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めぞん一刻 ワイド版/文庫版 [Maison Ikkoku Wideban/Bunkoban] #6
Maison Ikkoku. Perfect Edition, Vol. 6
A movimentare le già turbolente giornate all’Ikkoku-kan è sopraggiunto un nuovo inquilino: lo studente benestante Nikaido. Yotsuya e compagni hanno un gran daffare per mettere alla prova la sua pazienza e i suoi modi educati, ma lui ha in serbo una rivincita per i loro dispetti... Naturalmente, a pagare conseguenze delle loro scaramucce sarà lo sventurato Godai, che intanto deve cominciare il suo tirocinio universitario!
368 pages, Paperback
First published February 1, 1993
9 people are currently reading
136 people want to read
About the author
Rumiko Takahashi
1,582 books2,138 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 - 18 of 18 reviews
September 15, 2024
Another fun volume, even if I did want to give Godai a good shake at times. 🥴🥴
January 11, 2022
Probably the weakest volume in the series for a number of reasons for me. First, it introduces more characters to the cast and in typical serial comic fashion rather late to the game. This already makes them annoying to the reader because we haven't got to spend the same amount of time with them and it feels like they are budding in where they don't belong. That being said, it doesn't help when both Nikaido and Yagami are wholly unlikeable characters either. The second, is how 'off' the comedy is in this volume. A lot misses the mark and feels forced.
Nikaido's introduction exists for drawing out the story and comedy rather than just getting on with the story, which again, remembering this was a serial comic, it makes sense...only Nikaido's purpose seems to be directed towards revenge against the supporting cast in Maison Ikkoku and not having really anything to do with Godai or Kyoko, save for him being exceptionally dim witted to force the characters into awkward situations, which frankly come off a bit more ham-fisted than Takahashi's usual flare for comedic timing and jokes.
Thankfully, once Nikaido's usefulness to adding more hijinks and drama peters out, he's shoved into his room to be forgotten about, and is relegated to be a joke in itself, as like the reader, the rest of the tenants forget he lives there. This is where Nikaido is used best for comedy, in my opinion.
The second half of the book will likely outrage a chunk of today's audience and I'm sorry to say is one arc that has not stood the test of time well. I remember it being awkward and uncomfortable to read back in the day, and it's only gotten cringier with age. That being said, the reader must remember that this is a fictional comedy-drama meant to be outrageous, and in the 1980's what was acceptable comedy and situations are not the same as they are today. There were popular tropes and perceptions that appear often in plenty of old comics and when reading them today should be taken with a grain of salt, and not read too much into. It exists for wild drama in a fictional story and not endorsements for such things in real life.
The character Yagami is a sixteen year old girl who decides to relentlessly pursue Godai when he gets an internship as a student teacher at the same all girl's school Kyoko went to. She decides she's in love with him and places him in countless inappropriate situations to try and make him love her back. Her behaviour is extreme ranging from trapping him alone in rooms with her and undressing while threatening him with screaming, to showing up at his home and preplanned spending the night which Kyoko obviously intervenes.
Yagami exists for upping the dramatic stakes in the series while trying to be outrageously funny with how completely out of line and dangerous her behaviour is. However, this arc just makes me absolutely horrified for Godai. It's awful reading it. For his part, he makes a mental note she's kinda cute, and it stops there. He has no interest in this girl whatsoever and is very much the victim of her desires and schemes. Knowing what the reader does about Godai and how he needs a win in his corner with his job hunting, I felt awful for him the entire time. Yagami has the potential to absolutely ruin not only his career but his life with her selfishness. It's hard to find the comedy when Godai has been down and out and finally gets a break only to have this nasty little character show up. It's even harder to feel sympathetic for her when the situation arises that we are supposed to. She brought her consequences on herself as far as I'm concerned. Frankly, the sooner the door hits her on the ass on the way out the better.
My favourite parts in this volume were the little quiet things between Godai and Kyoko, where their relationship is moving forward in the background of everything else happening. I also will forever appreciate the Mr. Ichinose's jokes, where he shows up and nobody has any idea who he is. That running joke will never not be funny, and cleverly seemed foreshadow the fate of Nikaido's character. However, hands down, the best part of this volume is the ending with Godai missing a very important interview bc a woman goes into labour and he decides to stop and help. It not only shows who Godai is as a person, but it also shows how he gets caught up in situations, carried away by the tide. The reader knows the stakes, knows what's coming, and instead Godai stops to help someone even though he has something important on the line. It was a stroke of genius, reminding us that Takahashi knows what she's doing.
