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Urusei Yatsura (2-in-1) #10
Urusei Yatsura, Vol. 10
Beautiful space alien princess Lum invades Earth on her UFO, and unlucky Ataru Moroboshi’s world gets turned upside down! Will Lum become Earth’s electrifying new leader? Or will Ataru somehow miraculously save Earth from space alien onslaught?
There’s never a dull moment on the beach in summer, especially when Ataru and Mendo encounter a beautiful woman looking for her lost child on the bottom of the ocean. Could this be Ryunosuke’s missing mother? Later, Ataru and Ten’s ongoing battle for dominance creates some serious collateral damage when Lum gets hit point-blank with a projectile rice cooker. Will she ever talk to them again?!
There’s never a dull moment on the beach in summer, especially when Ataru and Mendo encounter a beautiful woman looking for her lost child on the bottom of the ocean. Could this be Ryunosuke’s missing mother? Later, Ataru and Ten’s ongoing battle for dominance creates some serious collateral damage when Lum gets hit point-blank with a projectile rice cooker. Will she ever talk to them again?!
384 pages, Paperback
Published May 18, 2021
About the author
Rumiko Takahashi
1,589 books2,196 followersRumiko Takahashi (高橋留美子) was born in Niigata, Japan. She is not only one of the richest women in Japan but also one of the top paid manga artists. She is also the most successful female comic artist in history. She has been writing manga non-stop for 31 years.
Rumiko Takahashi is one of the wealthiest women in Japan. The manga she creates (and its anime adaptations) are very popular in the United States and Europe where they have been released as both manga and anime in English translation. Her works are relatively famous worldwide, and many of her series were some of the forerunners of early English language manga to be released in the nineties. Takahashi is also the best selling female comics artist in history; well over 100 million copies of her various works have been sold.
Though she was said to occasionally doodle in the margins of her papers while attending Niigata Chūō High School, Takahashi's interest in manga did not come until later. During her college years, she enrolled in Gekiga Sonjuku, a manga school founded by Kazuo Koike, mangaka of Crying Freeman and Lone Wolf and Cub. Under his guidance Rumiko Takahashi began to publish her first doujinshi creations in 1975, such as Bye-Bye Road and Star of Futile Dust. Kozue Koike often urged his students to create well-thought out, interesting characters, and this influence would greatly impact Rumiko Takahashi's works throughout her career.
Career and major works:
Takahashi's professional career began in 1978. Her first published story was Those Selfish Aliens, a comedic science fiction story. During the same year, she published Time Warp Trouble, Shake Your Buddha, and the Golden Gods of Poverty in Shōnen Sunday, which would remain the home to most of her major works for the next twenty years. Later that year, Rumiko attempted her first full-length series, Urusei Yatsura. Though it had a rocky start due to publishing difficulties, Urusei Yatsura would become one of the most beloved anime and manga comedies in Japan.
In 1980, Rumiko Takahashi found her niche and began to publish with regularity. At this time she started her second major series, Maison Ikkoku, in Big Comic Spirits. Written for an older audience, Maison Ikkoku is often considered to be one of the all-time best romance manga. Takahashi managed to work on Maison Ikkoku on and off simultaneously with Urusei Yatsura. She concluded both series in 1987, with Urusei Yatsura ending at 34 volumes, and Maison Ikkoku being 15.
During the 1980s, Takahashi became a prolific writer of short story manga, which is surprising considering the massive lengths of most of her works. Her stories The Laughing Target, Maris the Chojo, and Fire Tripper all were adapted into original video animations (OVAs). In 1984, after the end of Urusei Yatsura and Maison Ikkoku, Takahashi took a different approach to storytelling and began the dark, macabre Mermaid Saga. This series of short segments was published sporadically until 1994, with the final story being Mermaid's Mask. Many fans contend that this work remains unfinished by Takahashi, since the final story does not end on a conclusive note.
