Rumiko Takahashi's Ranma 1/2 Ranma 1/2 is considered one of the best manga available in Japan today. A manga is, in the strictest definition, a book of "humorous pictures" (Foerster and Tamura, 58, 147) This medium developed as a solution to the problem of Japanese language. The problem is Japanese language is meant for conversation; it is not well suited to describe abstract thoughts or to describe actions happening to a third person. "A picture is worth a thousand words" is the phrase that would describe what the Japanese would be thinking when they read their favourite stories. The inclusion of pictures to supplement the text reduces the need for complex descriptions and allows the language to keep its conversational structure intact. Readers can connect to the characters through these means and therefore giving the stories more feeling and more personality. Today, the stories and the audiences they draw are from all across the spectrum. The stories range from the very ordinary to the very extraordinary. Readers range from the young to the middle-aged. Thus, the success for a Japanese novel, usually with a first printing of one hundred thousand copies, is a failure for a Japanese manga, usually with first runs of one million (Schodt, 146). Ranma 1/2 is no exception. Its popularity comes from the way it deals with the roles of men and women. Rumiko Takahashi takes on defined roles of men, women, and injects the most refreshing criticisms that she can make about them. Ranma, the title character, is one male that has very clear, defined roles. The most important is that he is indicative of the type of teen that is found in manga labelled as "developmental" manga (Kanji, 104). The role for boys in these manga is one where through a series of experiences, the boy will learn lessons and develop his sense of self-esteem. In a fight, Ranma learns a lesson that is familiar even to us: turning a disadvantage into an advantage. Ranma's fight is at a beach with an aged woman who is a master of martial arts (Takahashi Vol. 5, 6-20). The technique she uses turns the water of the ocean into her weapon. This makes it impossible for Ranma to get close enough to attack. Being a martial artist himself, Ranma does not want to lose, but he is at a disadvantage. Then he realizes how he can remove the handicap of his youth and inexperience, although he is averse to exercising it. He can use his psychological fear of cats; the one weak spot he is ashamed of. He can use it because there is a side effect to his fear. When it escalates to an intolerable point, it is an undefendable technique. When he turns it on the old woman, he shreds through her attack like a cat and defeats her. The win helps to build his self-esteem by teaching him that even his shortcomings can be benifitted from. This role is common yet still popular because it gives teens a purpose to do some of their own developing towards becoming productive members of society, something that they have been taught will reward them. Another common role for men in manga is honourableness. Another of the main characters of Ranma 1/2 represents this role: Ryoga. Ryoga embodies the aspect of avengement in the honourableness role. When he and Ranma were younger, they attended the same boys' school (Takahashi Vol. 1, 224-8). Every day at lunchtime, the cafeteria turns into a battleground. The students constantly strive to get the lunch they want. When Ryoga leaps for the roll thrown to the crowd by the lunch-lady, it is snatched away by Ranma. The one defeat Ryoga could forget about, but Ranma continues to infuriate him by winning every day. From then on, Ryoga constantly challenges Ranma to settle his grudge. Normally, such a matter is not a reason to vindicate himself, but Ryoga is exceptional in that respect. His life at home is empty since his parents are constantly away (Takahashi Vol. 9, 127-8). So the only way Ryoga can validate his self-worth is his performance in school. Ryoga still loses, so the cycle continues throughout the series. The way Rumiko Takahashi uses the role of the honourable warrior to attract readers who have a strong sense of the same, usually the older generation. That is why certain manga can have a wide readership. A role of women that is becoming more popular in manga is not based on the past; rather, it is a response to what is happening in the present. Where once the woman was compliant, the new Japanese woman is individualistic and plays a more active role (Schodt, 75). The character Akane is the perfect example of such a woman in Ranma 1/2; she has her own battles to fight. Every morning before school, Akane must defeat a horde of men who wish to date her (Takahashi Vol. 1, 71-3). And every morning, she defeats all of them, declaring her right to remain her own person. One of the men in this group, who finds out Ranma is to be engaged to Akane, challenges him. Ranma tries to tell them that it was an arranged marriage that Akane wants no part of. When Ranma easily defeats the man, the entire group vows to give up (Takahashi Vol. 1, 167-8). Instead of thanking Ranma for his trouble, Akane refuses to recognize his importance. Akane would not extend