I thought I’d go through and list some of my favourite episoides and moments from this very, very long series. Most of them are moments of real character development, which is done wonderfully in this series. Of course, there are also some which are just enjoyable to see.

Episode 8 – This is the episode where Godai (drunk) rather loudly declares his love for Kyoko to the entire street. It’s painfully embarrassing to watch, but becomes even worse when he picks her up and carries her to his room. Naturally, Kyoko is frightened of what is going on but Godai, drunk as he is, falls asleep immediately. Aside from being fairly amusing, I thought it would be appropriate to discuss this as this is sort of exemplifies the childishness of Godai’s early crush. He has just found out about Souichiro and he doesn’t really understand the depth of what that part of Kyoko’s history means, and thinks that she can just “move on” (to Godai). The age gap is also very evident here – Godai is very much still a kid and Kyoko an adult. Their relationship is not on an equal level yet, and Kyoko is still so attached to her former husband that she does not even consider Godai as anything more than a particularly dispruptive tenant.

Episode 14 - This is where Godai asks Kyoko to meet for dinner. Kyoko assumes that he is asking to celebrate one year passing since she moved into Maison Ikkoku and so agrees, but Godai doesn’t know this. For various reasons, they are delayed significantly, but when Kyoko finally finds him, hours and hours later, she is overcome with guilt when she realizes that he has actually been waiting there for the entire time. Not much to say about this one except that it is a very important step in the growth of the two characters.

Episode 23 – Where Kyoko’s mother tries to force her to quit her manager job. I don’t think anyone can deny not grinning a bit when Godai, slightly drunk, buries his head in Kyoko’s lap and cries with relief when she announces that she hadn’t really quit. It really shows how much Godai’s life, which was sort of miserable before Kyoko came in (he was a poor student living with disruptive tenants in an old house), has been brightened up by her presence.

Episode 25 – Mitaka makes a clear proposal to the Kanrinin, much to the annoyance of Godai. I think this is where Godai starts to a grow up a little, and what used to be a childish crush becomes a little more serious. He’s confronted with the fact that there is a tangible and important difference in maturity between him and Mitaka (and also Kyoko). At the end of the episode he asks Kyoko to “wait three more years”, when he thinks that he can become a “socially acceptable” adult.

Episodes 39 & 40 – I think most people would agree that these two are both major episodes in the series. For once, the dramatic side of the show takes a much higher precedence than the comedic side, and in a way this entire plot line is dedicated to Godai’s character growth. Up until this episode, he has a very sort of simplistic one-way affection for the Kanrinin, it’s here that he really begins to realize what the fact that she is a widow really means. That there is a whole side to her that he does not anything about at all, and that he can’t just tell her to forget about it (as he did before).

At the same time, Kyoko is having a very confused response to having to wait for Godai to arrive, and their talk at the end is very ambiguous, but clearly there is a deeper connection developing between them by this point…..If I had to chose a favourite episode or story from the series, it would definitely be this one regarding Souchiro’s “rock” present to Kyoko. Although many other episodes have some of my favourite scenes in them, these entire episodes are favourite scenes to me….

Episode 42 – This is a really well-conceived episode. Godai returns home, after trying to “let go” of Kozue (but can’t when he receives a sweater as a gift) and acts distant because he feels resentment towards the Kanrinin for not being direct enough (which would help him be able to be more decisive)…which eventually causes the chain of events leading to his hospitalization. This all leads, of course, to their embrace in the gardens which was a perfect moment where all the tension that had been built up in the episode was released (and naturally, a big step forward for the plot). Of course, until Mitaka shows up (a hilarious touch).

Episode 45 – This is where Kyoko makes her first tangible confession of sorts, promising to “wait an extra year” for Godai. Though there is a significant amount of guilt coming into play because of the fact that she caused him to “miss” his exam. When they discover that he hasn’t missed anything, she gets up and storms off, most likely feeling embarrassed to have said something so directly over nothing, but the viewers catch a glimpse of a smile of relief on her face as she does so. This is a pretty big moment for Kyoko’s character development because up until this point she has never really given any overt signs of any love for any character (due in part, obviously, to her attachment to her late husband).