Nikaido's introduction exists for drawing out the story and comedy rather than just getting on with the story, which again, remembering this was a serial comic, it makes sense...only Nikaido's purpose seems to be directed towards revenge against the supporting cast in Maison Ikkoku and not having really anything to do with Godai or Kyoko, save for him being exceptionally dim witted to force the characters into awkward situations, which frankly come off a bit more ham-fisted than Takahashi's usual flare for comedic timing and jokes.
Thankfully, once Nikaido's usefulness to adding more hijinks and drama peters out, he's shoved into his room to be forgotten about, and is relegated to be a joke in itself, as like the reader, the rest of the tenants forget he lives there. This is where Nikaido is used best for comedy, in my opinion.
The second half of the book will likely outrage a chunk of today's audience and I'm sorry to say is one arc that has not stood the test of time well. I remember it being awkward and uncomfortable to read back in the day, and it's only gotten cringier with age. That being said, the reader must remember that this is a fictional comedy-drama meant to be outrageous, and in the 1980's what was acceptable comedy and situations are not the same as they are today. There were popular tropes and perceptions that appear often in plenty of old comics and when reading them today should be taken with a grain of salt, and not read too much into. It exists for wild drama in a fictional story and not endorsements for such things in real life.
The character Yagami is a sixteen year old girl who decides to relentlessly pursue Godai when he gets an internship as a student teacher at the same all girl's school Kyoko went to. She decides she's in love with him and places him in countless inappropriate situations to try and make him love her back. Her behaviour is extreme ranging from trapping him alone in rooms with her and undressing while threatening him with screaming, to showing up at his home and preplanned spending the night which Kyoko obviously intervenes.
Yagami exists for upping the dramatic stakes in the series while trying to be outrageously funny with how completely out of line and dangerous her behaviour is. However, this arc just makes me absolutely horrified for Godai. It's awful reading it. For his part, he makes a mental note she's kinda cute, and it stops there. He has no interest in this girl whatsoever and is very much the victim of her desires and schemes. Knowing what the reader does about Godai and how he needs a win in his corner with his job hunting, I felt awful for him the entire time. Yagami has the potential to absolutely ruin not only his career but his life with her selfishness. It's hard to find the comedy when Godai has been down and out and finally gets a break only to have this nasty little character show up. It's even harder to feel sympathetic for her when the situation arises that we are supposed to. She brought her consequences on herself as far as I'm concerned. Frankly, the sooner the door hits her on the ass on the way out the better.
My favourite parts in this volume were the little quiet things between Godai and Kyoko, where their relationship is moving forward in the background of everything else happening. I also will forever appreciate the Mr. Ichinose's jokes, where he shows up and nobody has any idea who he is. That running joke will never not be funny, and cleverly seemed foreshadow the fate of Nikaido's character. However, hands down, the best part of this volume is the ending with Godai missing a very important interview bc a woman goes into labour and he decides to stop and help. It not only shows who Godai is as a person, but it also shows how he gets caught up in situations, carried away by the tide. The reader knows the stakes, knows what's coming, and instead Godai stops to help someone even though he has something important on the line. It was a stroke of genius, reminding us that Takahashi knows what she's doing.
This entire review has been hidden because of spoilers.
August 2, 2024
Dans ce sixième tome, les quiproquos ne manquent pas!
Le nouveau pensionnaire Nikkaido découvre les joies de vivre dans cette résidence avec ses locataires d'un genre particulier. Ils n'hésitent pas à jouer des diverses situations pour se venger mais sa naïveté fait bien des dégâts, avec des répercussions sur la relation entre Kyoko et Yusaku.
Dans le cadre de ses études, Yusaku doit mener de front la recherche de son futur emploi post étude, et un stage dans le lycée pour filles, celui là même que Kyoko a fréquenté. Et là d'autres ennuis commencent.
Encore un très bon tome.
Le nouveau pensionnaire Nikkaido découvre les joies de vivre dans cette résidence avec ses locataires d'un genre particulier. Ils n'hésitent pas à jouer des diverses situations pour se venger mais sa naïveté fait bien des dégâts, avec des répercussions sur la relation entre Kyoko et Yusaku.