her dislike for Ranma as far as to betray him, but she continually finds it difficult to bring herself to even like him. Even when Ranma saves her when one of Ranma's myriad enemies kidnaps her, she still prefers to keep her distance. Her behaviour stems from her want to keep her active role; otherwise she fears Ranma will not see her as something more than a possession that needs protecting. Although one might suspect that a strong role for a female would make a manga unpopular in the heavily masculine Japan, the male readers are welcoming the refreshing change. It also developed Ranma 1/2 a following of women readers eager for such a change. However, Ranma 1/2 is known to be completely diverse, so Rumiko Takahashi includes a more traditional role for women. This is Shampoo's role, the role of the Amazon goddess. Women who appear in this role are treated like sex objects (Schodt, 75). Rumiko Takahashi goes a long way to make her sexually appealing to Japanese man. From the moment she sees Ranma, she falls in love with him and pledges unwavering devotion (Takahashi Vol. 3, 122-34). It is almost shameless in the way she shows her affection. She will dress in form-hugging native Chinese garments that have the shortest skirts possible (Takahashi Vol. 4, 91). She will even show up when Ranma is trying to take a bath (Takahashi Vol. 5, 20). Her efforts show no sign of strain on her. She just wants to make herself more appealing to Ranma. It is obvious why Rumiko Takahashi would include such a character; the men, the major section of her readers, want sexual elements. It is practically a market demand. However, the success of Ranma 1/2 cannot be solely accounted for by the representation of different roles in the stories. The real success behind Ranma 1/2 is the way in which Rumiko Takahashi will play with these roles to make stories that will keep appealing to all her readers. When Shampoo tries to show Ranma her affection, Ranma does not reciprocate. Ranma has a Chinese goddess who wants to do nothing except make Ranma happy, and yet Ranma ignores the easy answer in favour of Akane, a decision he makes without a second thought (Takahashi Vol. 6, 157-9). It is an example of how Rumiko Takahashi will ignore the role the Amazon usually plays in favour of developing the important relationship between Ranma and Akane. Rumiko Takahashi also came up with the most inventive way to bridge the gender gap, the space between men's and women's roles. The series is called Ranma 1/2 because the Ranma to wit is really only half the picture. When he comes in contact with cold water, Ranma transforms into a girl (Takahashi Vol.1, 38-9). Hot water changes him back, but only until he gets splashed with cold water again. This also shows how Ranma violates his developmental role. When Ranma finds a map that claims to lead to a "cure" from the water to end his transformation, all he finds is an ordinary water main (Takahashi Vol.7, 115-8). Ranma explores other possible cures and every time his rainbow fails to have a pot of gold. It is because no cure is meant to be found. If Ranma could find a cure, it is saying that he can win out over his very nature, which is impossible. Ranma will also never fully develop his martial arts because he does not realize that his transformation, which he sees as his stumbling block, is just another part of his nature. Moreover, there are ludicrous styles of fighting such as the "Martial Arts Tea Ceremony" and the "Miss Martial Arts Takeout Race" (Takahashi Vol. 5, 127-60). Rumiko Takahashi uses this farce to show Ranma is deluding himself by trying to learn martial arts. Instead, he should be learning how to live with his transformation so that he can find his true path. Whatever the outcome, Ranma's double purpose in exploring male and female role relationships will continue to entertain the readers of Ranma 1/2. The way that Rumiko Takahashi decides to pursue Ranma 1/2 is really a gambit. She manipulates the roles for men and women only for comedy. The risk is that the public will not like the idea of altering the familiar. But she decided that her world was ready for a change. She combines the roles of long standing Eastern societal values and the new philosophy of the West to create something that is unique and enjoyable for both cultures. It is through the series of Ranma 1/2 that many Japanese and North Americans consider her better known as "Rumiko-megamisama," the goddess of manga. Works Cited Kanji ABC. Foerster and Tamura. 58, 147 The World of Japanese Comics. Schodt. 146 Japanese Popular Culture. Ed. by Kato. 104 Ranma 1/2 Vol. 5. Takahashi. 6-20 Ranma 1/2 Vol. 1. Takahashi. 224-8 Ranma 1/2 Vol. 9. Takahashi. 127-8 Comics. 75 Vol. 1. 71-3 Vol. 1. 167-8 Vol. 9. 8-10 Comics. 75. Ranma 1/2 Vol. 3. Takahashi. 122-34 Ranma 1/2 Vol. 4. Takahashi. 91 Vol. 5. 20 Ranma 1/2 Vol. 6. Takahashi. 157-9 Vol.1. 38-9 Ranma 1/2 Vol. 7. Takahashi. 115-118 Vol. 5. 127-160 Bibliography Takahashi, Rumiko. Ranma 1/2. Trans. Gerard Jones and Matt Thorn. Vol. 1. San Francisco: Viz Communications, 1993. Takahashi, Rumiko. Ranma 1/2. Trans. Gerard Jones and Matt Thorn. 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