Another short work left untouched is One-Pound Gospel, which, like Mermaid Saga, was published erratically. The last story to be drawn was published in 2001, however just recently she wrote one final chapter concluding the series
Later in 1987, Takahashi began her third major series, Ranma ½. Following the late 80s and early 90s trend of shōnen martial arts manga, Ranma ½ features a gender-bending twist. The series continued for nearly a decade until 1996, when it ended at 38 volumes. Ranma ½ is one of Rumiko Takahashi's most popular series with the Western world.
During the later half of the 1990s, Rumiko Takahashi continued with short stories and her installments of Mermaid Saga and One-Pound Gospel until beginning her fourth major work, InuYasha. While Ran
Rumiko Takahashi is one of the wealthiest women in Japan. The manga she creates (and its anime adaptations) are very popular in the United States and Europe where they have been released as both manga and anime in English translation. Her works are relatively famous worldwide, and many of her series were some of the forerunners of early English language manga to be released in the nineties. Takahashi is also the best selling female comics artist in history; well over 100 million copies of her various works have been sold.
Though she was said to occasionally doodle in the margins of her papers while attending Niigata Chūō High School, Takahashi's interest in manga did not come until later. During her college years, she enrolled in Gekiga Sonjuku, a manga school founded by Kazuo Koike, mangaka of Crying Freeman and Lone Wolf and Cub. Under his guidance Rumiko Takahashi began to publish her first doujinshi creations in 1975, such as Bye-Bye Road and Star of Futile Dust. Kozue Koike often urged his students to create well-thought out, interesting characters, and this influence would greatly impact Rumiko Takahashi's works throughout her career.
Career and major works:
Takahashi's professional career began in 1978. Her first published story was Those Selfish Aliens, a comedic science fiction story. During the same year, she published Time Warp Trouble, Shake Your Buddha, and the Golden Gods of Poverty in Shōnen Sunday, which would remain the home to most of her major works for the next twenty years. Later that year, Rumiko attempted her first full-length series, Urusei Yatsura. Though it had a rocky start due to publishing difficulties, Urusei Yatsura would become one of the most beloved anime and manga comedies in Japan.
In 1980, Rumiko Takahashi found her niche and began to publish with regularity. At this time she started her second major series, Maison Ikkoku, in Big Comic Spirits. Written for an older audience, Maison Ikkoku is often considered to be one of the all-time best romance manga. Takahashi managed to work on Maison Ikkoku on and off simultaneously with Urusei Yatsura. She concluded both series in 1987, with Urusei Yatsura ending at 34 volumes, and Maison Ikkoku being 15.
During the 1980s, Takahashi became a prolific writer of short story manga, which is surprising considering the massive lengths of most of her works. Her stories The Laughing Target, Maris the Chojo, and Fire Tripper all were adapted into original video animations (OVAs). In 1984, after the end of Urusei Yatsura and Maison Ikkoku, Takahashi took a different approach to storytelling and began the dark, macabre Mermaid Saga. This series of short segments was published sporadically until 1994, with the final story being Mermaid's Mask. Many fans contend that this work remains unfinished by Takahashi, since the final story does not end on a conclusive note.
Another short work left untouched is One-Pound Gospel, which, like Mermaid Saga, was published erratically. The last story to be drawn was published in 2001, however just recently she wrote one final chapter concluding the series
Later in 1987, Takahashi began her third major series, Ranma ½. Following the late 80s and early 90s trend of shōnen martial arts manga, Ranma ½ features a gender-bending twist. The series continued for nearly a decade until 1996, when it ended at 38 volumes. Ranma ½ is one of Rumiko Takahashi's most popular series with the Western world.
During the later half of the 1990s, Rumiko Takahashi continued with short stories and her installments of Mermaid Saga and One-Pound Gospel until beginning her fourth major work, InuYasha. While Ran
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Displaying 1 - 8 of 8 reviews
August 28, 2023
There were parts of this I really liked, and I always have a good time poring over Takahashi's panels to see little details like the silly expressions on Kurama's crow attendants, who are maybe half an inch high on the page, if that. That Takahashi could churn out cute, funny comics panels at such a prodigious rate is a testament to her youthful energy and creativity.
