Maison Ikkoku

No matter how annoying it was with a lot of misunderstanding tropes and stupid characters, the ending was worth it. All 80+ episodes are just set up to the final arc. The last few episodes are just magical and heart warming but I felt heart broken as i don't get to see more from this beautiful world anymore, because reality is often disappointing. Anime gets a lot mature in the end with heart touching lines and moments. This anime is usually very unrealistic but maybe that's what makes it more beautiful. It's a simple story with complex relations. Predictable but beautifully portrayed.

I'll be frank here; the anime is actually not the best way to consume Maison Ikkoku's story. The art and sound has not aged very well and is inconsistent throughout its run. The manga is far superior in that regard. However, please believe me when I say that this is without a doubt the best love story ever told in this medium. Maison Ikkoku is peak romcom anime. Maison Ikkoku is the most human, most sincere, most complete love story you'll ever find in this medium and possibly in any medium. It's simply that good. So while it looks pretty meh I still can't give this anything less than a perfect score. If you truly want to experience Maison Ikkoku in its ultimate form though, go read the manga.

Maison Ikkoku is a one of a kind slice-of-life seinen show that every anime fan must watch. Rumiko Takahashi’s 1986 classic is about struggling through your young twenties, the pain and joy of finding a home in a city with obnoxious neighbors. It is about patiently pursuing both your goals & the one you love, perseverance and steady growth in the normal day-to-day life you live. Through 96 episodes of wholesome hominess, it’s offered some of the funniest and most reflective seinen moments I’ve ever seen in anime. To summarize this show by example, this single exchange perfectly encapsulates it: Kyoko: You have a class to pass don't you? Godai: Huh? Kyoko: A class to pass. Godai: What about your ass? Kyoko: I said a class to pass! Yotsuya: You there! Just because a woman's hindquarters protrude from your closet doesn't mean you should surrender to carnal desires! Ichinose: Mr. Yotsuya, please don't say such things in front of my child. While Yagami does a lot to provoke thought in Kyouko and growth in Godai, there are some filler episodes that lagged on for a bit longer than needed which proved to be a weak point in my book. The animation quality of the show starts with a pretty gritty look then steadily improves throughout the duration of its airtime along the same lines as it transitioned from being more of a comedy about wacky neighbors to a slice-of-life drama. This evolution could be considered a weak point by some, but some have taken it to be a strength as Godai grows so does *how* we perceive what is happening. In a way it's as if the viewers have grown with Godai & Kyouko as the animation style improves. If you don’t have the stomach for older anime this is the place to start to cultivate that and even if you aren’t looking to develop a tolerance or ability to enjoy older titles, this show is absolutely worth it for the smiles and warm feeling of home it cultivated that I can’t help but keep coming back to. FFO: The Devil is a Part-Timer, Sing Yesterday For Me 100% Seinen Jump approval.

Maison Ikkoku is the finest romance anime ever made, in terms of story structure, character development and emotional depth. If you look over this because it's of older animation then you really don't know what an incredible experience you've missed out on. Yes at 96 episodes it is long for the genre. However the story spans several years and this allows for real character and relationship progression. It is one of the funniest and most charming anime I've ever seen. A Tim eless series and still to this very day remains the finest example of a believable romance story in anime. It delivers the most spectacular ending that you could possibly want in a rom/com. See this one out, enjoy the ride and I guarantee this will become a firm favourite of yours.