Episode 48 – There is a really amusing scene near the end of this episode, where Godai, who is asked to bring a pillow to Kyoko’s parent’s house, takes this opportunity to dress up and impress her parents. When seated, Kyoko’s parents ask him if he has a girlfriend, to which he heavily, heavily hints that there is someone he has in mind (someone older than him….who is a manager…). While both Godai and Kyoko are almost fainting with embarrassment, Kyoko’s parents are too dense to understand the heavy hints he is dropping. One of the most amusing moments in the series, also for Kyoko’s expression as Godai stutters his “confession” right beside her.

Episode 62 – Godai has been chasing after Kyoko all over the areas she is vacationing, until they finally accidentally come across each other in the hot spring of an inn. In many other anime, this would probably end up being a fanservice-filled scene where the hot spring location is exploited to please male viewers (aka Love Hina), but in Maison Ikkoku it is a quiet and mature “resolution”. I was really reminded of how different MI was from so many of the anime series out today. And, of course, their discussion in Kyoko’s room is a wonderful moment of character development.

Episode 76 – The scene pictured above is my favourite scene in the series. If you’re anything like me, it will make you smile for a long time. Although Mitaka is pushing both his and Kyoko’s parents into getting marriage arrangements going (believing he has to push Kyoko or else she will never make a decision), Kyoko has in fact already made her decision and makes this clear to Souchiro (her late husband, at his grave). She knows by know that she’s ready to move on and tells this to her late husband – unaware that Godai is (unintentionally) eavesdropping. There is an amusing response when she notices he is there, but it all ends with a very charming affirmation by Kyoko what her true marriage plans are, which makes Godai speechless (and very, very happy).

Episode 77 – And here we see the result of Godai’s character growth. He has an opportunity in this episode to get a job easily through “connections” and be set for money – but refuses it, because he wants control of his own life, he wants to be able to achieve something without being dragged along by others constantly. Finally, Godai has become a very respectable man.

Episode 84 – After Mitaka dragged the Kanrinin away until the middle of the night, Godai awkwardly (and in an amusing way) pretends to be overtly cheerful and acts as if nothing is wrong (in reality, he is most likely afraid to ask if anything happened). Kyoko obviously notices this and feels slightly frustrated by his behavior. This culminates in a scene the next morning where Godai is sitting on the porch with Tarou (a co-worker’s son). Kyoko comes out to feed Souchiro, but then decides to sit down beside the two of them, bringing up the “elephant in the room”. There is one particularly amusing moment when Kyoko says that she and Mitaka “went to a hotel”, Godai reacts reflexively and Kyoko snaps her head towards him, as if warning him to not have such an insulting suspicion towards her (all of this without speaking). But beyond that, I just like the quiet, reserved tone of their conversation. It shows a stark contrast to the way Mitaka interacts with her, as if she is a prize to be won, always phrasing his words in a way that seems like it was taken out of the latest soap opera. In comparison, Kyoko and Godai speak in a much more humble, human manner with all the lovable awkwardness that comes with it.

It would have been wonderful, in my opinion, if the writers could have made this great scene the final resolution to the final “misunderstanding” which plagued their relationship (Because I think the “misunderstanding” can be a great catalyst for character development (like the scene I just described), but if used too much then it really starts to harm the series more than help it).

How can you not love that expression on Kyoko’s face?

Episode 89 – Ah, now this is a very charming scene (I use the word “charming” too often, I know). Godai tries to explain to Kyoko why he was “kissing” Kozue, and decides to try and re-enact the scene for her (Kozue had sort of tricked him into doing so). Of course, Kyoko is not dense enough to fall for a silly trick (asking her to close her eyes), and Godai realizes how foolish he had been (of course, now Kyoko then understands what actually happened). Then, Kyoko, through some clever trickery, manages to “surprise kiss” Godai as well, which of course makes Godai overjoyed. I just wish this episode didn’t have to be sullied by another “misunderstanding”, but I suppose it was needed to build up to the final resolution.

Episode 93 – During the second half of this episode comes the most heartfelt and close moment between Godai and Kyoko. The snow falls outside as the two watch from Kyoko’s room and the wonderful music “Bell Rings at Dawn” plays in the background…very touching moment.

Episode 94 – The proposal. Regardless if I felt the Yagami plot went on too long, or if there was more misunderstandings than I would have preferred, all of that thought dissipated during the final scene of this episode. It was a very satisfying scene (and they closed it once more with “Bell Rings at Dawn”).

