The root of Akane's frustration is not as mysterious as Elizabethan social philosophers might propose. Just as Catherine
(Kate) secretly laments over insecurities with her femininity, Akane also struggles with a tomboy's coming of age and the
development of her "social female" identity. Like most young women, Akane wants the best of both worlds: the freedom to tromp
around in a "man's" world with impunity; to get rough and rowdy with the boys without sacrificing her womanhood.
But playful taunts and jeers, mostly from Ranma, constantly remind her of her lack of "girlishness." While sporting a boyish
haircut, Akane endures Ranma's teasing of her small chest size and poor cooking skills and becomes enraged most often when she
fails to perform the most menial of domestic tasks. Worst yet, Ranma accuses Akane of being "butch" and "macho" (English dub version)
whenever she trespasses on his masculine world of violence and aggression. Akane's answer to his ridicule is even more violence,
reinforcing his perception, and thus frustrating her further.
Had other young men shared Ranma's opinion of Akane, it would explain her contempt for males. Surprisingly, men find her
attractive. So attractive, that every morning all the boys at Furikan High aggressively pursue her at the gates of the
school only to get their lovelorn asses karate-chopped by the pugnacious co-ed.
Several other factors, therefore, may be responsible for Akane's hatred of boys. Has she been the victim of overt gender
discrimination, or does she feel that boys are too immature for her? Perhaps accepting the love of young men forces Akane
to recognize their potentially chauvinist expectations of her role in a romantic relationship. She is a staunch feminist,
always the leader of an angry mob of young women, inciting their blood lust for the untamed male libido, which permits its
lecherous voyeurism to violate the sanctity of a woman's dressing room.
There is no evidence, however, that indicates latent lesbian tendencies. Akane's aversion to boys does not intrinsically
imply a sexual preference for women. It simply means that she is not willing to accept the advancements of men her age.
Akane does not hate all men, just childish men. Even Soun Tendo receives flashes of his youngest daughter's disdain whenever
he acts foolishly.
The one exception to Akane's general estimation of males is Dr. Tofu, a gentle, calm man, skillful at his profession and
committed to his work. Her crush on Dr. Tofu, then, refutes the possibility that her animosity for Ranma originates from
the fear of really liking him thus betraying some self-internalized code of fascist feminism. Her heart genuinely goes to
men who are mature and self-realized.
In a romantic comedy that relies heavily on the sexual tension between the two lead characters, Ranma and Akane's love/hate
relationship delivers more of an ambiance of schoolyard frolic than a sensation of stifled passion. Ranma is just as phobic
of girls as Akane is of boys. There is no incentive for the couple's mutual dislike for one another other than a childlike
repugnance for the opposite sex. If sexual tension causes a couple to fight in a vein attempt to subvert the fact that they
really like each other, Ranma and Akane's lack of sexual interest forces audiences to formulate a weaker hypothesis: they like
each other because they fight.
The audience supports their union, however mismatched, simply because it recognizes confrontation between men and women as a
manifestation of hidden desire. Despite popular opinion, Ranma does not need a woman in his life; he has one already - himself.
Until he learns to reconcile with his literal feminine side he will always have issues with women in general. And Akane would
not benefit from the competition with the woman inside her own betrothed during the awkward stage of her sexual maturation.
So who would be the better guy for Akane? Ryoga, without a doubt. Yes, Ryoga is a klutz, a clod, and a fool, but he's a sweet
fool and he is way more aware of his sexual feelings than is his rival. Although far from helpless, Ryoga is the type of dumb
oaf who needs the guidance of a strong woman. He respects Akane, an aggressive martial artist who likes to wear prim, knee-length
dresses, and does not infringe upon her need of social male/female duality. Ryoga does not pressure her to fit into a narrow peg
of femininity nor does he criticize her for breaking out of a public construct of gender identity. He is also the first young
man she has not tried to kill. A patient and loyal companion who is not completely self-absorbed by his own greatness would help
Akane ease out of her troubling relationships with men. If she had any sense she would partner up with Ryoga. … but she doesn't,
and that is why she's destined for Ranma. (E.W.C.)