If you're at all familiar with the works of Rumiko Takahashi, it's probably from her work writing action (Inuyasha), comedy (Urusei Yatsura), or something with a bit of both (Ranma 1/2). As Shonen Sunday was publishing the middle of those three, she also spent the early years of her legendary manga career writing a more grounded, mature, straightforward romance for SS's sister publication, Big Comic Spirits. While I don't personally consider it my personal favorite of her works (UY will always hold that place in my heart), Maison Ikkoku may just objectively be the best series she ever wrote. Obviously you can't judge a manga based on its anime adaptation, but it's still a damn fine anime. Being published in a monthly seinen magazine allows for much richer storytelling than its weekly shonen counterparts, since you can handle more mature subject matter, and also have more time to write it between chapters. This is especially apparent in the way the series handles its characters. We first see our leads as a young man struggling to get into college, and a young woman recovering from the recent untimely loss of her husband, taking over as manager at her father-in-law's boarding house. His attraction to Kyoko is shallow and superficial, and she sees Godai as nothing more than just another resident of her building. But over the course of the series, we watch as they come to know each other better, and in spite of every obstacle that comes their way, they grow past their shortcomings and become a pair who truly belong together. It's not the most groundbreaking character arc, but coming from Takahashi it's definitely a career highlight, sandwiched between younger couples who never quite made it that far. One thing Takahashi consistently excels at, however, is filling her series with a colorful supporting cast who take just enough of the spotlight to leave you wanting more. The trio of rowdy neighbors who always barge in to drink and party function wonderfully as a unit, but occasionally we’re given a glimpse into each of their lives as individuals, those episodes being consistent, if not infrequent, highlights. Beyond the boarding house, no romance series is complete without rival love interests, and we’re given a few here, to mixed results. There’s the athletic ladykiller Mitaka, a deceptively charming pretty boy who will stop at nothing to win Kyoko’s heart. Then there’s Kozue, a sweet, if not somewhat oblivious, girl who Godai people-pleases himself into courting on occasion. But if this cast were to have a weak link, it would definitely be Yagami, a high schooler who falls for Godai in a twisted reflection of Kyoko’s first love, but constantly takes her pursuit too far to the point of discomfort, only to wind up being the only character without a satisfying conclusion. Perhaps another issue which some viewers, particularly younger ones, may find themselves put off by is the show’s pacing. On a macro level, viewers impatient to see the leads end up together may not want to sit through 96 episodes of character development, but even on a scene-by-scene basis that same audience may sooner find themselves bored by the slower dialogue scenes and frequent establishing shots. Regardless, others might interpret that instead as “building atmosphere” and “taking time to sit in the emotions,” so that sort of thing really comes down to preference. But in between those slower moments are plenty of sitcom-esque shenanigans that still have their appeal, with its plot fueled by plenty of Three’s Company style misunderstandings. The show overall does an excellent job of balancing these two tones, always knowing when to be serious and when to have fun. It’s a format that the current landscape of network TV could really benefit from. And even though this may not be something most viewers would take issue with, it’s worth noting that this show has some of the most dishonest, manipulative teasers at the end of each episode. Frequently they’ll bait the viewers with some sort of big, shocking twist or reveal in the next episode, only for the audience to find out that the plotline they were baited with was not nearly as exaggerated as they were led to believe. In retrospect, I can’t say that anything that was promised in those teasers would have been an improvement over what actually ended up happening in the show. Some may see this as insecurity on the writers’ end that the show can’t sell itself on its own merits, but in a way, it does reflect how characters throughout the series are often misled by each other into making choices that further the plot and character dynamics, so it’s at least in character for the series. Being a Takahashi adaptation in the 80s, this of course comes to us from Studio Deen, coming off their work on the second half of UY and preceding their work on Ranma, which ended and began publication as this aired, respectively. The most noticeable consistency to most viewers might be the shared voice cast between the three shows, but visually they share a lot in common too. Deen always had some of the best translations of Takahashi’s character designs to animation, and pairing them with the hand-painted landscapes of nighttime cityscapes and the like is always a sight to behold. In some modern transfers, you can even see the specks of dust on the animation cels, giving the series a tangible, textile charm that feels lost to time. Overall, Maison Ikkoku is a must-watch for romance lovers. Anchored by a mature, touching, believable relationship, it’s a series that really takes its time building its characters. Knowing that Takahashi was capable of writing a romance arc this satisfying, it’s almost a little sad that her earlier shonen efforts couldn’t quite match what she pulled off here. Those series had other priorities, though, where this one could focus purely on that. Even if those shows somewhat faltered in the romance department, at least she had this to show what exactly she was capable of.

One of the best I have seen, not only in anime but in general. Yes, it is 96 episodes, but totally worth watching. Not boring, and it is fun to watch and you’d feel the dramatic moments. The romance is realistic and really builds up to the best ultimate moment.” 10/10 The character development is exceptional, especially for Godai, who grows from an uncertain young man into someone mature. The story captures a full range of emotions, balancing romance with humor, thanks to the quirky tenants. It feels like a time capsule of 1980s Japan, giving it a nostalgic and timeless charm. What makes Maison Ikkoku truly unique is its realistic approach to love and relationships. It’s not a fairy tale but a genuine, heartfelt journey. The ending provides a perfect, memorable closure, making the entire journey more than worth it. I highly recommend it for anyone looking for a deep and fulfilling experience. So from my pov is Maison ikkoku a really 10/10 Masterpiece! *highly recommended👍🏼

