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めぞん一刻 ワイド版/文庫版 [Maison Ikkoku Wideban/Bunkoban] #8
Maison Ikkoku tomo 8
Maison Ikkoku unterscheidet sich etwas von Rumiko Takahashis verrücktchaotischen Standartwerken wie Ranma 1/2 oder Inu Yasha. Der uns vertraute Takahashi-Witz geht jedoch nicht verloren, sondern entwickelt sich auf eine ganz eigene, charmante Art und Weise. Maison Ikkoku ist eine fröhliche Liebeskomödie mit einem Tick Realität.
340 pages, Paperback
First published April 1, 1993
7 people are currently reading
117 people want to read
About the author
Rumiko Takahashi
1,582 books2,137 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 - 11 of 11 reviews
September 20, 2024
Honestly not sure how to rate because there was definitely some frustrating things here. Guess I'll go with three; tis a shame but I've still got two volumes left!
September 19, 2023
here begins the insufferable wheel-spinning of a fictional romance that should have culminated already. always a few too many arcs that extend these things out right before the finish line… any further missed connections and failures to communicate begin to feel contrived.
September 22, 2022
Ugh. Yagumi. Never a good sign when her face graces the chapter cover. I was hoping we were finally done with this character, but nope! Here she is yet again causing needless trouble for Godai. Can't say I was a fan of this chunk of the story at all. At this point, it's tiresome, and I hope she is finally gone after this book. Hers is a storyline that just did not age well, and this addition was no exception.
Thank God we get more Mitaka and he saves this volume! Back, and as confident as ever, (even more-so) since he's finally overcome his fear of dogs and is ready to show it, despite Kyoko never having any idea he was scared of them in the first place! One thing I have always appreciated about Mitaka as Godai's rival for Kyoko's affection is how determined and committed he is. He is a worthy foil for Godai and their triangle never gets stale, but alas all good things must eventually come to an end, so it's no surprise when it's Mitaka's story that plays the catalyst and brings the trio closer to a final conclusion.
This volume ends more on the heavy and dramatic with poor Godai, unable to get a win, and you can feel his embarrassment, frustration, and desperation when he takes a job working at a less than scrupulous establishment. But it's here, the reader gets to see him really shine at his true calling, which helps take the edge of sorrow off the situation.
All in all a good volume, but could have been better without Yagumi taking up like half the book with her nonsense.
Thank God we get more Mitaka and he saves this volume! Back, and as confident as ever, (even more-so) since he's finally overcome his fear of dogs and is ready to show it, despite Kyoko never having any idea he was scared of them in the first place! One thing I have always appreciated about Mitaka as Godai's rival for Kyoko's affection is how determined and committed he is. He is a worthy foil for Godai and their triangle never gets stale, but alas all good things must eventually come to an end, so it's no surprise when it's Mitaka's story that plays the catalyst and brings the trio closer to a final conclusion.
This volume ends more on the heavy and dramatic with poor Godai, unable to get a win, and you can feel his embarrassment, frustration, and desperation when he takes a job working at a less than scrupulous establishment. But it's here, the reader gets to see him really shine at his true calling, which helps take the edge of sorrow off the situation.
All in all a good volume, but could have been better without Yagumi taking up like half the book with her nonsense.
July 6, 2022
How this volume went:
Godai once again, tiptoeing around Kyoko, lying because he’s so afraid to disappoint her. Well buddy, you have already disappointed her many times in this series already and she’s still around!!!!
Coach Mitaka gets over his fear of dogs to impress Kyoko (even though she had no clue anyway) but ends up impressing Asuna and her family instead. He rejects Asuna and decides to woo Kyoko’s family at her dead husband’s grave and is basically trying to guilt her into marriage. He’s coming on too strong.
Now Kyoko is also to blame for this love triangle. As Yagami said, she’s a “fence sitter”. She doesn’t come out one way or another picking a side really. She just acts oblivious or runs off. Very annoying.
And I didn’t forget about the most annoying parts of this volume… 1) Yagami… I don’t get why no one wants to call this high school girl’s parents and tell them that their daughter is stalking a grown man. It’s disgusting.
