Gender as Seen through Rumiko Takahashi's Ranma ½ For those familiar with the world of manga, Rumiko Takahashi is a name that hardly requires introduction, being the bestselling female graphic novelist of all time. She has four canonical works completed, namely Urusei Yatsura (1978-87), Maison Ikkoku (1980-87), Ranma ½ (1987-96), InuYasha (1996-2008) and has been working on RIN-NE since 2009. In this paper, we look at gender as reflected through Ranma ½. We shall start with an overview of gender expectations and interaction in Japanese society, followed by an analysis of her male protagonist Ranma, the female protagonist Akane, the implications of the female Ranma (and about the odd choice of gender-shifting trigger) and the interaction between Ranma and Akane to observe how she challenges and conforms to traditional societal and manga-generic gender bias. Gender roles in Japanese society: Men do the work and women the housework Traditional gender roles in Japan point towards a strongly patriarchal society. Women suffer workplace marginalization and working women are expected to put their domestic lives over their jobs. A 'good wife' will resign upon marriage. Most married women in rural communities do not enjoy equal rights and status, expected to serve the family as 'workers', and are not considered for inheritance. 1 This is reflected in her only major work in seinen manga (Japanese for 'young man/men', which is also the target audience, men of ages 18-44 and because they emphasize storyline and plot development over heavy action, they are often confused with 'shoujo' or 'little girl' manga), Maison Ikkoku when the widowed Kyoko Otonashi's father-in-law reflects near his son's grave, “...To be a widow meant simply to be a wife who wasn't dead yet. But that's not the way it is now, is it? It's not that you're not dead yet... It's that you're alive.” 2 And the harsh societal expectations work both ways with men expected to sacrifice themselves to their jobs, having little time for their families. Often, when they do have the time they find themselves with a family they know very little about. This is well reflected again in Ikkoku, by side character Mr. Ichinose completely surprising both Kyoko and Yusaku Godai through his very existence. 3 His first appearance in the nine volume series is in the 5 th volume, right after he has lost his job. A telling factor in itself. Thus we roughly establish the stereotypical male to be a strong, dependable, protective breadwinner and the female to be a gentle, caring, economical homemaker. However, dating and romantic involvement in Japan is notoriously difficult if studies are to be believed. According to Jeffrey Hays' Love in Japan, “The idea of dating was introduced by 1 Mark Lim Shan-Loong, Tradition and Change – Examining Gender Roles in Japan, <http://marklsl.tripod.com/Writings/japan.htm#_ftn4 > Retrieved 12 March, 2012. 2 Rumiko Takahashi, Maison Ikkoku, trans. Gerard Jones & Matt Thorn (San Francisco: Viz Media, 1993) 2(5) p. 31 3 Takahashi, Ikkoku, 5(2) 22-30; 22,23,29,30