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Television Series - Season 7

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Episodes 73 - 84


Season overview:
Earlier in the year the Maison Ikkoku manga reached its conclusion, and so by the end of the year, the anime was fast approaching its penultimate episodes as well. Yagami's storylines are wrapped up, and Mitaka and Asuna begin to get more deeply involved through the circumstances of their family and numerous misunderstandings. If you would like to see examples of the different styles of the various animation directors, please read our article on the animation directors of Maison Ikkoku.


Laserdisc 19

Episode 73: 一刻館人質騒動! 八神の大きなお世話様
Ikkoku-kan hitojichi soudou! Yagami no Ookinaosewa-sama
(Hostage Crisis at Ikkoku! Yagami Makes Herself at Home)
Learning that Godai never arrived for his job interview Ibuki heads to Maison Ikkoku to confront him. When she arrives she finds Kyoko and the other tenants outside his door. Yusaku has locked himself inside and is refusing to come out or talk to anyone about how the interview went. When everyone else learns that he never showed up, they demand to know what happened. It isn't until Mr. Yagami arrives that Yusaku finally comes downstairs. As Mr. Yagami confronts Yusaku about stealing his daughter away from him, the husband of the pregnant woman Godai helped arrives to thank Yusaku for all his help. Mr. Yagami is so touched by Godai's kind act that he admits he wishes he had a job opening for Yusaku, but unfortunately, all the positions have been filled. Ibuki thinks that this is so unfair that she runs upstairs and locks herself in Room 5, refusing to come out. Days pass and Ibuki has moved into Room 5 full time. Godai is forced to sleep in the empty Room 3. Ibuki stops attending school, and only sees her friends to ask for money so she can continue to live at Maison Ikkoku. When her mother shows up to try to convince her to come back home, Ibuki is thrilled to learn that she thinks it would be a good idea for her to continue to see Yusaku after she graduates from high school. Godai is less than thrilled to hear this, but Mrs. Yagami hopes it will lure her daughter out. No such luck unfortunately as Ibuki is steadfast in her decision to stay at Maison Ikkoku until Godai is hired at Mitsutomo.

Episode Staff:
  • Director: Eisuke Kondo (近藤英輔)
  • Animation Director: Masaaki Kannan (河南正昭)
  • Script: Hiroshi Konishikawa (小西川博)
  • Storyboards: Eisuke Kondo (近藤英輔)
Originally Aired:
  • September 2, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • No episode was aired the following week.
  • Kaneto Kanemoto who plays Mr. Yagami is probably best known for his portrayals of Kosaku Samon in Kyojin no Hoshi, Kamenari in Doraemon, and Cozun Graham in Mobile Suit Gundam. Asami Mukaidono is the actress who plays Mrs. Yagami, and is best known as Ayumi in Project A-ko, Aroi in Giant Gorg and Ikuyo in Pero Pero Candy.
  • Asking about blood type in Japan is akin to asking someone their astrological sign as it is used to predict everything from romance to personality traits. For a complete list of what your blood type may mean in the Japanese culture, visit here. Apparently Yagami’s AB and Godai’s A are not the best match, but not the worst either.

Episode 74: 就職戦線異状あり! 五代サヨナラ大逆転
Shuushoku sensen ijyouari! Godai sayonara daigyaku utata
(All (Not So) Quiet on the Job Hunt Front! Godai's Eleventh-Hour Save)
Godai continues to put up with Ibuki staying at Maison Ikkoku while he searches for a new job. As he heads out one morning, Kyoko offers to adjust his tie. Before she has the chance, Ibuki rushes out to give him a handkerchief he's forgotten. Kyoko returns to her sweeping, dejected at the interruption by the young student. Meanwhile, back at Yagami's house, Mr. Yagami receives a phone call from Kamiogi, Ibuki's teacher. She requests a meeting with both Ibuki and her father to discuss why she has not been coming to school lately. Mr. Yagami is so embarassed by the situation that tells Kamiogi that his daugther has been very sick. After discussing the situation with his wife, the stern father realizes that he cannot continue to allow Ibuki to stay at Maison Ikkoku, and that he will have to give into "Godai's demands" for a job. Instead of playing him with Mitsutomo, he'll find an opening at a smaller subsidiary of the company. After a long day of job hunting with no luck, Yusaku is irritated to come home to Ibuki's constant hovering. When the neighbors bust into Room 5 for the usual drinking and partying, Ibuki screams at them and runs them all out of the room. But Godai's gratefulness soon dissolves into annoyance as his young guest continues to talk and interrupt him. He begs her to be quiet, but even that has its own problems. Finally deciding that enough is enough, he receives a call from Mr. Yagami, and the two set up a meeting for the next day. At the cafe, Godai is firm with Ibuki's father, and tells him finally that he has no interest in his daughter, admitting that he's in love with his apartment manager. Mr. Yagami finally understands and agrees to come pick up Ibuki later that night. When Godai goes back to break the news, he finds the entire apartment building in an uproar. Smoke is billowing from Room 5, as Ibuki has attempted to broil some fish on the stove. Godai cannot hold back any longer and yells at Ibuki, telling her that she has to leave immediately. She refuses, but her father overhears and finally believes that Godai has not been holding his daughter hostage for a job. When he steps into the room, Ibuki hides behind Yusaku. Everyone is shocked as Mr. Yagami hands over a letter of recommendation that will ensure Yusaku a job with Katsugi Inc. a small subsidiary firm of Mitsutomo. Ibuki is still hesitant to leave, but when her father tells her that he will take back the recommendation, she finally understands that she has no choice. As she leaves, she tells Godai that he should remember that it is because of her that he is getting this job. Godai seems angry, but when he turns to see Kyoko staring at him, all his feelings of irritation seem to melt away. The next day after his interview, the entire apartment building is ready to celebrate. Kyoko even buys Godai a necktie. Everything seems to be going well for once, but as Godai turns off Kyoko's television set in preparation for the party he hears a newscaster announce that Katsugi Inc. announced it was going out of business. Godai stares at the screen in stunned silence.

