R. Lawson's Ranma 1/2 Fan Fiction, Part 1
by Taleswapper

One of the worst consequences of the ongoing delay in posting 
of new fan fiction to rec.arts.anime.creative is that the work 
of Richard Lawson have yet to become known to most of its 
intended audience.  Luckily for me, the author sought me out 
and asked that I take a look at the fanfics available at 
http://home.sprynet.com/sprynet/sterman/fanfic.htm (note: it's 
NOT "html").  In this essay, I review three of the Ranma � 
stories available there: "Heart of the Home," "The Right Side 
of the Ledger," and "Storm's End."  Naturally, the discussion 
includes details that may be considered SPOILERS.

Lawson's writing style in these stories is securely among the 
best I've seen in Ranma fanfic. Unusually mature and 
unpretentious, the prose evidences a remarkable sense of 
affection for the characters and the settings.  While 
descriptive passages are usually simple and the imagery often 
minimal, the author describes people, places, and events 
lovingly, and that is as admirable as it is uncommon in 
fanfic.  Lawson's stories are also noteworthy for rather 
controversial interpretations of the members of Ranma � cast.  
My reactions are summarized below.

*Heart of the Home*

>From a critical standpoint, the strongest feature of "Heart of 
the Home" is its structure.  The interspersing of present-day 
and flashback scenes has a very cinematic feel, accomplished, 
notably, without the clumsy transitional gimmicks that other 
authors rely too much on.  How much more effective is the 
sudden (though not abrupt) change of temporal setting than are 
the cheesey juxtapositions or other hackneyed devices to link 
present and remembered scenes.

The development of Kasumi's character in "Heart" is the most 
advanced take to date on the much-favored notion that the 
eldest Tendo daughter is more canny than she lets on.  Lawson's 
extrapolation of this theme rests on vignettes - including 
flashback scenes extrapolated from existing moments from the 
anime - that highlight Kasumi's compassion and sensitivity, 
which give her acumen that is unmatched by other characters' 
insight.  This variation on the Kasumi's-sharper-than-you-think 
theme is considerably more effective than the attempts in other 
fan fiction to reshape her into a closet genius; too many 
authors have made a mountain from a molehill by inferring a 
deep intellectual life or a destined medical career from such 
trivia as Kasumi's having once borrowed a book from Tofu.

It is delightful to observe Lawson's Kasumi as she subtly 
advises and affects the people around her, gently nudging them 
toward wisdom and happiness.  Particularly sweet is the scene, 
extrapolated from the story of Akane's haircut, where Kasumi 
draws on special insight into her youngest sister's motivations 
to help Akane find some happiness in her arranged betrothal. 
The reader stands in awe of Kasumi's (i.e., the author's) 
ability to surreptitiously analyze and solve her family's 
problems.

I am a little less receptive to another characterization slant 
that has emerged in Ranma fanfic: that Nabiki's motivations 
regarding money are explained by her purported role as the 
Tendo family's principal financial support.  Deeper discussion 
of that matter appears in the next review.  For now, it is most 
relevant to emphasize the excellent and surprisingly moving 
flashback story showing the origins of Nabiki-as-accountant, 
starring a Kasumi just beginning to get a handle on the 
household responsibilities and an unemotional Nabiki that 
begins to learn her own duties to the family.  The back story 
ties in nicely to a scene from the "Mother's Recipes" OAV.  
Another delightfully original story element is Kasumi's insight 
into why Kunou buys the photographs offered by Nabiki.

*The Right Side of the Ledger*

This story, set in the same universe as "Heart of the Home" 
more elaborately defines Lawson's version of Nabiki Tendo.  The 
author has chosen to work with an interpretation of Nabiki's 
character and motivations that has emerged from fanfics over 
the past year and gained increasing acceptance.  The idea 
behind this specific model of characterization is that Nabiki 
wheels and deals for the purpose of supporting the Tendo 
family, income from the dojo being inadequate.  This idea seems 
to contradict Takahashi's characterization of Nabiki as a 
greedy girl with "an impure heart."  I've never been one, 
though, to insist on fidelity to the source material; it's too 
much fun to take Ranma 1/2 in new directions.

