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めぞん一刻 [Maison Ikkoku] #9
めぞん一刻 9: VS.乙女 [Maison Ikkoku 9: VS. Otome]
One would think that after eight volumes of romantic tension between Godai and Kyoko they would admit their feelings for each other. But in Learning Curves, we find that they still have a lot to learn about love. Godai does a teaching stint at Kyoko's old high school--the place where she fell in love with her late husband during his teaching days--and he meets a student who falls head over heels for him. When this cute student, Yagami, tries to get Godai all for herself by "declaring all-out war" on Kyoko, the sparks start to fly. Then, when Godai applies for a job at Yagami's father's company, it becomes unclear whether Yagami's influence will be a help or a hindrance. And one of the most adorably funny scenes from the first volume makes a reappearance: Godai and Kyoko star in another puppet show! --Jim Pascoe
224 pages, Paperback
First published September 1, 1985
1 person is currently reading
78 people want to read
About the author
Rumiko Takahashi
1,587 books2,145 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
April 4, 2021
This volume focuses primarily on two things: Godai’s student teaching, and his quest for a job after graduation. He chooses to do his teaching at Kyoko’s former all-girls school, and one of the the first things he does is look up a photo of Soichiro Otonashi in a yearbook, but like all his attempts to see what Kyoko’s deceased husband looks like, they photo is marred. Yamagi, the classroom representative, happens to be hiding in the stacks and sees his anguish as he talks to himself (and sniffles, due to a cold) and she thinks he’s pining over a lost love. She develops a mega crush on him.
Most of the volume is about her crush. She attempts to trap him, she follows him to his home (with friends). She realizes that Kyoko has her clutches in him, but then also learns that Kyoko married one of her teachers, and asks her to be her mentor. After she cons her way into a sleepover at Maison (sleeping in Kyoko’s room), she goes to school for Godai’s last day of student teaching and word gets around that she spent the night at his place. Her classmates take it very seriously and wish them a happy engagement, and the harder the class buys into it, the less Yagami wants it. She tells Godai it’s over, but cries as he leaves. So then she shows up at Maison and makes it clear that it’s not really over after all.
Godai and Kyoko work together on a Christmas puppet show, and he gets two more job rejections. The show is about a pauper making wishes and being rejected by a princess, so Godai takes it all to heart and wallows. Kyoko tries to cheer him, basically saying that he’s the kind of guy she loves, and when Godai turns to her to ask a favor, she thinks he’s going to put a move on her. Instead, he asks if he can borrow money.
At New Year’s Yagami asks Godai if they can go to the shrine together. He doesn’t want to agree but she forces herself into the group, that includes Kyoko and Kozue. When discussing job prospects, she says that her father runs personnel at one of the companies. Later she feigns sickness so Godai can take her hone and meet him. He’s reluctant but does it, and her father really likes him and asks him to come to an interview in several days. Godai leaves happy, and we discover that her father is sloshed and doesn’t even remember Godai.
Yagami brings him a charm from a shrine for good luck, but it’s the charm for safe birth. On the way to the interview Godai runs into a woman in labor and he helps her, missing the interview entirely. Needless to say, that’s one more job Godai didn’t get. So now he’s down to two. :(
Godai’s wishy-washy nature is on full display in this volume. Growing a spine would resolve half of his problems, lol. I found myself missing Kozue throughout, and really liked Kyoko’s constant turmoil, since she knows what girls in her school were and are like.
Most of the volume is about her crush. She attempts to trap him, she follows him to his home (with friends). She realizes that Kyoko has her clutches in him, but then also learns that Kyoko married one of her teachers, and asks her to be her mentor. After she cons her way into a sleepover at Maison (sleeping in Kyoko’s room), she goes to school for Godai’s last day of student teaching and word gets around that she spent the night at his place. Her classmates take it very seriously and wish them a happy engagement, and the harder the class buys into it, the less Yagami wants it. She tells Godai it’s over, but cries as he leaves. So then she shows up at Maison and makes it clear that it’s not really over after all.