One of the best-polished and warm comedy/romance Anime! don't get discouraged by its released date !! I recommend taking a look at it! STORY: its normal but the execution is very well done! There are few repetitive things in the middle of the episodes but all in all is very well polished altogether ART: for its date is one of the best i have seen so far! SOUND: Normal sometimes warm/ refreshing, the voice actors are well suited for each character! CHARACTER: not much of past of each character but you won't mind it! Its well developing the relationships and the interactions with each character ENJOYMENT: Well i did have a good time watching it! OVERALL: SHOULD WATCH IF YOU LIKE ROMANCE/COMEDY. Honest Review! -Thanks

My all time favorite romance anime. I didn’t know what to expect when I first started watching this show. It seemed like a slice of life comedy rather than a romance story. But as I kept watching, I realized how true to life this story was. The character development and relationship development between characters is a slow burn. But if you stick with it, it’s incredibly gratifying. Incrementally the story grows, characters mature, and relationships bloom. I also want to add that the art and animation get better through out the show, there are some incredibly aesthetic shots in this show that really add to the more dramatic moments. I recommend this to old school anime fans who love slow paced story telling and true to life romance stories.

Such a wholesome and human show, I absolutely loved it. Thank you Rumiko Takahashi! The story is quite unique in a sense of its setting at a boarding house; an interesting premise. How the story unfolds and the overall pacing feels great. All elements work together to draw in the viewer connecting them to the characters giving a very genuine feeling and making not only the the ending feel amazing but also a great journey filled with many different plot points. There are some filler episodes but these are very rare and almost all episodes contribute to the narrative Some people may not like the art due to its older and dated style. However, some may even prefer the retro look. Personally I love it and don't see any issues with it. However, I am not so picky on this topic as I've already seen Kimagure Orange Road (another 80s anime) and am fond of that 80's look. Maison Ikkoku's soundtrack is excellent, I love the harmonica and string tracks as well as the intros and outros are great. The final rendition of "Hello Sadness" as an instrumental was beautiful. The characters were great, especially the Ikkoku residents, they all felt very genuine. I however really wish I could know more about the mysterious Yotusya, though, I guess thats part of what made him so interesting. In terms of development both Godai and Kyoko grow exponentially as characters making for great viewing. I think anyone who is open to a long series and an older art style will love this series. (This is my first review, I don't usually write any but I really loved this series and it helped me through some tough times so I thought I'd say my thanks and recommend it.)

Maison Ikkoku is still today one of the most emotional and romantic anime I’ve ever watched, as well as a great historical slice of life title from the ‘80s, similarly to some more recent works like Tora Dora and Clannad. Episode after episode, this anime conquered my heart with its genuine narration, an endless twist of funny and romantic moments, along with the lovely piano soundtrack and its unforgettable characters, including the main protagonists Yusaku Godai and Kyoko Otonashi, as well as the other secondary characters who are all further and nicely explored during the various episodes. Some words apart must be told about the unforgettable setting, including the Maison Ikkoku itself as a house, as well as its incredibly romantic and nostalgic Tokyo suburb, situated in the district of Higashikurume, often depicted with a stunning atmosphere depicting for example the hanami cherry blossom, or a beautiful sunset with a typical Japanese train passing through a bridge along a calm river, by generating a constant and deep sense of nostalgia. For all this, Maison Ikkoku remains without doubt one of my most favourite anime of all times and one which I strongly recommend to all romantic slice of life lovers. Thanks for reading me!

I watched a few episodes back in college in the 1990's, but never had a chance to watch the whole series (subtitled anime was hard to find back then, especially long series). But I have been a huge KOR fan, and I've always heard how great MI is. Now I am in my 50's, and anime is much easier to come by, so I gave it a gander. Story: 8 I'll be honest, the first 25 episodes were really difficult to watch. I really felt no love or connection, or really anything positive about any of the characters. In the 30's, we get some interesting developments, but then it is back to sadistic glee torturing Godai. I've seen other anime that exhibited this type of mean-spirited "humor", but I've always found it repulsive. It wasn't until about the last 25 episodes that the story actually became noteworthy, IMO. Once Godai and Kyoko are able to get away from the constant goading and manipulation from Akemi, Mrs. Ichonose, and Mr. Yotsuya, the story delves into some pretty serious stuff that will pull your heartstrings. On a side note, what kept me going through the series was actually the glimpse into everyday Japanese life in the 1980's this show presents. It helped illustrate some of the stories my wife tells me about growing up in Asia. Art: 8 - Pretty typical of the era. Sound: 8 - No complaints Character: 7 - Yeah, they get interesting towards the end, but they still feel a little one-dimensional. Sadly, the writers chose to keep harping on Godai's bad luck instead of digging in deeper to Kyoko's psyche, for example. Over the 6 years of the story, it seems like the only growth she experiences is making up her mind to remarry. Yawn. Enjoyment: 7 - I liked the parts of the story focused on Kyoko and Godai's relationship. But as I said before, the incessant goading and teasing actually detracted from the story. Overall: 8 - The last 25 episodes really made the show. I mean, if they condensed the entire TV series to about 40 episodes, I probably would have given this a higher rating.