2) Mrs. Ichinose, Akemi and Yotsuya… These three piss me off when they use and blackmail Godai. They rag on him all the time and are such assholes. But I get it. It’s part of the “humor”. I’m waiting for Godai to have the last laugh though…
Godai once again, tiptoeing around Kyoko, lying because he’s so afraid to disappoint her. Well buddy, you have already disappointed her many times in this series already and she’s still around!!!!
Coach Mitaka gets over his fear of dogs to impress Kyoko (even though she had no clue anyway) but ends up impressing Asuna and her family instead. He rejects Asuna and decides to woo Kyoko’s family at her dead husband’s grave and is basically trying to guilt her into marriage. He’s coming on too strong.
Now Kyoko is also to blame for this love triangle. As Yagami said, she’s a “fence sitter”. She doesn’t come out one way or another picking a side really. She just acts oblivious or runs off. Very annoying.
And I didn’t forget about the most annoying parts of this volume… 1) Yagami… I don’t get why no one wants to call this high school girl’s parents and tell them that their daughter is stalking a grown man. It’s disgusting.
2) Mrs. Ichinose, Akemi and Yotsuya… These three piss me off when they use and blackmail Godai. They rag on him all the time and are such assholes. But I get it. It’s part of the “humor”. I’m waiting for Godai to have the last laugh though…
August 16, 2022
This late in the story, it is hard to say anything without it being spoilers, so please don't continue if this is your first time reading Maison Ikkoku.
It is clear now that Kyouko would like to choose Godai, but she is still blaming him for being insufficiently decisive and for not being able to firmly close the door on Ibuki. Yet she herself cannot dismiss Mitaka-san, and he (even if unknown to her) can't manage to quit Asuna.
I like that we get a glimpse of the stress that young people face if they can't get a typical salaryman job (though of course, this being Maison Ikkoku it is never too dark). This was during a huge expansion of the Japanese economy, putting Godai's inability to find steady work (and the nature of the casual work he falls into) in even worse light.
Near the beginning of the series, I thought of Godai as being much younger than Kyouko, but around here I think he is finally starting to catch up in maturity, perhaps as a consequence of entering the workforce.
It is clear now that Kyouko would like to choose Godai, but she is still blaming him for being insufficiently decisive and for not being able to firmly close the door on Ibuki. Yet she herself cannot dismiss Mitaka-san, and he (even if unknown to her) can't manage to quit Asuna.
I like that we get a glimpse of the stress that young people face if they can't get a typical salaryman job (though of course, this being Maison Ikkoku it is never too dark). This was during a huge expansion of the Japanese economy, putting Godai's inability to find steady work (and the nature of the casual work he falls into) in even worse light.
Near the beginning of the series, I thought of Godai as being much younger than Kyouko, but around here I think he is finally starting to catch up in maturity, perhaps as a consequence of entering the workforce.
June 3, 2023
The increasing pressure from opposition places Godai and Kyoko’s relationship, once again, to the test. While we see their relationship take a step forward, with confidence with their feelings appears to be further materialised, the depth that these chapters navigate are far less introspective as its predecessor, which does add some relief for its readers; perhaps I was hoping to still swim in familiar waters here. That being said, I am happy to find Godai's character development being led to this point, where an urgency and determination for action is evident and holds value to this relationship, in ways that felt minor in stake during its start.
August 2, 2024
Qu'est ce qu'il ne faut pas faire pour vaincre ses peurs! Mitaka a mis les bouchées doubles pour vaincre sa peur des chiens afin de pouvoir conquérir définitivement Kyoko en apprivoisant Soïchiro. Mais Ibuki entre en jeu à nouveau et met tout en oeuvre pour séduire Godai et rendre jalouse Kyoko. Et ça marche! Cette dernière est toujours aussi indécise, embourbée dans la tradition et ses blocages psychologiques.
Un bon tome où l'on sent la fin de l'histoire toute proche.
Un bon tome où l'on sent la fin de l'histoire toute proche.
October 23, 2021
Perkembangan cerita mungkin jalan di tempat. Namun beragam kesalahan pahaman, hubungan yg bias karena tak mau mengakui (namun banyak memberikan tanda2) serta ekspresi para tokoh selalu memberikan kekuatan pada serial ini.
December 28, 2022
things are are complicated as ever. Just talk to each other!
Read
July 15, 2024Better
July 2, 2025
It's as if Godai's troubles escalate as we're getting closer to the end of the series.
Displaying 1 - 11 of 11 reviews