking the reader through the developmental process of each story. She also identifies some of her favorite panels from the series and why they stand out to her. Keep in mind, some of the commentary was uneven in the book, but it is most likely due to translation. As an artist, this felt like a learning experience that was not only helpful, but it was something that could motivate creators to try new things creatively with art and stories. Her artwork in this book is wonderful, whether it be sketches, or the finished product it is a piece of history in both of the Manga Industry and history itself.
While I enjoyed her earlier stories later in life, Ranma 1/2 and Inuyasha were the first stories that introduced me to Takahashi’s unique storytelling and her artwork. Speaking of Inuyasha, in that part of the book she switches up her commentary with statements about her approach to creating manga in general. Overall, this art book is another way of providing insight into the creation of manga as a process and career. One of her newest stories, MAO is getting an anime adaptation, confirming that all of her work in Shogakukan’s Weekly Shonen Magazine has been adapted into anime.
November 17, 2025
Remarkably heavy, the hardback is printed on good glossy paper with a red ribbon bookmark, don't drop it on your toes! Most of the images are taken from the original pasteups and are clear and sharp. Most are in Japanese with furigana except for selected strips with additional commentary. It's a beautiful book.
Takahashi is one of my favorite manga artists, I feel the need to reread.
Takahashi is one of my favorite manga artists, I feel the need to reread.
January 3, 2026
A cute art book.
Definately more of a coffee table book that you get to display somewhere. While there were some fun notes throughout the book, a majority of the information was in an interview at the very end. I would have liked to know a little more
Definately more of a coffee table book that you get to display somewhere. While there were some fun notes throughout the book, a majority of the information was in an interview at the very end. I would have liked to know a little more
Displaying 1 - 5 of 5 reviews