One of the earlier masterpieces of manga author, Rumiko Takahashi, Maison Ikkoku lives out to its acclaim, being an anime of the mid-80s, when shows like Dr. Slump and Dragon Ball gained popularity in the west. A show based on Takahashi’s Seinen (adult)/romance manga of the same name, Maison Ikkoku is a fun journey, with the day-to-day life of Yusaku Godai, a student in-search of clearing competitive exams to join a decent college. His reasons for living in his mundane path flips when he encounters the new Manager of their boarding house, a woman named Kyoko Otonashi, who happens to be a young widow. The show had good screenwriting throughout most of the series, entertaining the through the way and surprising the audience whenever least expected. Filled with frequent and yet dynamic characters, author Takahashi and the anime had done a great job in providing decent content to keep the show upbeat. And yet, there had been instances of dragging the episodes or producing content that seemed typical of ‘fillers’ to pass the audience’s time instead of letting the plot flow further. The author has shown her adept skills in plotting interesting circumstances by making ‘wrong things happen at the right time’. A lot of misunderstandings are a frequent plot device used in the show, having a profound effect in most of the cases. The music is not much of a praise, as the story employs the same music score for the entire series, with few changes in the opening and ending themes of the show. The anime provides decent animation for most of the run. The character designs often proved a repeat in various cases of male and female characters, often mistaking one for the other due to the lack of definite and complex differentiation in aesthetic characteristics. Examples include – protagonist, Yusaku Godai and another character, Shun Mitaka. The show has proved its entertainment for most of its parts, but the unneeded hauling of its content, especially at the end of series, is being noted. Later, the annoyance of side characters, often leading to irritable offense without retaliation, seemed a bad experience for the audience. Personally speaking, I couldn’t just stand by as others suck the finance out of the protagonist like nothing’s wrong. Monetary moochers exist in the world (as based on the story), but the mentioned events described the protagonists of its weak content during those episodes. One also might need to make fast forwards later in the series (especially after episode 50 and beyond) to keep up with the story and yet keeping patience over not giving up the anime. The protagonist receives a free-end typical ‘torch-run-lighting-the-Olympic cauldron’ by the end of the show, which seemed to haul all the overused plots as a weight one last time. Godai being a relatable character amongst many of the targeted audience, seemed a saint at the end of the series, a man without flaws and yet trying to create the same, leading to small plot disappointments. Despite the minor flaws, in the end, the anime had a satisfying ending, unlike many modern-day anime. Discretion needs to be advised upon younger groups of audiences due to its mild-nudity and elaboration of the Seinen genre. It is a great story for beginners and the mundane audience, who are content with light humour and simple plots. There are certain episodes that are a must rewatch due to its fun and good screen content (if you’ve watched the whole series), and yet there are others that can be forgotten. Overall: 7/10

you wouldn't enjoy it if youre the type that enjoys the "strong male & weak female" stereotype, because it is more focused on the pro/cons of love itself. and questioning yourself, will this happen to me or not? Knowing how to be patient and persistent is the key of this show. Even though it has got the old anime vibes, bad animation both art and sound but good story telling. It's like when you find an old book that the paper has gone brown and it has that distinct smell, but the wisdom and the journey of the story in the book itself outweights all of the cons.

i tried watching it when i knew about Rumiko Takahashi~ as Inuyasha's mangaka (yeah, i had my childhood in Inuyasha's era). first impression when watching this anime is : looks old! that what other people's saying too.. but, it has amazing stories~ not saying about fantasy as same as some of Takahashi's works; but it have strong, cool, weird, REAL, and touching story. i enjoyed each eps~ and WOW! its TRULY ADULT ANIME, for me! it taught you how the real love environment is.. when love breaks out its logic. how to be more wise about walking through your love life, strong.. with very weird jokes which makes you laugh, and sometimes touched and~ yeah.. be patient when watching this anime (for anime lovers). you guys who always do streaming easily and easily get bored too won't enjoy it fully~ because as we see.. the eps is too much, and there's some "bored scene" actually i never assume it was a "bored" show because i really enjoy it per each ep

