What do you think?
Rate this book
めぞん一刻 [Maison Ikkoku] #7
Maison Ikkoku, Volume 7
From the beloved creator of Inuyasha and Ranma 1/2 , the romantic (sort of) comedy Maison Ikkoku , in a new edition in its original episodic order! Travel into Japan's nuttiest apartment house and meet its volatile Kyoko, the beautiful and mysterious new apartment manager; Yusaku, the exam-addled college student; Mrs. Ichinose, the drunken gossip; Kentaro, her bratty son; Akemi, the boozy bar hostess; and the mooching and peeping Mr. Yotsuya. Funny, touching, and a tad off-kilter, Maison Ikkoku is the great Rumiko Takahashi at her very best.
Yusaku ends up in the hospital and has two unexpected visitors. His cute cousin comes to nurse him and Kyoko's other suitor, Mitaka, ends up being his roommate. Yusaku's problems aren't over when he's discharged - he has to deal with Kyoko and his school absences.
Yusaku ends up in the hospital and has two unexpected visitors. His cute cousin comes to nurse him and Kyoko's other suitor, Mitaka, ends up being his roommate. Yusaku's problems aren't over when he's discharged - he has to deal with Kyoko and his school absences.
240 pages, Paperback
First published September 1, 1984
1 person is currently reading
82 people want to read
About the author
Rumiko Takahashi
1,593 books2,146 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
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 8 of 8 reviews
February 4, 2026
This is very funny and ridiculous at the same time .
September 4, 2013
Hey look, the insanity at the house gets Godai sent to the hospital for most of the volume. Its a miracle those people haven't caused his death yet...
Mitaka & Godai gettin drunk together is the best chapter ever! There needs to be more of those!
Mitaka & Godai gettin drunk together is the best chapter ever! There needs to be more of those!
March 30, 2021
I feel like this book - which comes right at the halfway point in the series - is the emotional turning point. Kyoko and Godai go from a guy-lusting-after-unattainable-woman story into something with a lot more give and take as well as a potential future.
After a couple of fillers, an arc begins where Kyoko’s jealousy and Godai’s indecisiveness really affect one another. Godai is trying to think of ways to get Kozue to dump him (get drunk in front of her? Show her how indecisive he is? Hit on another woman in front of her) when he realizes that he’s done all those things to Kyoko - the woman he actually loves - so he decides it’s time to call it quits with Kozue. But when they meet, she’s knitted him a sweater and he just can’t mat her happiness. When he goes home Kyoko sees the sweater and gets jealous, and they fight. She’s working on the roof and ends up slipping off and hanging by his window, but she’s too stubborn to call for help. Godai eventually sees her and rescues her, but then he falls out his window and breaks his leg.
The remainder of the book deals with his recovery, reinjury, Mitaka getting injured and requesting the same hospital room (so he can get some Kyoko attention, too) and Kyoko volleying between jealousy, guilt, and annoyance over the whole situation - especially with Godai. They nearly kiss - twice- in this volume, and embrace once. Kyoko admits that she’s falling for him.
When he’s finally recovered enough to be back at home, it’s time for finals and she does her hardest to keep the partying to a minimum at Maison, since she’s responsible for his injury and missing so much school. But she oversleeps and he’s late for his final, which means he’ll be at university for another year. They’re both freaking out, and Kyoko tells him that it’s only one year - she’ll wait for him.
But then they discover that his friend wrote down the wrong time for the final, and he hasn’t missed it. Kyoko is pissed off, and they’re back to not speaking.
They’re childish and misunderstand each other a lot, but I seriously love these two when they care about each other and let it show.
After a couple of fillers, an arc begins where Kyoko’s jealousy and Godai’s indecisiveness really affect one another. Godai is trying to think of ways to get Kozue to dump him (get drunk in front of her? Show her how indecisive he is? Hit on another woman in front of her) when he realizes that he’s done all those things to Kyoko - the woman he actually loves - so he decides it’s time to call it quits with Kozue. But when they meet, she’s knitted him a sweater and he just can’t mat her happiness. When he goes home Kyoko sees the sweater and gets jealous, and they fight. She’s working on the roof and ends up slipping off and hanging by his window, but she’s too stubborn to call for help. Godai eventually sees her and rescues her, but then he falls out his window and breaks his leg.
The remainder of the book deals with his recovery, reinjury, Mitaka getting injured and requesting the same hospital room (so he can get some Kyoko attention, too) and Kyoko volleying between jealousy, guilt, and annoyance over the whole situation - especially with Godai. They nearly kiss - twice- in this volume, and embrace once. Kyoko admits that she’s falling for him.