Episode 95 – Yes, I’m basically just listing the final episodes in order at this point. I don’t think I have to explain what I loved about this episode. My favourite parts were definitely the ones involving Godai’s grandmother, who is a great character. Although she is often very comedic and playful, the viewer always gets the sense that she has experienced a great deal, emotionally, in her life.

Episode 96 – And again, I don’t think an explanation is necessary here. It is the final conclusion to a 96 episode-long love story which spans years. Characters have grown and so have their relationships. The early scene at the graveyard is a beautiful moment, as Godai finally accepts Souchiro for what he is and what he represents to Kyoko. And then you have the wonderful ending, as the viewer reflects upon the story that has been told, and the screen fades and “Kanashimi yo Konnichiwa”, the song which greeted us at the beginning of a great deal of episodes, is played by a string orchestra one final time.

一刻館は永遠に…

Completed tracks so far:

Akatsuki ni Kane wa Naru – ( A Bell Rings in the Dawn , a very lovely piece which plays at the end of episode 93 as Godai and Kyoko watch the snow fall. ) – Original Composer: Sugiyama Takuo

(Strings orchestra version) Kanashimi yo Konnichiwa – ( Hello, Sadness, concludes the series at the end of ep 96. A very bittersweet but hopeful piece. ) – Original Composer: Kawai Kenji

Tokoeizaka o Noboreba ( Wish I Could Go Up Tokeizaka , A short piece that plays occasionally throughout the series at thoughtful moments moments. ) -Original Composer: Kawai Kenji

Kaerimichi ( The Road Home , another very short piece with a very homely feel to it, usually played as the characters are returning to Ikkoku-kan, or similar scenes ) – Original Composer: Sugiyama Takuo

Yoru no Ame ( Night Rain, was played usually during scenes involving Souchiro, including the beautiful moment in the final episode when Godai speaks to Souchiro’s grave alone for the first time) Original Composer: Sugiyama Takuo

Currently Working on: Will update later

http://omohide.com/theowne_maison_ikkoku.pdf

And here is a video of myself playing the piece:

Now, let’s continue on to the general music review. Maison Ikkoku is an older series, so the music may sound a bit outdated at times. For example, there are several string pieces that I think are quite good compositions but the older recording gives them a somewhat harsh quality. But the melodies retain a wonderful nostalgic charm. This is especially notable through several background music tracks involving piano, flute, and various other instruments. Without a doubt, however, the most moving pieces of music are those based on the melody of “Kanashimi no Konnichiwa”. In terms of songs, there are a few songs which I think stand out and I will mostly be going over these ones specifically.

Kanashimi yo Konnichiwa

I believe it was with “Waltz” from Honey and Clover a few years ago that I began to really appreciate the kind of effectiveness that songs could have. Before that, I didn’t really listen to anything other than either classical music or film scores, and I associated the term “songs” or even just contemporary or popular music with the sort of vapid stuff you’ll find on American top 40 lists. But “Waltz” was a song that contributed so much to the show it appeared in, embodying the bittersweet happiness of the series itself. But it isn’t a one-way relationship. Songs can add to a show, but the show also adds a lot to the song by being identified with it.

Kanashimi yo Konnichiwa (Hello, Sadness) is in a similar sort of position. When I hear the song, I think of Maison Ikkoku, not any specific scene or character, but the essence and tone of the show itself. It embodies the journey of the show and it’s characters and the slightly bittersweet tone that exists throughout. The melody and music itself is not sad in a direct way – I would guess most people would describe it as upbeat. But the lyrics are what lend it a rather poignant quality, though the english translation can sound a bit stiff. The overlay of those introspective lyrics with the music is a very interesting combination. A translation is posted here

http://www.geocities.com/animeinn/song/kanashimi.html

The lyrics of the chorus in particular I find very effective, especially as the singer says “when sadness comes again, I’ll smile, just like I’m welcoming a friend.” I don’t know how I can properly explain my reaction to it without rambling, but there’s something very moving about that line and the general tone of the song’s lyrics. Musically speaking, the end of that line ( warau – wa ) is where the chord progression resolves to a minor seventh, which is a very ambiguous chord and I think it really supports the sentiment very well. The general theme expressed is one similar to the predicament of Kyoko as she lives with the memory of her late husband while still desiring to find happiness – but without abandoning that sad memory as something to be ignored.