*Romance traveling the human years, cleaning up the grime of one's inner houses* ~~ !!SPOILER-FILLED REVIEW!! ~~ Theoretically, romance traveling the human years begets an immediate reception perceiving it as more fetching than stories that feature compressed journeys of togetherness. Fiction following the footsteps of reality in slice-of-life romcom narratives always has incredible merits, for by scripting the march of everyday life to resemble the dull and dreary amidst the occasional spark of the hustle and bustle and furnishing it with the creative freedom of story-making, a person can create a reliable work for reflection, and allow others to experience a makeshift simulation of possible events. I often take a retrospective approach when writing up my post-completion thoughts, and looking back on it, I think Maison Ikkoku truly was an enjoyable show whose length is quite justifiable. Two things make it so that the way it kills time stays within reason: Godai's graduation (then employment) and Kyoko's status as a widow living to move on. As sadistic as it is to say, I gain enjoyment from Godai's miserable luck. This feeling might be similar to how the upper class derived amusement from colosseum gladiators fighting for their lives in desperation--but of course there is a galaxy-wide distinction between relishing real-life bloody spectacles and finding meaningful connection with a wimpy college kid near the same age as I fighting life's battles and always coming home tattered...yet inevitably evolving from the struggles albeit in such a staggering pace. Someone so pathetic, insecure, weak-willed; someone whose eyes constantly avert from their own priorities; someone without direction and is therefore prone to the whims of life; someone like Godai whose skillsets are subpar to even secure a comfortable livelihood for himself growing throughout the years holds a mirror to the viewer and asks them to comprehend the insanity of the non-linear personal development of someone without fate's favor, which covers a large portion of our population. An author mercilessly flaunting their protagonist's flaws in appropriate settings such as in Maison Ikkoku is enduringly satisfying to see, especially when the object being sought after is nigh unreachable. Protagonists usually have an impossible dream ahead of them right? Godai's infuriating writing really escapes the screen, making it all the more rewarding once he's grown up much better by the end. For much of the duration, we see the story through Godai's eyes. This approach lights up Kyoko as *the ideal goal* of the story. It didn't really help that she was locked behind the "manager" persona. Adding to that we had a long, dark age when it comes to her past apart from that she is a widow who names her dog after her late husband, goes to tennis classes, is being fought between Godai and Mitaka, and is one BEAUTIFULLY designed woman. A goal, a character playing a role, and less of a character in a living story, Kyoko just didn't have much deeper to her going yet. Those times we are only being misled by how she is an ideal woman for possessing the traits of a traditional domestic house lady, when in reality she too had many things to process and has undesirable characteristics any normal human being would have. Kyoko is the final piece of Maison Ikkoku, a messy story about messy people, and being so, naturally knowing her flaws open up the doors of the apartment--that is, her heart, for is not moving on a path that leads one to migrate to another world, and is not love about opening yourself up? Her surprising temper when dealing with her family especially, her severe indecisiveness mingling with unaware hypocrisy, her need for external validation--the need to be needed wraps up the feeling, for in her mourning state the loss of affection might have somehow influenced her to "like" receiving the thing that she now does not have, inhibiting her to decline either Mitaka or Godai's advances much sooner, warding the hungry dogs off with the "I'm a widow" card instead which she knows does not work on them at all. Grieving because "no one (general people) loves me" I think can go alongside grieving because "no one (late partner) can love me anymore". I don't know what being widowed feels like, and I also do not know what truly goes on deep in the mind of a person squeezed between two suitors, but given the context and the timing of her decisions, as well as a particular line, I'm led to think in that certain way. Once again, it is merely an influence, not a deciding factor, because of course her being scared of entering a relationship with someone because she is scared he will die before her again is her whole deal. The assertive youth she once was, and the aggressive spirit of the high schooler Yagami, were buried under real fear due to a sudden, real experience. And also, it's perfectly human to want to be depended upon. I like the dynamic of Godai and Kyoko a lot. She actually can be considered as no different than Godai with respect to skillset, for Kyoko never went to college due to marrying Soichiro after graduation. With no degree, her mother is scared of her future outside Maison Ikkoku (she says this to her child as she rattles off Kyoko's deficiencies in typical Asian style). This makes Kyoko so much more similar to Godai, whose will is constantly being tested by the tenants on the topic of his future, being a no-name in a third-rate university and all. I can go as far as to say they're close equals: Godai as a 20th-century man is duty-bound to secure financial stability for the person he wishes to take care of all his life, and Kyoko as a widow and a degree-less "damaged goods" has to stay in Ikkoku or else the future is pretty bleak. Both are pressured by societal expectations normalized during that time period and cultural conditions, making the story so much more realistic and immersive. And then, we have the dreaded abuse of ***misunderstandings***. There have been a few tasteful meals Takahashi Rumiko made from it, such as Mitaka's wedding being wrapped up because of McEnroe (here Mitaka's conquered fear bit him in the butt, and a dog sealing his loyalty to a woman was super suitable when thinking about his fright against the species a jab at his faithlessness, being a known player and all). But overall, the best I could do was just grin and bear it. If we could take away two-thirds of it then the loss would still be negligible--it simply lacks creativity. That technique is not Maison Ikkoku's charm at all. With Godai, sometimes it makes sense for him to misunderstand the situation due to his weak-willed character, but even then he could just man up a little bit and say one measly sentence. This goes to everyone else in the cast too, who have less excuse to act as such. I took less mind against it during the last quarter of the series due to the extreme boost in quality allowing a bit of breathing room for the stain to make its way with the plot, with the series taking itself more seriously, but man was it downright tasteless so many times before. On a related note, the tenants overdid their act. Although not outright despising them for outstandingly despicable behavior, during the midgame they can only gain a couple of silent laughs from me, and not even that, but a small number of slight air-pushing through the nose. When I'm not poked at optimistically, my reactions were dismissive of their existence, as if they were inconsequential obstacles when they try so hard to be so, as if this feeling of annoyance they strive to bait from me is unneeded and therefore cannot rise up when it has surfaced once already. Yeah, they're a fun little crew indispensable in smearing the atmosphere as it should be and being challengers of Godai's plans, and Yotsuya is pure amusement, but instead of the group's actions per se I focus more on their abstract relevance (even if at times it has to be scrap…