Episode Staff:
  • Director: Iku Suzuki (鈴木行)
  • Animation Director: Atsuko Nakajima (中島敦子)
  • Script: Yutaka Kaneko (金子裕)
  • Storyboards: Tamiko Kojima (小島多美子)
Originally Aired:
  • September 9, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • The music playing when Mr. Yagami and Godai meet in the café was never released on any Maison Ikkoku soundtrack.
  • Sakamoto is shown smoking “Mild Eleven” brand cigarettes which is a parody of Mild Seven brand (マイルドセブン). Since 2012 the brand has changed its name to Mevius (メビウス).
  • Most Japanese apartments are measured in tatami mat size, ranging from six, eight, or ten-tatami mats in size.

Episode 75: 恋ひとすじ! 八神と明日菜は懲りない女
Koi hitosuji! Yagami to Asuna wa korinai onna
(One-Track Love: Yagami and Asuna Never Say Die!)
As Godai faces the realization that he won't have a job, Kyoko and Mrs. Ichinose share the news with Mitaka on the tennis courts. The gossip session is interrupted by the appearance of Shun's uncle, who brings news that Asuna has been sick as of late. He wants his nephew to pay her a visit, but Shun will have none of it, and points out Kyoko to his uncle, telling him that she's the one he's in love with. A few minutes later however Shun realizes that with Godai's turn of bad luck, now would be the perfect time to finally end things with Asuna so that he'll be completely free to be with Kyoko. As Shun tries to get his affairs in order, Yagami is feeling guilty about the way things have turned out with Godai, and tries to convince her father to write him Annother letter of recommendation. Despite her pleas however, her father refuses. The next day, as Shun pays an unexpected visit to the Kujo Estate, his uncle sneaks over to Maison Ikkoku in an attempt to encourage Kyoko to dump Shun. Meanwhile, Mitaka decides once again that now isn't the right time to break things off since Asuna has just recovered from her love sick illness. But as he learns of his uncle's duplicity he decides that things have gone far enough and returns to see Asuna. When he breaks the bad news to her, she collapses in tears. Mitaka tries to back track, telling her that he doesn't hate her, but he just doesn't think they should be married. While Yagami's father adamantly refuses to help Godai, Yagami realizes she has no other choice but to move back into Maison Ikkoku in order to convince her father to write Yusaku a recommendation. But things begin to look up for Godai, as he is offered his old job at the pre-school once again. With no other opportunities on the horizon, he decides to go back to the daycare.

Episode Staff:
  • Director: Chisato Shigeki (茂木智里)
  • Animation Director: Masaaki Kannan (河南正昭)
  • Script: Hideo Takayashiki (高屋敷英夫)
  • Storyboards: Naoyuki Yoshinaga (吉永尚之)
Originally Aired:
  • September 16, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • Mitaka’s Uncle is played by Mugihito. Mugihito has played many iconic roles, including Doppo Orochi in Baki the Grappler, Kanichi Koike in Monkey Turn, Keel Lorentz in Neon Genesis Evangelion, Hikazaemon Tokugawa in Starblazers, and Mr. Mendo in Urusei Yatsura. Mr. Kujo is played by Sukekiyo Kameyama. He also had the small role of Drama Club Director in Ranma 1/2, Daibutsu Narano in Ultra B, and a Baseball Manager in Touch. Mrs. Kujo is played by Gara Takashima. She is best known for playing Hild in Oh! My Goddess, Eri Kisaki in Detective Conan, Misa in Mermaid Scar, and Rosa Cheynne and Lebia Maverick in Silent Mobius.
  • “Dosukoi!” – Mitaka shouts the sumo phrase dosukoi (どすこい) as he’s being rushed by Asuna’s dogs. It’s a shout that is used to energize or power up the sumo.
  • Dogeza (土下座) is an element of traditional Japanese etiquette which involves kneeling directly on the ground and bowing to prostrate oneself while touching the ground with one's fingertips. Both Asuna and Yagami perform this pose in this episode.

