It was at this time, somewhere between 19, that what would become Urusei Yatsura was created. It was him who encouraged her to self-publish her first creations and gave her essential lessons in storytelling, including one which Takahashi would keep citing as the core of her work: to always put the characters in the center and to have them drive the action. But the fact that he was her mentor only illustrates Takahashi’s range of influences and interests. Koike was the writer of dark, violent manga one would not immediately associate with Takahashi’s sensibility such as Lone Wolf and Cub, Lady Snowblood or Crying Freeman. It was probably at this point that Takahashi’s resolve to go pro solidified: when she entered university in 1975, she also joined a manga school, Kazuo Koike’s Gekiga Sonjuku. There, she discovered yet more artists, reading Tetsuya Chiba or coming into contact with Moto Hagio and becoming a shôjo manga fanatic, while still submitting stories to magazines. By junior high, she was already submitting 4-panel strips to her favorite magazines, Garo and Shônen Sunday, and soon created a manga research group with classmates. Takahashi did not just read, she also drew, and drew, and drew. She would unsurprisingly start by classic children’s manga such as Obake no Q-Tarô or Osomatsu-kun, but soon moved on to more mature, experimental publications: she was an avid reader of both Garo and COM, the two leading arthouse manga magazines of the late 60s. From a young age, she read the manga magazines bought by her brothers or available in her parents’ medical practice. Born in 1957, Takahashi’s distinguishing quality was being well-read. Urusei Yatsura ’s story naturally begins with its creator, mangaka Rumiko Takahashi. Rumiko Takahashi, the roots and evolutions of Urusei YatsuraĪt the crossroads of gekiga and gag manga Without this context, any new Urusei Yatsura media is bound to be fundamentally different it remains to be seen whether the series will fit in the 2020s as well as it did in the 1980s. While it is not my intent here to speak ill of the new anime – especially since I have seen nothing of it as I’m writing these lines – my answer to the above questions is a definitive “no.” The reason for that is simple: beyond their innate, one might say timeless, artistic qualities, the original Urusei Yatsura manga, and anime are heavily dependent on their production and reception contexts. Whatever the purpose and quality of this new series, it raises one obvious question: will it live up to its predecessor? And will it, in any way, create an impact equal to the one the original manga and anime had in 1980s Japanese pop culture? This article is released for a special occasion: the beginning of a new animated adaptation of Rumiko Takahashi’s Urusei Yatsura produced to celebrate the 100th anniversary of publisher Shogakukan. He tries to disengage himself, but Lum is adamantly faithful and demonstrates a willingness to use her natural ability to generate electric shocks to keep her "husband" in line. Lum misunderstands this as a proposal and eagerly agrees, since she has become smitten with Ataru. ![]() When things start looking desperate for the Earth, Ataru's girlfriend, Shinobu offers to tie the knot if he succeeds, and on the last day, when he finally catches Lum, he declares his intentions to be married. However, his attitude changes when he discovers that Lum can fly. The alien competitor turns out to be the curvaceous Lum, so Ataru relishes the idea of having to catch this beauty. Earth's champion, randomly selected by the aliens, is Ataru Moroboshi, a Japanese teenager with highly overactive hormones. They agree to leave only if Earth's champion can defeat the Oni champion in a game of tag within a ten-day time limit. The series begins when aliens from the planet Oniboshi invade Earth.
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