If you are looking for a great love story sparkled with comedy, seen through rose-tinted glasses, this is it. Maison Ikkoku's story is like no other rom-com. This love triangle, it is not just for our main characters, but supporting characters give their own mix into the show. The main protagonists are both adults, unlike most of the time in today's anime, therefore the problems that sprung during the show, are unique to it. Because the setting is in the mid-to-late 80's, the societal norms are different. Don't look this as a bad thing, but a glimpse into yesterday's world. Get ready for misunderstandings and spanish telenovela style progression. 96 episodes is a long haul but in the end, it is worth it. Main characters: - Godai Yuusaku, born under a star of bad luck. Godai is our main male protagonist who we (try to) root for. He is the typical anime clumsy, overall normal guy. As the show starts, Godai is a ronin, young lad trying to climb societys steps and trying to fit in. Though sometimes you want to bang your table for his inability to speak up and have a spine. But a perfect and flawless protagonist would be boring to watch, so give him a chance. - Otonashi Kyoko, young, beautiful, new manager of a boarding house. She is the main female protagonist, center piece of this show and attention of new love queries. She has a troubled recent past as she is a widow now. As the story progresses, she learns to get over her mourning and open hear heart a little bit. Her personality and decisions (or their lack of) are an interesting one to try to understand. Supporting characters are a mixed bunch of people and few of them deserve their own quick reviews: - Mitaka Shun, you could say he is the third main character. Good looking smooth talker with sparkling teeth, who gives Godai a run for his money. He is a character who grows a lot during the latter part of the show. He also has the best, or worst, misunderstanding of the whole show. - Yagami Ibuki, this girl, yes a girl, as she is a high school student, is a rose with a lot of thorns and people around her will feel that. She speaks up her mind and is very straight forward. People in MI episode sub threads either love her or hate her. That is how you know she is a good addition to the show. Her action are a driving force in the overall love story. Sound and music: - Intro and outro songs are great, once again I'm biassed because I like just this kinda stuff. - I've only watched the original japanese subbed version but I've heard that the english dub is also a good one. Voice actors did a very good job, everyone of them has their unique voice and style and you don't end up mixing them. Especially I liked Kyoko's and Asuna's voice actors. Art: The art style is as good as it was in the 80's, everything is hand drawn and that gives every show done the same, it's own personality. This was a big selling point for me because it is what I like to watch, to appreciate every panel, the skill and time that went into making them. Character design is well made, the focal point of every good anime character - the eyes, is nicely done, but as usual, only main female characters get the best drawn pupils. Clothing stays constant the length of the show and is as normal as it can be in a slice-of-life anime. The art gets better episode-by-episode, so don't judge this anime by it's first ten or so episodes. Few times I was so drawn into the show I didn't know if I was watching a TV show or a movie. If you end up liking this show, it's highly rewatcheable. In 96 episodes you tend up forgetting parts and maybe learn something new about characters you didn't pay much attention to on the first go. I was having trouble writing a spoiler free review because I like this show so darn much and it came out longer that I first anticipated. I hope you end up liking Maison Ikkoku as much as I did. Thank you for reading my review.