Episode 76: ワタシ待つわ! 響子突然のイミシン宣言
Watashi matsu wa! Kyoko totsuzen no imishin sengen
(I'll Wait! Kyoko's Double-Duty Declaration)
The anniversary of Soichiro's death has arrived once again. Godai is busy building blocks for the children at the preschool when Mitaka suddenly arrives at Ikkoku. He has come to tell Kyoko that he's finally ended his arranged marriage to Asuna, and that he hopes she'll soon agree to marriage. Before he gets a chance to continue the conversation further, Godai interrupts and reminds Mitaka that any talk of marriage at this time of year is inappropriate. Kyoko mentions her late husband and Mitaka quickly apologizes for being so presumptious and excuses himself. When the anniversary day finally comes, Kyoko visits the graveyard with her family. As Godai prepares to deliver his blocks, he overhears Mrs. Ichinose on the phone. Mitaka is calling for the address of the graveyard where Soichiro is buried. Godai thinks that Shun is just being opportunistic and rushes to the graveyard to intercept him. When he arrives, he finds Mitaka offering incense and Chrysanthemums at Soichiro's grave. As Godai scolds him, they hear Kyoko, her parents and Mr. Otonashi approaching and quickly hide behind Soichiro's gravestone. As they do, Godai drops one of his blocks, which Kyoko quickly finds. She sees Mitaka's flowers as well, and a discussion about her remarrying soon erupts. Kyoko finally admits that she is planning to remarry soon, much to the delight of her mother. Upon hearing this Mitaka makes his prescence known and quickly invited to coffee with Kyoko's family. Kyoko asks for more time at the grave and sees Godai hiding behind Soichiro's gravestone. Irritated that he was eavesdropping on her conversation with her late husband she douses him with water and loudly proclaims that she won't be marrying anyone at least until next spring. Upon meeting up with her family at the coffee shop she is overwhelmed by learning that Shun has told everyone that he rejected an arranged marriage for Kyoko.

Episode Staff:
  • Director: Iku Suzuki (鈴木行)
  • Animation Director: Atsuko Nakajima (中島敦子)
  • Script: Hideo Takayashiki (高屋敷英夫)
  • Storyboards: Tamiko Kojima (小島多美子)
Originally Aired:
  • September 23, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • Final episode produced by Yuko Kato, who leaves the series and is replaced in the next episode with Yuichi Kono.
  • “It’s almost equinoctial week.” – Equinoctial means happening at the time of the equinox.
  • Mitaka’s Uncle says that the families are meeting to set up a time to exchange engagement gifts. This is known as a yuino. Yuino (結納) is a traditional ceremony where the families of the engaged couple meet and exchange symbolic gifts that represent a long happy and prosperous marriage.
  • There is no new episode of Maison Ikkoku for the next three weeks.


Laserdisc 20

Episode 77: あっぱれ五代! たまに見せます男の意地
Appare Godai! Tama ni misemasu no iji
(You Go, Godai! You Do Have Pride, After All!)
Yagami's continued living arrangements at Maison Ikkoku has seemingly had no effect on her father, as he still refuses to give Godai another job recommendation. In fact, it seems as though Yusaku may not need a recommendation after all. The director of the preschool was so impressed with the reaction to the blocks that Godai built, that he decides to put him in charge of the upcoming school festival. Godai happily accepts the responsibility and puts his imagination to use, creating numerous games for the children to participate in. Meanwhile, Ibuki visits her parents, and working with her mother, convinces her father that she's decided to move back home. As the family enjoys a delicious homecooked meal, Yagami gets up to leave, tricking her father into admitting his feelings for her only to tell him that she was only home for a visit. With added pressure from her mother, Mr. Yagami begins to feel as though the only way to get his daughter back is to give in to her demands. As the festival approaches, everyone at Maison Ikkoku helps Godai put the finishing touches on his toys for the children. Suddenly, Mr. Yagami arrives and hands Godai a new letter of recommendation. Everyone is shocked as Godai rejects it, saying that taking the letter would lead him down a path he doesn't want to follow. Mr. Yagami insists that Ibuki comes home, but she refuses until Yusaku agrees and tells her she needs to go home. Sakamoto is more shocked than anyone at Godai's refusal of the letter, and begs Mr. Yagami to give it to him instead. The festival goes especially well, and Godai begins to feel more secure in his decision in rejecting Mr. Yagami's letter.