Dans le cadre de ses études, Yusaku doit mener de front la recherche de son futur emploi post étude, et un stage dans le lycée pour filles, celui là même que Kyoko a fréquenté. Et là d'autres ennuis commencent.
Encore un très bon tome.
April 22, 2022
The end is in sight! The plots have steadied down and this volume features fewer wacky hijinks and focuses more on relationships.
At this point, Godai and Kyouko are aware of each other's interest, but they are both waiting for Godai to graduate and find a job so he can support a family.
We also have the introduction of new rivals for attention Nikaido and Yagami. Nikaido is a young man who moved into Maison Ikkoku at the end of the last volume, and Yagami is a student at an all girls school that Godai has a student teacher term at. Each are young images of Godai and Kyouko.
Nikaido is somewhat of an anti-Godai. Instead of meekly accepting the teasing of the other tenants, he retaliates, and starts something of a prank war with Yotsuya. Yagami on the other hand is a high school student and class president who wants to start a romance with her teacher; much like Kyouko herself when she first met Otonashi-san.
Sadly, there isn't much room for Mitaka in these story lines, and that makes it too clear what the ending is going to be. I'd rather it had been a little more competitive for longer.
At this point, Godai and Kyouko are aware of each other's interest, but they are both waiting for Godai to graduate and find a job so he can support a family.
We also have the introduction of new rivals for attention Nikaido and Yagami. Nikaido is a young man who moved into Maison Ikkoku at the end of the last volume, and Yagami is a student at an all girls school that Godai has a student teacher term at. Each are young images of Godai and Kyouko.
Nikaido is somewhat of an anti-Godai. Instead of meekly accepting the teasing of the other tenants, he retaliates, and starts something of a prank war with Yotsuya. Yagami on the other hand is a high school student and class president who wants to start a romance with her teacher; much like Kyouko herself when she first met Otonashi-san.
Sadly, there isn't much room for Mitaka in these story lines, and that makes it too clear what the ending is going to be. I'd rather it had been a little more competitive for longer.
January 22, 2023
While the notable maturity for Godai was much appreciated, the overall narrative coupling of a subplot that involves an underage infatuation for him left me icky - notably since sexual contact takes place, even if accidental. Takahashi continues her cozy slice of life and her comedy that focuses on life's frequent ironies. I remain interested to see where the chips may lie for Godai and Kyoko.
April 26, 2025
one of the (many) funny things about takahashi's work is how she inverts the harem manga setup she is in the act of establishing. in UY ataru is a piece of shit everybody hates except the one girl in the world he won't try to score with. here in maison ikkoku godai is having to practically fight off all the girls who keep jumping him because his heart is (mostly) pure in his love for kyoko
October 23, 2021
Kehadiran tokoh2 baru macam Nikaidou dan Yagami memang tidak membuat plot cerita berkambang dengan signifikan, namun kesederhanaan humor dalam keseharian para penghuni maison terus terjagda dengan baik oleh Takahashi sensei
May 23, 2022
Nice that these books have settled down and there is less awkwardness. Becoming pretty sweet.
July 4, 2022
Very enjoyable manga.
July 20, 2023
Love the Ikkoku series. Silly rom com nonsense.
March 27, 2024
This series is so frustrating but very very good. The way deep topics are broached very intensely, then with breaks of more frustration and humour is very unique.
November 27, 2025
In which two new characters are thrown in so as to drag out yet further the inevitable moment when Kyoko and Godai eventually shag. As always, extremely charming.
July 2, 2025
Another cool volume with even more trouble for Godai.
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March 25, 2015Colección Big Manga, Maison Ikkoku tomo 6 (de 10).
May 15, 2021
Un nouveau triangle se forme et encore un obstacle pour l'amour de Kyoko et Godai. À quand leur fin heureux ?
December 31, 2021
I always enjoy this series. It’s like a fun sitcom with cheesy humor.
But I didn’t like the whole Yagami situation. And of course the other tenants telling Godai he should go for it… Bleh.
But I didn’t like the whole Yagami situation. And of course the other tenants telling Godai he should go for it… Bleh.
January 17, 2022
Picking it up a bit; I was worried we would be in a lull.
Displaying 1 - 18 of 18 reviews