In the context of a very intelligent and emotionally honest 
conversation with Kunou, Nabiki's motivations and failings are 
spelled out: she has taken up the cause of the Tendo family's 
financial security and has been "seduced by the dark side" of 
the quest for wealth.  While the story of Nabiki's 
self-examination and reversal is well developed, I think Lawson 
has sufficiently fleshed  out this complex interpretation of 
Nabiki.  The characterization of Nabiki in "Ledger" is a 
valiant, but ultimately inadequate attempt to reconcile a girl 
who nobly labors for love of family while simultaneously 
displaying genuine evil by delighting in the anguish of her 
loansharking and blackmail victims.  These two alleged sides of 
Nabiki are just too contradictory; the dichotomy cannot be 
explained only by Nabiki's admission of the _schadenfreude_ she 
feels in seeing others experience the same financial 
desperation that her family suffered.

The dialogue that is the turning point for Nabiki also shines a 
spotlight on Kunou, who also has received special attention 
from the author.  Just as "Heart" redefined Kasumi's level 
intelligence and awareness, so does "Ledger" establish a 
remarkable "thinking man's Kunou." This character is vaguely 
gratifying, for I have long wished to see a Kunou whose dignity 
actually matched his dignified airs.  Lawson's Kunou, his brief 
an slightly slapstick appearance in "Heart of the Home" 
notwithstanding is a far cry from the comic relief antagonist 
from the anime/manga.  It's hard to see how this Kunou could 
still be blindly pursuing Akane and Ranma-chan despite their 
clear refusals, or exhibiting any of the other inane behaviors 
that are so much a part of the established Kunou's character.  
I'll have to wait and see how it works.

For the opening of "Ledger," Lawson succumbs to the temptation 
that all fanfic authors must face: the allure of the 
overdramatized, hypermetaphorical beginning meant to capture 
the reader's attention and imagination.   The predator 
metaphor, trite as ever, ends quickly enough and is supplanted 
by a well-staged and impeccably paced conversation that far 
more effectively (and enjoyably) illustrates the nature of 
Nabiki's relationship with her intimidated debtor.  

Also more satisfying than the "predator" opening is the vivid 
nightmare sequence that serves as the catalyst for Nabiki's 
redemption. While the wolf imagery from the ominous vision may 
be no more original than the predator metaphor that begins the 
story, Lawson does a very effective job of conveying the horror 
of Nabiki's nightmare. 

*Storm's End*

"Storm's End" is full of the much of the same stylistic 
excellence seen in the previous two stories.  Set in a 
different "Elseworld," this dark tale of Akane's personal 
battle against the effects of devastiating tragedy has all the 
detail and pathos necessary to draw the reader's sympathetic 
response.  The fleeting hints of crises past, rather than full 
flashbacks, set a psychologically intense mood somewhere 
between anxiety and despair.

Sadly, I appreciated this fanfic a lot less than I would have 
had I not seen (and remembered in detail) the movie "Ordinary 
People."  For with the phone call to Genma that initiates 
Akane's anxiety attack, the coincidental and superficial 
similarities between fanfic and movie become tight parallels, 
and the story's climax and conclusion become entirely 
predictable.  The storm imagery, excellent in its early 
subtlety, falters in effectiveness even as the tempest becomes 
more intense, for the informed reader begins to compare the 
typhoon to the drowning scene in "OP."  The psychiatrist's 
drawing out of Akane's repressed truth is a pale imitation of 
the well-acted climax scene (and the considerably more shocking 
repressed truth) from the movie.  The harsh glare of 
predictability, I'm afraid, dampened my ability to enjoy the 
good craftsmanship in the last part of "Storm's End."


In my opinion.

Taleswapper