Episode Staff:
  • Director: Satoshi Yamamoto (山本智史)
  • Animation Director: Shunji Suzuki (鈴木俊二)
  • Script: Hiroshi Konishikawa & Hideo Takayashiki (小西川博 & 高屋敷英夫)
  • Storyboards: Satoshi Yamamoto (山本智史)
Originally Aired:
  • October 14, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
  • Anime Original Episode
Notes:
  • Shunji Suzuki who serves as animation director on this episode will work in that role on the Maison Ikkoku special, Through the Passing Seasons. Additionally he will work in key animation roles in all of the Rebuild of Evangelion films, and work on F, the series that would take over Maison Ikkoku’s time slot when the series ends.
  • At the beginning of the episode Sakamoto and Godai disembark at Kanda Station. Kanda Station (神田駅, Kanda-eki) is a railway station in Chiyoda, Tokyo, Japan. East Japan Railway Company (JR East) and Tokyo Metro operate individual portions of the station. Kanda consists of two separate stations that form an interchange. The elevated station is operated by JR East and the underground station is operated by the Tokyo Metro. Although they are an interchange, passengers must pass through ticket barriers and pay separate fares to switch between services.
  • The Principal of Shiinomi Daycare is played by Naoki Tatsuya. Tatsuya began his career playing Marker Clan in Mobile Suit Gundam, as well as Oolong and Karin in Dragonball and its sequels, Kazuya Hatta in Kimagure Orange Road, and Nakano in Kinnikuman.
  • Kyūdō (弓道) is the Japanese martial art of archery. All kyūdō archers hold the bow in their left hand and draw the string with their right. The string is drawn until it passes their ear. For the most practiced archers, when the string is released the bow will spin in their hand so that the string stops at the outer forearm. This is seen often with Kikyo and Kagome in Inuyasha. The glove that Yagami wears while firing an arrow is known as a yugake (弽) and comes in three or four fingered variety. The thumb of the glove may be hard or soft depending on the archers preference.
  • The paper mâché balls that Godai is making are called waritama (割り玉). Waritama are large, spherical decorations that split in half to release confetti, streamers, balloons, etc. They can be used for a variety of events, including school enrollment, graduation ceremonies, enterprise founding anniversaries, and sports competitions.

Episode 78: それは秘密です! 五代のバイト奮闘記!!
Sore wa himitsu desu! Godai no baito funsen ki!!
(I'm Not Sayin'!! The Cabaret Chronicles)
Things at the the preschool have continued to go well for Godai, as his coworkers have mentioned that he would make an excellent preschool teacher and encourage him to get his teaching license. When Sakamoto visits the preschool he excitedly tells his friend that he used the recommendation from Yagami's father to land himself a job. The pair go out drinking to celebrate, and end up spending the entire night out on the town. As they prepare to go home, Sakamoto insists on visiting a local cabaret where a friend of his works. The next morning Yusaku and Sakamoto are awakened by a surly man who insists that they owe him money for the alcohol they drank the previous night. With no way to pay, they are forced into service at the Bunny Cabaret by Iioka, Sakamoto's acquantance. Unfortunately, things don't go well as sakamoto's new boss from his business is a regular at the club. Not wanting to be discovered, Sakamoto flees leaving Godai with the sole responsibility to work off their tab. As the nights pass, Godai gets better at his job of attracting patrons the club when suddenly Yotsuya passes by. Blackmailing Godai into giving him free drinks in exchange for not telling Kyoko about his new job, Yotsuya makes a pest of himself. A few nights later, Yotsuya returns with Akemi and Mrs. Ichinose, who all insist on Yusaku paying their tab in exchange for their silence.

