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Rumiko Takahashi's Maison Ikkoku, crafted from 1980 to 1987 and animated in two parts later in the 80s and 90s, to me is the true essence of a romance comedy from that era. Not too cute, too feelgood, or too fanservice based (any fanservice is too much fanservice as far as I'm concerned), Maison Ikkoku is the sweet story of Yusaku Godai's struggle to make Kyoko, his new manager, understand and reciprocate his heartfelt love for her. Throughout his journey to fulfill this most deep wish of his, he (although not the comedy) is hindered (mostly) by the rest of the residents of the infamous ... Maison Ikkoku (meaning house at the center of it all, or so I'm told). Their shenanigans, along with other matters, such as the wealthy, hunky, manly stud of a man that is Shun Mitaka (aka alternate love interest for Kyoko) and the developing situation with Godai and his girls (he is not a player, I repeat. He is NOT a player of any sort). All of these characters drive the plot forward episode after episode and make this anime the gem that it is.

Furthermore, for clarity's sake, this show goes into my list as a 10 out of pure enjoyment, but in my attempt to write a review for you, the masses, I have broken up its attributes into the four usual subsets (art, music, characters, story) and rated those with the highest degree of impartiality for you who may not share my love of this genre or even the character types presented in this show. The 8 that I awarded it means exactly what it says: it is VERY GOOD.

To begin, I would like to describe the overall and recurring feeling of Maison Ikkoku with two words: Salted Watermelon. For those of you who may not be aware, salting watermelon is an old trick intended to make the watermelon taste even sweeter than it normally does by adding intense contrast with the flavor just prior to the consumption of the finished product. Much like salted watermelon, Maison Ikkoku's trademark strategy is to use heaps, piles, stacks, buckets, and wagons filled with pure misunderstanding. This is then emptied upon all of the characters in almost all of their interactions. Yes, you heard right... or did you? No one at Maison Ikkoku knows... Basically what this does, other than make for hilarious situations and skillfully weaving your classic dramatic irony into almost every episode is to intensify the joy of calm, peaceful resolution following many misunderstandings. Sharply following this salt, errrr... "misunderstandings" is the resolution of the drama that ensued. For example, guy 2 tells girl 1 that guy 1 is cheating on him when guy 1 is actually just clothing a starving lady or something. Girl 1 cries her head off and eventually, after a long wait filled with tension the direct confrontation occurs. Characters figure out what went wrong and are all the greater friends for it. This is the enhanced sweetness that the salt serves to create. It is an illusion based upon the fact that the incredibly sudden shift from angry or depressed to friends, or lovers, or whatever they may be, creates an undeniable happiness within your heart, knowing that with each obstacle two people overcome, they are better for it. Salted. Watermelon. Who knew salt could make something oh so sweet? (hint: Rumiko Takahashi)

As for the specific aspects of the story, apart from the general construct itself, all are to my satisfaction.

Apart from that breakdown of the general function of the story, there are the four elements of Sound, Art (animation I should say... music is art too), Character, and Story.

First things first, I actually think that it is important to cover the Art of the animation first:

Rated on a modern scale (2012 animation being the comparative field), I give Maison Ikkoku a solid 7 in art. This is because, while much of it is dated in some sense, kind of faded, and just a bit lackluster, the character designs themselves are just so striking. I would almost go so far as to say they are revitalizing when compared to the modern design of characters. Your first look at the cover art on this page and you can see the style of the characters. Rather than attempt to portray the girls as cute in any sense, the guys as whatever guys are usually projected as, and traditional guidelines for character design based upon attitude (which is present, but in altered form), Maison Ikkoku succeeds in using its art to develop the overall sense of the characters and how they interact. Rather than being some cute chick, Kyoko appears dignified in her own way. Godai doesn't fall into the "derpy looking failure of a student" character design, but has his own feel to his look. Something hard to describe, but greatly appreciated by all those who watch. Despite the fantastic design of the characters, which alone I would give a solid 8 or maybe a 9, the background and other effects are just "fine" at a 6, leaving it balanced at a 7.


As for the music, right away you can definitely tell that this is a show from a different time. The music seems... it's hard to descirbe, but look up the song:
http://www.youtube.com/watch?v=DWiu6xp1UTE
and you will understand. It all sounds like it is from that time, and despite my lack of particular interest, I would give the OP/EDs a 6-7 total ranking for hit and miss (Oh, how I love the first opening)
BUT THE BACKGROUND MUSIC. Oh, I didn't forget. I love Maison Ikkoku's background music. It helps create tone and mood and sticks with you. Even today, over a month since I watched episode 96, I caught myself humming the tune to one of the sad background tunes... It sticks with you, and for that I give it a solid 7, leaning on 8.
Also the seiyus and English VAs are all very good (despite the angering voice switch on episode 36/37)
(hint: all you Brad Swaile fangirls/fanboys have something to look forward to if you watch the dub)

The story, much of which I have covered is both interesting and semi-unique, but repetitive and lacks room for surprise. It fits the story well and rarely inhibited my satisfaction. I give it a 7.

And finally, the characters! I love the characters of Maison Ikkoku. From the good guy Godai, to Honestly Kyoko herself, and all the way back to the enigmatic Mr. Yotsuya ,there is always something to enjoy. The characters have a solid sense of depth to them, from hidden and revealed pasts, to affected futures and patterns of action, Rumiko Takahashi allows you to understand what drives the characters, yet holds off just enough to keep some characters just out of understanding's reach. Keep it interesting, you know? The problem that I found here was that by episode 25-35, you have a really solid sense of who the characters are and then... nothing changes. You roll with that sense for 60-70 more episodes, watching the characters do almost the exact same thing over and over. While I love the characters, they just don't change enough for a 96 episode series. All in all, it's another solid/high 7 for characters.

And Finally, there is my personal level of enjoyment for this series. OOh, I have been waiting for this. I give this series a solid 9 in the entertainment department. Almost every episode I had moment where I went from incredibly sad, almost a feeling of loss, back to the huge grin of success and achievement, and even to laughter several times an episode. It just keep the emotions rolling episode after episode all the way to the end.

All in all, I would give this, one of my favorite animes as of yet a technical ranking of 8 (though it will always be a 9 in my heart) It is lively, filled with drama, romance, comedy, and piles of misunderstanding (heh...heh...heh...), but it's ultimate downfall is that it is too static. Always failing to change direction or pull a twist, the same characters and same gags keep running episode after episode, the one true problem with this fine piece of work. Watch and enjoy is my best suggestion.