When he’s finally recovered enough to be back at home, it’s time for finals and she does her hardest to keep the partying to a minimum at Maison, since she’s responsible for his injury and missing so much school. But she oversleeps and he’s late for his final, which means he’ll be at university for another year. They’re both freaking out, and Kyoko tells him that it’s only one year - she’ll wait for him.
But then they discover that his friend wrote down the wrong time for the final, and he hasn’t missed it. Kyoko is pissed off, and they’re back to not speaking.
They’re childish and misunderstand each other a lot, but I seriously love these two when they care about each other and let it show.
This entire review has been hidden because of spoilers.
July 16, 2023
Read in Japanese.
I read the first six volumes of this series several years ago, but I have the whole set, and so I picked up this volume again as something a bit easier than the novels and things I have been reading recently. I still find this series pretty frustrating, though.
Everyone is awful in this series. Yusaku and Kyoko are pretty bad as the main love interests--Yusaku is dating Kozue, but wants Kyoko, but won't break up with Kozue. Kozue is really sweet and nice, but Yusaku is a jerk and an idiot. Kyoko can't make up her mind who she wants to be with, and her main choices are an awful womanizer and the idiot man-child Yusaku.
Then there are the supporting characters, and they are all awful, too. This time, they manipulate and badger Yusaku many times, Yusaku goes to the hospital for a while, Kyoko tries to take care of him, they almost kiss because this is a dumb romance manga, but every time something predictable interrupts them at just the wrong moment. Yusaku does and says dumb things, and just when he does and says them Kyoko walks in. That sort of thing happens over and over and over again.
It's pretty dumb, but sometimes the relationships are a little bit sweet, and sometimes the jokes are a little bit funny. I guess that's where I stand on this one.
I read the first six volumes of this series several years ago, but I have the whole set, and so I picked up this volume again as something a bit easier than the novels and things I have been reading recently. I still find this series pretty frustrating, though.
Everyone is awful in this series. Yusaku and Kyoko are pretty bad as the main love interests--Yusaku is dating Kozue, but wants Kyoko, but won't break up with Kozue. Kozue is really sweet and nice, but Yusaku is a jerk and an idiot. Kyoko can't make up her mind who she wants to be with, and her main choices are an awful womanizer and the idiot man-child Yusaku.
Then there are the supporting characters, and they are all awful, too. This time, they manipulate and badger Yusaku many times, Yusaku goes to the hospital for a while, Kyoko tries to take care of him, they almost kiss because this is a dumb romance manga, but every time something predictable interrupts them at just the wrong moment. Yusaku does and says dumb things, and just when he does and says them Kyoko walks in. That sort of thing happens over and over and over again.
It's pretty dumb, but sometimes the relationships are a little bit sweet, and sometimes the jokes are a little bit funny. I guess that's where I stand on this one.
August 3, 2018
1. Kentaro is so mature unlike his mother! i can see the kentaro is the only sane one in this manga
2. again with the rooftop omg!! XD and finally they actually had a shout match cause that is what I have been waiting for!
3. OMG they are both stubborn! and when he fell! this is what i call shoujo manga with packed drama!
4. THEY ALMOST KISSED OMG!
5. i love how the nurses are also interested in the love triangle as we are readers are.
6. okay they almost kissed again and this is canon.
7. SURPRISE BITCH! mikata is not losing this competition!
8. mikata sure has a lot of 'girlfirend'
9. "if you're ever hospitalized again, make it somewhere else" XD!!
10. i can relate when he almost missed his final but then the timing was wrong!
all in all, fun volume.
July 17, 2024
Fun continuation of the series, with the characterization of both Godai and Kyoko continuing to develop when Godai gets sent to the hospital, one of the strongest arcs so far. I was happy to see fewer one-off stories in this volume and stronger character development as Kyoko blames herself for Godai's broken leg and takes steps to understand her own jealousy. In Godai too, we see his developing desire to, in his own words, "become a man worthy of Kyoko's love." This focus on a male protagonist who, rather than simply getting the girl through deus ex machina or an arrogant sense of entitlement, must grow and mature over time to plant a mature relationship, is rare in Western stories, and one of the things that makes Maison Ikkoku stand apart.
January 29, 2009
Alas, poor Yusaku, it looks like you may have to wait another year after all.
July 14, 2011
Definitely a landmark volume for the series. Godai and Kyoko make a lot of progress in this volume.
Displaying 1 - 8 of 8 reviews