Episode Staff:
  • Director: Chisato Shigeki (茂木智里)
  • Animation Director: Atsuko Nakajima (中島敦子)
  • Script: Hiroshi Konishikawa (小西川博)
  • Storyboards: Naoyuki Yoshinaga (吉永尚之)
Originally Aired:
  • October 21, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • First appearance of Iioka.
  • From Wikipedia: In Japan, two types of bars are hostess clubs: kyabakura (キャバクラ), a portmanteau of kyabarē (キャバレー, lit. "cabaret"); and kurabu (クラブ, lit. "club"). Kyabakura hostesses are known as kyabajō (キャバ嬢) (cabaret girl), and many use professional names, called "genji name" (源氏名, genji-na). They light cigarettes, provide beverages for men, offer flirtatious conversation, and sing karaoke to entertain customers. They can be seen as the modern counterpart of geishas, providing entertainment to groups of salarymen after work. The clubs also often employ a female bartender usually well-trained in mixology, and who may also be the manager or mamasan[. Hostess clubs are distinguished from strip clubs in that there is no dancing, prostitution or nudity. Hostesses often drink with customers each night, and alcohol problems are fairly common. These problems are derived from mass consumption of alcohol by which many consequences may arise. Most bars use a commission system by which hostesses receive a percentage of sales. For example, a patron purchases a $20 drink for the hostess, these are usually non-alcoholic concoctions like orange juice and ginger ale, and the patron has purchased the hostess's attention for the subsequent 30–45 minutes. The hostess then splits the proceeds of the sale with the bar 50/50. The light or no alcohol content of the drinks maximizes profits and ensures that the hostess does not become intoxicated after only a short time at work. Businesses may pay for tabs on company expense with the aim of promoting trust among male co-workers or clients. At one establishment, about 90% of all tabs were reportedly paid for by companies. Patrons are generally greeted comfortably at the door and seated as far away from other customers as possible. In some instances, a customer is able to choose with whom he spends time, while most often that is decided by the house. In either case, the hostess will leave after a certain amount of time or number of drinks, offering the customer a chance to see a fresh face. While most establishments have male touts outside to bring in customers, it may also fall upon a (usually new) hostess to do so. While hostess clubs are clearly gendered in the way that women serve men, research has also revealed the complexity of intra-gender dynamics and sometimes tension among hostesses as well, and the ways that male customers often work to mitigate problems among hostesses as well as between hostesses and Mama-san. Hostess clubs have a strict "no touching" policy, and patrons are removed who try to initiate private or sexual conversation. However a red-light district version of the host/hostess club exists, called seku-kyabakura or ichya-kyabakura, where patrons are permitted to touch their host/hostess above the waist and engage in sexual conversation topics or kissing, although this type of establishment is not common. Normal hostess clubs are classified as food and entertainment establishments and regulated by the Businesses Affecting Public Morals Regulation Act, prohibiting any form of sexual contact between employees and customers. Normal hostess clubs also need a permit to allow dancing. Clubs are inspected often by the Public Safety Commission. Any club found violating its permitted activities can have its business license suspended, until corrections are made.
  • In Japanese, "bunny girl," katakanized banii gaaru バニーガール, refers to a girl wearing a "bunny suit," which is a well-known and very specific sort of sexy outfit featuring bunny ears. The well-known design of the bunny girl costume originates in the outfit worn by a Playboy Bunny, which is the term for a waitress at a Playboy Club, which is nightclub owned by, well, Playboy, which was originally a magazine featuring nude models.The bunny suit isn't directly based on bunnies, but, instead, on the Playboy logo, which is a bunny wearing a tuxedo, or rather, just the head of the bunny with just a bowtie. The logo was designed by Art Paul, and chosen by Playboy's founder, Hugh Hefner, for the "humorous sexual connotation" that rabbits have in American culture, and for its image of being "frisky and playful."
  • After his shift, Godai goes to a yatai (屋台) or food stall. These are sometimes but not always mobile food carts on wheels. The yatai culture has diminished in Japan following new laws put in place for the 1964 Olympic games, when health risks and hygiene were being considered for out of country visitors.

Episode 79: 響子さんゴメンネ! 涙・涙の愛妻弁当?!
Kyoko-san gomen ne! Tamida ・ tamida no aisaibento
(I'm So Sorry, Kyoko... I Don't Deserve to Eat Your Lunch)
Things are going great for Godai. He's finally managed to quit working at the cabaret. At the preschool the other teachers tell him how much the director has been bragging about him, which leads Yusaku to consider a full time job as a teacher. At a local bookstore, he runs into Yagami, who notices that he's looking at study guides for a teaching license. When she asks him about it though, Godai dodges the question and makes an excuse to leave. That night however, he tells Kyoko about his plans, and she couldn't be more excited about the decision he's made. The very next day however, Yusaku is called into the directors office and told that he will no longer be needed, as they have found someone to replace him so that he can pursue his career as a businessman full time. A short while later, Godai's grandmother calls Kyoko to inquire about her grandson. She's concerned that Yusaku isn't eating enough, and asks Kyoko to look after him. As Godai wakes up the following morning with nothing to do, a knock on his door from Kyoko gets him out of bed. She tells him that he'll be late for work if he doesn't leave soon, and hands him a boxed bento lunch that she made for him herself. Overwelmed by her kindness, Godai can't bring himself to tell her that he's been fired. Wandering around town all day, Yusaku finds himself back at the Bunny Cabaret where his skills with children net him a job taking care of the hostesses babies and kids. That night, as he heads out onto the street to attract customers, Ibuki sees him and wonders if this is the career path that Godai rejected her father's recommendation for.