However... sigh... this volume loses a star at the very end with a couple of episodes featuring Ryunosuke. I'm never going to find (CWs) funny.
However... sigh... this volume loses a star at the very end with a couple of episodes featuring Ryunosuke. I'm never going to find (CWs) funny.
November 20, 2021
A solidly entertaining volume even though it features the first appearance of one of my other least favorite characters in the series, Kitsune. Don’t get me wrong Kitsune is super cute and really sweet but he completely messes with the tone of the stories anytime he’s featured.
February 27, 2022
Another enjoyable volume. It's neat seeing her advance into the definitive Takahashi style as the series goes on. The art and the gags both continue to tighten. This is the first volume in a while that hasn't been so Ryunosuke-centric.
In general it's cool to see how this series starts off as Archie-lite with a touch of scifi, but quickly evolves into a big toy box that allows Takahashi to tell any kind of story she wants.
In general it's cool to see how this series starts off as Archie-lite with a touch of scifi, but quickly evolves into a big toy box that allows Takahashi to tell any kind of story she wants.
June 5, 2024
I’ve read all the Japanese originals many times since coming to Japan, and they were helpful explanations of Japanese culture - I felt a bit like the alien Lum to whom everything was new! Unfortunately, the English versions make occasional mistakes in translation, and while the Notes are useful they are often repetitive readers do not need to be told what “sensei” means in every volume.
The series is filled with puns, which also was useful to me as a Japanese language learner. Puns are notoriously difficult to translate, and these Viz volumes do their best. But they miss about once per volume. This volume is no exception - on page 121, Cherry asks Sakura what she would like to play and she responds “Fried octopus!”
That’s incorrect. She says “Tako-age” which means “kite-flying.” While hitting Cherry with an uppercut. The characters repeatedly call him “Tako,” because he’s bald (and insulting nickname comparing bald men to octopi). Since “age” also means “up,” this is a pun badly translated. (“Fried octopus” is “Tako-Yaki,” not “tako-age,” as “age” is used for deep fried foods and fried octopus is not deep fried.)
I’m glad to finally see this classic manga series in English, but for an expensive series the translations should have been checked by a native level speaker of Japanese.
The series is filled with puns, which also was useful to me as a Japanese language learner. Puns are notoriously difficult to translate, and these Viz volumes do their best. But they miss about once per volume. This volume is no exception - on page 121, Cherry asks Sakura what she would like to play and she responds “Fried octopus!”
That’s incorrect. She says “Tako-age” which means “kite-flying.” While hitting Cherry with an uppercut. The characters repeatedly call him “Tako,” because he’s bald (and insulting nickname comparing bald men to octopi). Since “age” also means “up,” this is a pun badly translated. (“Fried octopus” is “Tako-Yaki,” not “tako-age,” as “age” is used for deep fried foods and fried octopus is not deep fried.)
I’m glad to finally see this classic manga series in English, but for an expensive series the translations should have been checked by a native level speaker of Japanese.
June 29, 2024
I like that we got a few more stories where the focus was on Lum and her lady friends, rather than rehashing more Ataru stories. The ladies fighting against a group of wannabe gang girls to recover Benten's mysteriously important "chain".
Read
June 28, 2024A hilarious collection of hilarious stories. Lum and Ataru will always be my favorite dysfunctional couple.
September 22, 2025
ten's definitely the best character you can't change my mind.
November 15, 2021
This installment of Urusei Yatsura features some entertaining adventures. There is a chapter where the love Ataru and Lum share is actually given some level of gravity (those happen once every 30 chapters or so). There also is a very amusing adventure between Ran, Rei, and Kurama with Lum and Ataru are caught in the middle. Ryoko also pops in to remind everyone she is absolutely crazy and seriously needs some professional help. Still, the series remains a joy to read and a great series for anyone looking for a laugh.
Displaying 1 - 8 of 8 reviews