Godai and Kyoko work together on a Christmas puppet show, and he gets two more job rejections. The show is about a pauper making wishes and being rejected by a princess, so Godai takes it all to heart and wallows. Kyoko tries to cheer him, basically saying that he’s the kind of guy she loves, and when Godai turns to her to ask a favor, she thinks he’s going to put a move on her. Instead, he asks if he can borrow money.
At New Year’s Yagami asks Godai if they can go to the shrine together. He doesn’t want to agree but she forces herself into the group, that includes Kyoko and Kozue. When discussing job prospects, she says that her father runs personnel at one of the companies. Later she feigns sickness so Godai can take her hone and meet him. He’s reluctant but does it, and her father really likes him and asks him to come to an interview in several days. Godai leaves happy, and we discover that her father is sloshed and doesn’t even remember Godai.
Yagami brings him a charm from a shrine for good luck, but it’s the charm for safe birth. On the way to the interview Godai runs into a woman in labor and he helps her, missing the interview entirely. Needless to say, that’s one more job Godai didn’t get. So now he’s down to two. :(
Godai’s wishy-washy nature is on full display in this volume. Growing a spine would resolve half of his problems, lol. I found myself missing Kozue throughout, and really liked Kyoko’s constant turmoil, since she knows what girls in her school were and are like.
This entire review has been hidden because of spoilers.
August 3, 2018
1. so when godai could not get the job and wanted to overtake his father business and then wooopsss! the brother-in-law came and took the opportunity away (altho they should’ve gave the business to their son JUST SAYIN) but then godai and kyoko will have long distant relationship and we don’t want that.
2. okay the chapter where he saves kyoko and help her in the pool! sometimes godai is a gentleman.
3. so godai is finally working as a teacher-student and he’s at kyoko old school!! cute! but annoying girls really!
4. i like how during this volume kyoko was remembering her days and at the same time i am kinda not liking how the school is not putting strict rules over this harassment for poor godai
5. okay the ch.86 was a bit too much, i mean i can’t believe a student would do this (trapping herself half naked self with the teacher) this is where i think the parents should be notified or something since in real life this could lead to actual court and stuff.
6. i did not like the harassment that godai was getting for the student at all !
all in all, i am not really fond of this volume but okay.
October 31, 2017
Nikaido falls well into the background as of this volume, becoming part of the Greek chorus that includes Yotsuya and Akemi. Good! His replacement as a focal secondary character is Yagami, a student at the all-girls' school that Godai student teaches at for a while. She ends up being important to Godai's arc, primarily as regards him finishing school and looking for a steady job, and secondarily regarding his relationship with Kyoko.
I spent some time trying to understand Yagami, but there isn't enough there to justify a lot of scrutiny. If she were less naive, she'd be an overbearing "entrapment" character; as is, she's just a besotted, annoying kid. After awhile she keeps on pursuing Godai more out of stubbornness, or competition with Kyoko, than real desire, I think. And once it's established that that Godai won't take advantage of her, the storyteller is free to have her camp out in his room, for example, with no one believing that anything untoward will actually happen.
I spent some time trying to understand Yagami, but there isn't enough there to justify a lot of scrutiny. If she were less naive, she'd be an overbearing "entrapment" character; as is, she's just a besotted, annoying kid. After awhile she keeps on pursuing Godai more out of stubbornness, or competition with Kyoko, than real desire, I think. And once it's established that that Godai won't take advantage of her, the storyteller is free to have her camp out in his room, for example, with no one believing that anything untoward will actually happen.
September 6, 2013
The love-triangle hasn't had much steam to it lately, so in comes a new character with a shiny new crush!
Anyways, somewhere during this volume the names editing subtly changed, 'fixed' to their proper form: Kyoko more often calling him Godai, and Godai more often calling her manager instead of both of them being far too familiar on-first-name-basis used in the translation
Anyways, somewhere during this volume the names editing subtly changed, 'fixed' to their proper form: Kyoko more often calling him Godai, and Godai more often calling her manager instead of both of them being far too familiar on-first-name-basis used in the translation
March 14, 2009
The crazy situations experienced by the characters are both heartwarming and exciting. Makes me feel better about my own life, and anxious to see what's going to happen next.
Displaying 1 - 5 of 5 reviews