Maison Ikkoku is a somewhat frustrating series to talk about. Due to its age and length it's pretty much impossible to recommend to a modern anime fan, unless they are genuinely interested in older titles. It's not even a 'classic' must-watch for everyone going through milestones of Japan's animation, as its glory days are long gone and its legacy is easily dwarfed by other works of the legendary Rumiko Takahashi, still influential to this day. Yet it's such a fun series to watch with so many hallmarks of the 80s animation, exactly scratching an itch I couldn't quite put my finger on. However, I can't honestly tout it as a hidden gem, because there's a number of things that don't work too well with the plot and characters. The premise is simple, but extremely effective, just as you would expect from Takahashi. The rocky relationship between Yusaku, who is an unlucky, but a decent guy trying hard to graduate from university, and recently widowed, somewhat experienced by life, but still naive Kyoko who takes over as a manager of the titular boarding house is a solid core of a story. There are ups and downs, annoying misunderstandings, but also a lot of great and warm scenes bringing the two closer to each other, while both mature as people. And the supporting cast is well-crafted too, developed enough to not feel like they're wasting our time, but not overshadowing the true protagonists - at least most of the time. The more realistic setting might be somewhat shocking to people used to Urusei Yatsura's and Ranma 1/2's shenanigans, yet it serves to make Maison Ikkoku stand out more among Rumiko Takahashi's creations. Although that difference in style and tone may be the main thing stopping fans of the legendary mangaka from picking up this series. I dare say that it's this adherence to a more grounded style is what kept this series from becoming truly great. Usually, Takahashi doesn't mind discarding characters that have either served their purpose in the story or simply didn't fit what she ended up doing over time. Here, unfortunately, the cast is small and somewhat static, and the only major shakeups we get arguably make things worse. While the trio of Yusaku's neighbors would get on my nerves from time to time, their worst moments and biggest sins against the protagonists' happiness pale in comparison with what certain later additions to the cast bring to the table. It's a shame, but their kookiness does not gel well with a more serious story, especially given how the last 1/3 of it seems to be exclusively revolving around these two odd ducks until the poignant, very last stretch. If only Takahashi was at a leisure to properly plan things out, perhaps the characters from the first 15 episodes could be given more time to shine and contribute towards the plot in a meaningful way, so that the later additions wouldn't overwhelm the story to such an unbearable degree. As it stands, it's a somewhat uneven experience where not particularly great characters have entire story arcs built around them, while other promising elements fizzle out a bit too soon. Despite some disappointments, I still had a great time watching Maison Ikkoku and would wholeheartedly recommend it to anyone thinking about picking it up. Just make sure to properly pace yourself, as it's not really a kind of story that firmly grabs you from start to finish. Sometimes transitions between episodes will give you a bit of a whiplash.

OLD IS THE TRUE GOLD! A definite 10/10 (there might be issues but its all for the story 😌) I don't remember how I found Maison Ikkoku, but after watching it for a while I fell in love with this masterpiece. I personally love old animation, but the crazy part about this anime is the slow and steady development of the characters and their feelings. To be honest, this felt a lot more real to me than most of the anime I watch nowadays. Godai's struggles really connected with me. His college admission, finding a job, trying to figure out what he wants to do with his life, and just growing up in general. Of course, I can't relate to his love life or his popularity with the ladies 😭, but his struggles as a young adult felt absolutely real. What I loved most is that the characters don't just suddenly change. You actually get to watch them grow, make mistakes, misunderstand each other (peak misunderstandings), and slowly develop their feelings. The relationships feel earned because of how much time the anime gives them. And then there's the animation... it just hits different. There’s something about the art style that feels so real. It's a once-in-a-lifetime kind of anime for me. There may be other anime that are just as good, but I don't think anything can replace Maison Ikkoku.