I don’t think any other song or opening sequence ever really matched this one, and it remains, to me, the musical representation of Maison Ikkoku itself.

Sunny Shiny Morning

This is the second opener I’ve decided to mention here – if “Kanashimi” was the embodiment of a generally bittersweet emotion, “Sunny Shiny Morning” carries all the pure joy and happiness of the series. The fun, the laughter, and the satisfaction. It represents the joy of friendship, innocence and love. I do genuinely enjoy this song, and a lot of it has to do with the singer, who I think puts a lot of real personality into the song through his very…”personable” voice. (strange description, I know). I also love the very playful chord progressions. As for the opening sequence, what can I say? It follows the playful trend with characters appearing in light-hearted poses as the song carries on, and a hilarious image of Godai and Kyoko looking embarrassed near the end.

(Mostly spoiler-free, until last paragraph) I’m finding it hard to believe that I actually went through 36 episodes of this show in the span of a few days. I suppose the fact that classes were cancelled due to a holiday helped, but regardless, that is quite a large marathon and I am sitting here thinking there must be some kind of mistake. I planned to write a third episode block review before going into the ending, and episode 76 seems to be the perfect place to do so. I mentioned before that episode 40 felt like the first peak in the show’s plot and character development, and I can now say that the second one is episode 76 (the final one, of course, will occur during the climactic final episodes….or so I assume).

As I was watching these latest episodes, I started to wonder about what it must have been like to have watched this show when it originally aired. Of course, this series aired before I was born, but the idea sounds very interesting to me, of watching these characters lives progress, realistically, through several years. I really enjoy the passing of time in this anime. You are literally watching the main character grow, experience new things, and develop into a “member of society” (as the other characters put it). And you also observe what starts out as a somewhat childish infatuation eventually grow into a rather charming relationship.

What has been confirmed for me, after coming this far with the series, is that it has most certainly earned a place in my list of favourite anime series. As I have said before, it does not have the most cinematic score, or character designs or any other effect which modern anime have in droves. What it lacks in design and flash it makes up for in charm and nostalgia. At it’s core, it is a very simple story of a developing relationship between two characters. There are distractions, comedic interruptions, and similar problems throughout, but the viewers remain attached to that one constant concept.

There was one scene where the characters find themselves meeting up accidentally on vacation (well, not completely accidentally, but watch the anime yourself for that). The place where they spot each other, though, is at a hot spring while they are relaxing. If you have read the Love Hina manga, you will notice that there is a scene in that series which echoes this. But the difference in how they are handled between the two series is very large.

In Love Hina, the scene, and the environment they are in (hot spring, with not so much clothing on), is exploited for all the fanservice and raunchiness that could possibly (and shamelessly, I might add) be squeezed from it.

In Maison Ikkoku, however, the outdoor bath environment acts to change the mood of their reconciliation to timidity and embaressment, and acts as a catalyst to the next scene.

The difference betweeen the two, as you can see, is very pronounced. While I don’t wish to belabour the point about Maison Ikkoku and Love Hina being similar, I do want to say that Maison Ikkoku appears to satisfy an idea I’ve had for a long time. I’ve always felt that the basic idea behind Love Hina (and characters) were the elements of a good series. I enjoyed watching/reading it. But all the pointless elements, such as the excess fanservice, only serve to lessen my enjoyment of it. I’ve always thought that if you would just remove those undesirable parts of the series, you would get a very good anime.

It appears now that the series I’ve wanted has actually existed for a long time, and that is Maison Ikkoku. If the people who say that Love Hina copied from Maison Ikkoku are correct, then I personally believe that the story had been done right the first time. And not only does Maison Ikkoku get rid of those faulty aspects, it also more poignant and more realistic.

Now I would like to return to the discussion of episode 76. I can’t resist talking in some detail, so a warning to all of you, spoilers are contained in this paragraph. I absolutely loved the final scene between Godai and Kyoko in front of Souchiro’s grave. It was one of the few perfect scenes I’ve seen in anime – not too melodramatic, not too overwrought. There was a light-hearted tone to it, but also a great deal of depth behind it. When Kyoko spoke about “moving on”, it was obvious how much this decision meant and it also showed us how much she had grown since our first introduction to her. But most of all, it was her low-key confirmation of who she was “moving on” to that was the highlight. I probably cannot do it justice in a blog post, but both her thoughts followed by Godai’s reaction were wonderfully done. I am absolutely glad that I decided to pick up this series, despite its age as well as its large number of episodes.