Episode Staff:
  • Director: Eisuke Kondo (近藤英輔)
  • Animation Director: Masaaki Kannan (河南正昭)
  • Script: Hiroshi Kaneko & Hideo Takayashiki (金子裕 & 高屋敷英夫)
  • Storyboards: Tamiko Kojima (小島多美子)
Originally Aired:
  • October 28, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • First appearance of Kasumi, Taro and Hanako.
  • The song the children sing about bubbles is a traditional Japanese folk song called Shabondama (シャボン玉). It was written by Ujo Noguchi in 1922. The melody is a modification of the Christian hymn Jesus Loves Me, This I Know.
  • Godai has a new poster in his room that says Rakuen Maldives. This is a 1986 Video Disc album by Joe Hisashi with photos by Kazuyoshi Miyoshi.

Episode 80: 五代ドッキリ! 突然八神のバニーガール!!
Godai dokkiri! Totsuzen Yagami no baniigaru!!
(Godai Goes Ga-Ga! Yagami's a Bunny Girl Now?!)
After Yagami realizes that Godai is no longer working at the daycare, she begins to ask questions around Maison Ikkoku. As she informs the other tenants that she knows he's working at the Bunny Cabaret they begin to visit him once more, making sure that he pays their tab in order to keep them quiet about his job to Kyoko. Meanwhile, Yagami decides that she has to keep watch over Yusaku in order to make sure none of the cabaret workers try to put the moves on him. She manages to talk Iioka into hiring her, and promises to help Godai pay off the debt he's incurred because of the tenants parties. Godai dismisses her though and tells Iioka that she's only a high school student. Mitaka calls Kyoko for a date and as they're out on the town she sees Godai standing outside the cabaret. That night, Godai finally decides to come clean with her, but she confronts him first, telling him how stupid he's made her feel. The next day, she wonders what could have caused Godai to quit his job at the daycare. When one of his former co-workers stops by Ikkoku to drop off a study guide for the teacher's licensure exam, Kyoko asks her why Yusaku was fired. The girl tells her that everyone at the daycare loved him, but they hired someone full time and had no need of Godai anymore. Relieved, Kyoko decides to forgive Godai, and tells him that he needs to be honest with her more often, even when he has bad news.

Episode Staff:
  • Director: Satoshi Yamamoto (山本智史)
  • Animation Director: Atsuko Nakajima (中島敦子)
  • Script: Yutaka Kaneko (金子裕)
  • Storyboards: Satoshi Yamamoto (山本智史)
Originally Aired:
  • November 4, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • The Morb magazine Kyoko is reading is a parody of the real Japanese fashion magazine entitled More (モア). Kyoko appears to be reading the November 1987 issue.
  • When Godai returns from putting up posters, Iioka raises his pinky finger to indicate a girl is visiting Godai. The raised pinky comes from the Japanese folk belief in "en" (縁), which usually gets translated as "fate" or "karma." But en is a little more complicated than that. It's something like pre-destination, but only applying to the people that you meet in life. You are destined to meet a certain person due to this invisible force of fate, but how they fit into your life and how you treat them is something you have control over. In other words, people tend to enter your life for a reason. That goes for friends, business partners, and lovers. The more romantic angle of the concept of en is given its own more realized legend. The red string of fate (運命の赤い糸) has its origins in Chinese folklore, which held that the gods would tie an invisible red rope around two people who were fated to be together. In Japanese tradition, this takes the form of an invisible red string connected straight to your heart. This string then comes out of your pinky finger, and extends into the world, twisting and turning, but eventually connecting to your fated soulmate. In that way, your hearts have been connected this whole time.
  • The book Godai reads to the children from is likely Tanuki Gakkô is a collection of short stories about the school life of humanized raccoon dog children. Japanese children in the 1950s are lively and humorously described in the raccoon dogs in this book. It was read for more than 30 years.
  • As part of his uniform at the Bunny Cabaret Godai wears a happi coat. A happi (法被/半被) is a traditional tube-sleeved Japanese coat, usually worn only during festivals. Happi typically feature symbols and/or text on the lapels, with a larger design on the back of the coat, typically the name or the festival or the participating association.