Maison Ikkoku is often hailed as Rumiko Takahashi’s best manga, and the anime adaptation is seen by a lot of people as one of the best TV series in the 80s. It’s anime is one of the few that covers the entire source material beginning to end. But how does Maison Ikkoku compare today? The plot of the show follows our lead Godai, an indecisive young man who lives in a small apartment called Maison Ikkoku. He shares the building with several other tenants who like to make his life miserable by partying all the time and ridiculing Godai at every chance they get. Things take a turn however when the new manager, a beautiful young widow named Kyouko comes to town. It’s obvious to everyone that Godai and Kyouko have a thing for each other, but they both have emotional and past traumas they need to overcome before confessing their love. The story follows their relationship through several years and how they grow together. Starting with some of the positives the animation in Maison Ikkoku was pretty good in my opinion. Lot’s of times especially with older and longer running anime you’ll see a dip in quality as the show goes on and the budget runs out, but the art stays at a consistently high level and it impressively detailed compared to other 80s anime. The music is also pretty good, as are the openings and endings. The third OP and song was my personal favorite, but Ops 1 and 4 were pretty good too. The second OP (“Alone Again” by Gilbert O’Sullivan) is unique as it is an English language tune, but it fits the story well. The background music for the show was also catchy and well done. While a romcom, Maison Ikkoku has plenty of sentimental and good moments as well. Episode 40 was my personal favorite, but there are a good deal of other memorial episodes as well. The last five episodes do a fantastic job of wrapping up the story, and the finale is one of the best closing episodes I’ve seen in anime. I’m not going to lie the ending had me teary-eyed for a bit. Now that sounds pretty good, but this issue is that Maison Ikkoku is not 20 or even 50 episodes, it’s over 90. While it is a slow-moving slice-of-life for most of its runtime, the plot of the show gets pretty frustrating after a while due to lack of progress. Most episodes will start with Godai doing something dumb or having an unfortunate accident which will be misinterpreted by Kyouko or someone else. This will persist even if a brief explanation would fix everything, Godai will just choose to sulk around instead. This happens again & again, episode after episode, and it gets pretty annoying after a while. Another big problem with Maison Ikkoku are the supporting characters, especially the other tenants. Yotsuya, Akemi, & Hanae are some of the most despicable and infuriating characters in all of anime, all they do is get drunk, pester and abuse Godai, and waste screentime. Yotsuya is particularly the worse, he’s a voyeur and a creep who keeps spying on Godai and stealing his money & food. What’s worse, none of these characters ever suffer any negative consequences for their actions or have any development, and whenever they showed up on screen my finger was hovering above the fast-forward button. Also a lot of characters kind of just disappear during the final third of the show, the love rival Kozue is ever present at the beginning but they she just disappears for 20 episodes or so, and I felt some characters such as Kentaro & Yagami could have played a bigger role by the end. In conclusion Maison Ikkoku is a good show, some of its 96 episodes can be a slog but the ending is a rewarding experience. If you’re a fan of Takahashi’s other works like Urusei Yatsura, Ranma ½, and Inuyasha you’d probably enjoy this too, and it is definitely a must watch for fans of 80s anime or romcoms. That said it can be torturous and boring for those who want actual plot development and/or are not as patient.

Maison Ikkoku feels a lot like a time capsule, showing the life of what were the 1980s and pre-Lost Decades times. It's a time when most people, including myself, can't experience it at all, but Maison Ikkoku creates vivid imagery to show it. From the clothing that people wear, the life of a recent high school grad needing to retake college exams, even the good time's everyone has, partying it up while Japan worries the Americans if their GDP will dominate the US in years to come. It's a beautiful show that reflects the average urban life of a Japanese person. Someone trying to get on their feet, away from the family business, creating their own life by getting into University, finding themselves, getting the girl, and making a life of their own with no shortage of bumps and roadblocks in the process. Most people consider the anime's whole "misunderstandings" part of being unflattering and completely oversold; however, almost all relationships are either strengthened or destroyed because of misunderstandings. Sure, Mitaka's misunderstanding at the Dog Cafe can be notable for its exaggeration, and the show does create some pretty wild misunderstandings; however, moving from the most unrealistic ones, Maison Ikkoku crafts a very realistic environment. Even those who aren't looking for a RomCom (which is still great by RomCom standards) could truly enjoy the slice-of-life aspect of the show as the show to its core, providing a transparent lens of 80s Tokyo and a story that can't be forgotten. Thank you reading my first review!