(Spoiler Free) There are plenty of anime, books, and films out there with twisting storylines and dramatic plot twists – and they can be quite interesting provided they’re done well. But the most gripping storylines (in my opinion) have always been the ones that get you to form attachments with the characters first and foremost. Once this has happened, interactions and developments between characters becomes even more enthralling than the kind of thing I mentioned above simply because the viewer has become so connected with them. There are many anime titles which try to accomplish this, but they don’t always succeed. It’s very difficult to create utterly likable characters who the viewer cannot resist latching onto. But Kare Kano managed to do it, so did Honey and Clover.

Maison Ikkoku is clearly a character-oriented show. The engrossing moments are a result of the viewer’s connection with the characters. You continue to watch because you want to see these characters get what they desire in the end, and you’ve formed enough of a bond with them that you feel like simply watching their successes will provide you with some happiness. That’s a fairly powerful thing for a fictional story to do, don’t you think?

So far, Maison Ikkoku doesn’t have the uniform quality of Honey and Clover’s first season. There are a bit of “filler” scenes and episodes that seem to wander. But that’s to be expected with such a long series. When the show hits the high points, it hits them well. It doesn’t have the best animation in the world, nor does it have the most excellent soundtrack (I felt the opening song in the first thirty or so episodes has a lovely nostalgic tinge to it, though, with it’s charmingly simply chord progressions and melody). Yet, I never notice when actually watching the show.

Episode 40 was a gripping and effective episode, the peak of the series so far. And all of it is carried by the confused motivations and sentiments of the characters leading to a poignant resolution in which the viewers don’t see what they are hoping for (clearly, as there are still many episodes to go), but are equally satisfied with what they are given.

The best part of this series, though, is that though it alternates between being light hearted and poignant, it never descends into the immature antics of angst-ridden soap opera romances. Something that I’ve always thought about when watching these sort of shows is the line between a realistic and stirring love story and a soap opera. I absolutely cannot stand soap opera romances because I just wonder to myself how love can possible be involved with people who are involved with all this childish (in my opinion) affairs and double-crossing and other such silly stuff.

Am I being idealistic? Perhaps, but is that really such a bad thing? In the modern world, I would prefer to be an idealist.

I picked up a series recently due to the countless recommendations I received for it. “Maison Ikkoku” isn’t exactly a new anime – I seem to recall reading that it finished airing in 1987. That’s right, this is an anime series from before I was born. But it always seems that older art is usually better than new, regardless of form. I think it’s undeniable that Beethoven produced greater music than Justin Timberlake. Will art really ever live up to Picasso and Monet? Has Shakespeare’s position at the top of literature been shaken in recent times? This doesn’t only work with long-term thinking. In my opinion, earlier Ghibli films have been better than the most recent ones (Earthsea, Howl). Does this apply to anime in general?

It would probably be a bit hypocritical for me to answer yes, since Honey and Clover remains my favourite anime. But there’s something really charming about Maison Ikkoku that doesn’t seem to be achievable in today’s anime world. Maison Ikkoku is a predecessor to Love Hina – a more modern series which emulates the story of Maison Ikkoku in many, many ways. And although I sometimes feel ashamed to admit it, I liked Love Hina. Yes, it can sometimes be immature and is always loaded with annoying fanservice shots, but at the same time, the characters and relationships were very likeable. Perhaps if it hadn’t been the second anime I ever saw, I would have had higher standards, but at this point, I can’t join in on the Love Hina bashing which is so prevalent in parts of the web.

As I said, Maison Ikkoku is the origin of many of the ideas in that series, but it is also, thank god, missing the excessive fanservice that made Love Hina a pain to watch at times. I have just begun the series, but the above-mentioned charm and a sense of nostalgia makes it very enjoyable to watch. I have heard only good things about this show, and I hope it will live up to all the praise it gets. This early on in the series, a few character do seem a bit wooden, like caricatures, but I have a feeling that the series is only going to go up from here.