Laserdisc 21

Episode 81: 愛の執念! 明日菜はやっぱり懲りない女
Ai no shuunen! Asuna wa yappari korinai onna
(Obsessive Love! Asuna Just Won't Give Up!)
As Godai continues to work at the Bunny Club he gets a promotion, and starts to work in the club's nursery on a more full-time basis. On one unexpected evening the tenants from Ikkoku stop by for a party with Godai's grandmother Yukari in tow. She's in Tokyo for a high school reunion and has decided to check in on her grandson. The next day Mitaka visits Ikkoku to escourt Kyoko to the tennis courts. Unfortunately, Mrs. Ichinose and Grandma Godai tag along as well. Things go from bad to worse as Mitaka meets the club's newest student, Asuna Kujo! When he learns that she is still planning to marry him he calls up his uncle and discovers that because he never told Asuna's parents that he was not going to marry her, they're still planning the engagement. Mitaka decides to go back to her house and end things for good by telling her parents. But as Shun prepares to break the news to the Kujo's, he finds his uncle and parents waiting. Not wanting to make a scene, Mitaka is forced to wait once more. At the same time, Godai is having troubles of his own as Kasumi, an employee at the cabaret has decided to abondon her children to Godai's care.

Episode Staff:
  • Director: Iku Suzuki (鈴木行)
  • Animation Director: Masaaki Kannan (河南正昭)
  • Script: Hideo Takayashiki (高屋敷英夫)
  • Storyboards: Iku Suzuki (鈴木行)
Originally Aired:
  • November 11, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • First appearance of Mr. Mitaka and Mrs. Mitaka.
  • “I’ve never lost at Japanese battledore since I was a young girl.” - Battledore and shuttlecock, or jeu de volant, is an early sport related to that of modern badminton. The game is played by two or more people using small rackets (battledores), made of parchment or rows of gut stretched across wooden frames, and shuttlecocks, made of a base of some light material, such as cork, with trimmed feathers fixed around the top. The object is for players to bat the shuttlecock from one to the other as many times as possible without allowing it to fall to the ground. The Japanese equivalent is known as hanetsuki (羽根突き). Hanetsuki is a traditional Japanese game, similar to racket games like badminton but without a net, played with a rectangular wooden paddle called a hagoita and a brightly colored shuttlecock, called a hane. Often played by girls at the New Year, the game can be played by any gender in two fashions: by one person attempting to keep the shuttlecock aloft as long as possible, or by two people batting it back and forth. Players who fail to hit the shuttlecock get marked on the face with India Ink. Traditionally, the longer the shuttlecock remains in the air, the greater protection from mosquitoes the players will receive during the coming year. Although hanetsuki is not as popular as it used to be, decorative hagoita are commonly sold throughout Japan. Examples of hanetsuki can be clearly seen in Ranma 1/2 chapter 112 and episode 29.
  • Kazue Komiya who plays Kasumi is probably best known for playing Ran in Urusei Yatsura, she also portrays Haruka Uesugi in Touch, Sabera in Farewell Space Battleship Yamato, and Chigusa Mizusawa in Hiatari Ryoko.
  • Both Kazue Komiya and Akira Kamiya pull double duty in this episode. Komiya playing Kasumi and Mrs. Mitaka, while Kamiya portrays Shun and his father, Mr. Mitaka.

Episode 82: 満点パパ! 五代くんの子育てストーリー
Manten Papa Godai-kun no kosodate sutoorii
(Perfect Papa! The "Mister Mom" Godai Story)
Godai's days are busier than ever as he tries to take care of Taro and Hanako, the two children abandoned by their mother. Kyoko, Mrs. Ichinose and Yukari take care of the children during the day as Godai scours the city in hopes of finding Kasumi and forcing her to take the children back. Everyone at Ikkoku begins to see what a natural Kyoko is with children, and she seems to honestly enjoy having the kids around. Behind the scenes however, Mitaka and her mother are plotting to trick Kyoko into meeting Shun's parents and get their wedding on track. Godai finally locates Kasumi, but just as he's preparing to drag her back to Maison Ikkoku to pick up Taro and Hanako she runs away, leaving Godai with no choice but to continue to care for the kids for another week. That same day, Kyoko agrees to meet up with her parents to celebrate her father's birthday, what she doesn't know is is that she will actually be meeting Mitaka's parents.

Episode Staff:
  • Director: Chisato Shigeki (茂木智里)
  • Animation Director: Shunji Suzuki (鈴木俊二)
  • Script: Hideo Takayashiki (高屋敷英夫)
  • Storyboards: Chisato Shigeki (茂木智里)
Originally Aired:
  • November 18, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • As the children sleep you can see Taro’s belongings on Godai’s desk. They include an Ultraman toy and Morinaga brank Milk Carmel Candy.
  • When Taro is dialing the phone he’s “daruma, daruma, ahiru” or “daruma, daruma, duck” things that are shaped like the numbers he’s dialing, 885.
  • While child abandonment is not particularly common in Japan, it does happen enough that that Jikei Hospital in Kumamoto Prefecture, introduced the idea of establishing the nation’s first “Baby Hatch.” The idea was made public in late 2006. Based on similar services found in, for instance, Italy, Germany and South Korea, the privately owned Jikei Hospital argued that, by providing custody for children whose parents cannot give sufficient care, abandonments would decrease. Under the official name Kounotori no Yurikago, “White Stork’s Cradle,” the system has been in operation since May 2007.

