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Urusei Yatsura (2-in-1) #8
Urusei Yatsura, Vol. 8
The hilarious manga classic featuring beautiful space alien princess Lum!
Beautiful space alien princess Lum invades Earth on her UFO, and unlucky Ataru Moroboshi’s world gets turned upside down! Will Lum become Earth’s electrifying new leader? Or will Ataru somehow miraculously save Earth from space alien onslaught?
Disaster-prone Ataru isn't the least bit interested when he stumbles upon a parent and teenager hurling insults at each other on the beach, but everything changes when Ataru finds out that teenager Ryunosuke Fujisaki is actually a girl! Later, a nervous fire-breathing Ten meets his pyro-hating mother, which makes it the perfect opportunity for Ataru to mess with his young nemesis!
Beautiful space alien princess Lum invades Earth on her UFO, and unlucky Ataru Moroboshi’s world gets turned upside down! Will Lum become Earth’s electrifying new leader? Or will Ataru somehow miraculously save Earth from space alien onslaught?
Disaster-prone Ataru isn't the least bit interested when he stumbles upon a parent and teenager hurling insults at each other on the beach, but everything changes when Ataru finds out that teenager Ryunosuke Fujisaki is actually a girl! Later, a nervous fire-breathing Ten meets his pyro-hating mother, which makes it the perfect opportunity for Ataru to mess with his young nemesis!
384 pages, Paperback
Published November 17, 2020
8 people are currently reading
76 people want to read
About the author
Rumiko Takahashi
1,584 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 - 11 of 11 reviews
November 24, 2020
After recently re-reading the beginnings of Maison Ikkoku and Mermaid Saga, I now get to read a volume from Takahashi's first major work, Urusei Yatsura. Space Ogres, pervy high schoolers., corrupt monks, cartoon violence, feuding fathers and sons/daughters, and a plot that never ends? It is a Takahshi book indeed. And while it's not a fun or polished as her later works (and while the 40 year old gender roles can be a little cringey) it does have the weird, fun, riotous, silly energy that is evident in so many of her books.
**Thanks to the artist, publisher, and Netgalley for a free copy in exchange for an honest review.
**Thanks to the artist, publisher, and Netgalley for a free copy in exchange for an honest review.
November 16, 2021
This volume was a mixed bag but I love these characters.
February 24, 2021
While Ryunnosuke is introduced (and proved to be a very entertaining character to watch), her coming also brings her father who is a truly despicable character. Still, the series continues to remain laugh out loud funny with certain gags.
July 21, 2024
Ryunosuke's dad is a real jerk.
November 29, 2021
Honestly the weakest volume so far as it focuses on Ryūnosuke and her father. Characters which feels rather problematic for today's standards and infuriatingly annoying with no redeeming elements. Even the jokes don't land when it comes to that pair. Thankfully Rumiko's writing and humour still salvages most of this volume's problems especially with the Christmas Eve party chapter which generally is one of the most amusing chapters. (And one of the funniest episodes of the anime) overall it's pretty weak but not bad
April 29, 2024
There are a few solid gags but unfortunately most of this volume is dedicated to Ryunosuke, a newly introduced character whose big gimmick is being misgendered. This volume involved sifting through over a dozen chapters where the 'gag' for that chapter is her father misgendering her, or a girl thinking Ryunosuke is a girl and the rest of the cast getting real homophobic about it.
It's not Ryunosuke is a bad character, either! She's a lot more physical than the rest of the female cast (aside from Lum electrocuting Ataru) and outspoken, leading some great panels. Her questioning of male/female gender roles, while so many of the other characters fall into more regular tropes for their gender, is almost refreshing. It's just that Ryunosuke isn't on her own, and most of her appearances involve her utterly detestable shitbag of a father, and that is a buzzkill in a comedy series.
Ataru is a pervert, but most of the chapters embrace how terrible that is and have his failure be the butt of the joke. Mendo and Ten are pretty gross sometimes, but often the series will also play games with them being punished for it. Ryunosuke's dad? Yeah he just sort of abuses his daughter and that's it, he usually gets away with it. It's not fun!
It's not Ryunosuke is a bad character, either! She's a lot more physical than the rest of the female cast (aside from Lum electrocuting Ataru) and outspoken, leading some great panels. Her questioning of male/female gender roles, while so many of the other characters fall into more regular tropes for their gender, is almost refreshing. It's just that Ryunosuke isn't on her own, and most of her appearances involve her utterly detestable shitbag of a father, and that is a buzzkill in a comedy series.
Ataru is a pervert, but most of the chapters embrace how terrible that is and have his failure be the butt of the joke. Mendo and Ten are pretty gross sometimes, but often the series will also play games with them being punished for it. Ryunosuke's dad? Yeah he just sort of abuses his daughter and that's it, he usually gets away with it. It's not fun!
September 3, 2023
I love visiting this series and all of the characters. I also really loved the introduction of Ryunosuke. In part, having the students talk about how “girls act” and how “boys act” points out how stupid these gendered attitudes were. It also feels like a place for Takahashi to play with these themes before writing Ranma 1/2.
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June 28, 2024A hilarious collection of hilarious stories. Lum and Ataru will always be my favorite dysfunctional couple.
May 15, 2025
Another typo in the notes. Editor!
January 18, 2022
It’s still so wild to actually be reading Urusei Yatsura. For the longest time you could only find secondhand copies of the old editions from the nineties that left out various chapters and never actually finished. Anyway, it’s exciting to read through it and see Takahashi’s art evolve over time. All the Ryunosuke-centric chapters feel very proto-Ranma 1/2.
January 2, 2021
There's a tension between these assholes are amusing and these assholes are appalling and this one leans really hard into these assholes are annoying.
Displaying 1 - 11 of 11 reviews