Episode 83: 追いかけてヨコハマ響子さんが逃げる?!
Tsuiikakette Yokohama Kyoko-san ga nigeru?!
(Off to the Yokohama Border! Kyoko's Doing a Runner)
The day of Kyoko's meeting with Mitaka's parents has arrived and she still has no clue of what is about to occur. She gets her first inkling when Mitaka arrives to escort her to the supposed party. Both she and Godai are shocked, but Mitaka wastes no time and quickly gets Kyoko in his car. As soon as she leaves, Godai notices that Taro is missing and begins to panic. When the couple arrive at the hotel for the marriage meeting, they discover that Taro has tagged along. Kyoko is shocked to find that her mother tricked her by not telling her about Mitaka's invitation. She is even more shocked when his parents show up. Realizing that her future is being decided for her, she calls Maison Ikkoku to tell Godai that Taro is with her, and pleads with him to come to the hotel to get the boy. Mitaka realizes that Kyoko has called Godai, and as the group sits down to dinner, his parents try to get to know their prospective daughter-in-law. As Godai's arrival time approaches, Mitaka lures Kyoko out into the hotel gardens in an attempt to avoid him. Shun and Kyoko just miss Godai, but Mitaka goes back to tell him that Kyoko will not be coming home tonight. With Taro and Hanako back in his care, Godai is too tied down to go after Kyoko. Mitaka drives away with her, heading to Yokohama to continue their evening together. When they arrive, Mitaka tells her that he's reserved a hotel room for them, and that he's going to keep reserving it until she opens her heart to him.

Episode Staff:
  • Director: Eisuke Kondo (近藤英輔)
  • Animation Director: Masaaki Kannan (河南正昭)
  • Script: Hiroshi Konishikawa (小西川博)
  • Storyboards: Tamiko Kojima (小島多美子)
Originally Aired:
  • November 25, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • No episode aired the following week.
  • Yokohama (横浜) is the second largest city in Japan. It lies on Tokyo Bay, south of Tokyo and Tokyo Bay can be seen through the window as Mitaka and Kyoko eat together.
  • While only one of Yukari’s classmates are identified in the anime, Kaoru, in the manga the others are named Satsuki, Naomi and Kaneko.

Episode 84: 疑惑1000%響子のスキャンダルナイト
Giwaku 1000% Kyoko no sukyandaru neito
("One Thousand Percent Suspicious!" Kyoko's Scandalous Night)
Mitaka continues to encourage Kyoko to be honest with him, and hopes that she'll agree to spend the night together. Kyoko continues to hesitate and so Shun asks her to take a walk with him. Outside she asks if he's sobered up yet, which hurts him tremendously. He tells Kyoko to be honest with him and to stop dragging things out. As Kyoko begins to cry, Shun finds that he cannot keep pushing her into doing this when it's obviously causing her so much pain. He embraces her and calls a cab for her back to Tokyo. Back at Maison Ikkoku, Mr. Chigusa arrives and he and Godai begin an all night search for Kyoko. When they get back at dawn, they find that she's already home, but she can tell that Godai thinks something might have happened between she and Mitaka. Taro and Hanako are still in Godai's room as Kasumi never picked them up. Godai sleeps for most of the day, and that evening finds Taro becoming more and more worried that his mother is never coming back for he and his sister. Upset he tries to page his mother, but when she doesn't call back he breaks down in tears. Suddenly, Kasumi appears and tells everyone that she's been there since the previous night, but she got caught up partying with Yotsuya, Akemi and Mrs. Ichinose. With the family finally reunited, and Kyoko safely back at home, things can hopefully begin to get back to normal at Maison Ikkoku, but as Mitaka finds himself alone on the tennis courts he seems to knows that things between he and Kyoko will be ending soon.

Episode Staff:
  • Director: Iku Suzuki (鈴木行)
  • Animation Director: Atsuko Nakajima (中島敦子)
  • Script: Hiroshi Konishikawa (小西川博)
  • Storyboards: Naoyuki Yoshinaga (吉永尚之)
Originally Aired:
  • December 2, 1987
    7:30 pm - 8:00 pm on Fuji TV
Themes:
Adapted from:
Notes:
  • The painting Mitaka stands in front of at the hotel is Catalan Peasant with Guitar by Joan Miro from 1924.
  • The sound as Kyoko and Mitaka watch the water is a fog horn.


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