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James Jones
James Jones

Skip Beat Episode 25

In Japan, the manga was first published in Hakusensha's shōjo manga magazine Hana to Yume in February 2002, while in the United States, it began publishing under Viz Media's Shojo Beat label in 2006. Forty-nine volumes and one fanbook have been released in Japan, and forty-seven of the volumes have been released in the United States. In 2002, a drama CD adaptation was made and released by Marine Entertainment, and covers the first volume (chapters one to five) of the manga. An anime adaptation was produced by Hal Film Maker, and began airing October 5, 2008.[4] It ended airing with episode twenty-five on July 12, 2009.

Skip Beat Episode 25

The series aired from December 18, 2011 to April 1, 2012 with a total of 15 episodes. The live-action adaptation also aired in Japan, China, Thailand, Singapore, Malaysia, Indonesia, and the Philippines. Each episode ran about an hour long and stuck very closely to the plot line of the manga, albeit with some comedic elements added in. Given its ending (much like the anime, it left loose ends, although it still managed to get further along in the plot) and the many fans the series acquired, there has been speculation as to whether there will be a season two; many believe the producers are waiting for the manga to finish so as to provide a proper ending.

Skip Beat! is an anime series adapted from the manga series of the same name written by Yoshiki Nakamura. Produced by Hal Film Maker, and directed by Kiyoko Sayama, the series would span one season. The first season, comprising twenty five episodes, premiered on TV Tokyo in Japan on October 5, 2008 and ended at March 29, 2009. The story follows Kyoko Mogami who, after coming to Tokyo with her childhood friend and up-and-coming idol Sho Fuwa, discovers that he was merely using her as a maid. She declares that she will exact revenge by entering showbiz and become more famous than he was.

Four pieces of theme music were used: two opening themes and two ending themes. The first opening theme is "Dream Star" performed by the generous, and the first closing theme is "Namida" performed by the hip-hop group 2BACKKA. The second opening theme starting from episode 20 is "Renaissance", also performed by the generous, and the second ending theme is "Eien" performed by Yusaku Kiyama.

Due to Kyoko's quick thinking for the impromptu but amazing act, Kyoko and Moko were chosen by the company. Erika was so angry at Moko-san for beaten her twice, plotting to using violence so that she will get the part of Moko in the commercial.

Kyoko continues to take care of Ren. In this episode, his positive thoughts and reactions are shown as she takes care of him. When she is at his apartment nursing him through his fever, Ren thanks Kyoko in a 'kind' manner. Kyoko keeps thinking about Ren's thanking and is unable to focus on reviewing for the entrance exam. Later at the set, when Ren has difficulty memorizing his lines, Kyoko recites the lines of his partner to help him. Ren realizes how far Kyoko has come in learning how to act. He compliments her progress and her response is that learning to act is fun. He questions her response, believing that she's studying acting to get revenge on Sho Fuwa. Kyoko corrects him, saying that she's doing it to discover a new Kyoko Mogami.

The episode begins with Kyoko moping over not being able to 'kill Sho like an angel'. She then calls Moko and gets an idea on how to act properly. She imagines that she will be killing Moko's lover for hurting her. Kyoko calls Ren afterwards and he isn't there so she leaves a voice message but realizes she doesn't want him to know she's acting in Sho's PV, so fails to mention her problem.

To me it is haha but there are those who get mad if a page is skipped, but I think they did a great job keeping it close to the manga and sometimes when I do a re read of the manga I just watch the anime then pick up where it leaves off in the manga.

From its synopsis, Skip Beat! would seem like the kind of series whose premise and style of humor could quickly become a bit of a one-trick pony, since "revenge" is rarely a compelling theme on its own. In addition, its first episode promises some unfortunate tropes of shoujo manga, particularly Kyoko's initial extreme levels of selflessness carried out for the sake of an uncaring "love interest", and even when our main character renounces this the strong possibility that she will indeed fail and need to rely on an abusive figure again lingers. Yet Skip Beat! proves to be a highly clever show, for even though it is obvious that Kyoko's personality is being set up for a turnaround, it says nothing about what direction her journey in showbusiness eventually takes, which is far more compelling than one's average revenge plot. Even before it proved itself to be remarkable in this way, though, Skip Beat! had won me over with its main character and flamboyant style of humor, to the extent that as incomplete as this adaptation is, it qualifies as one of my favorite shoujo series. I would certainly count Kyoko as one of my favorite lead anime characters. Indeed, one aspect that makes her so compelling to me is the depth to which the series goes into explaining the roots of her personality prior to her overhearing Sho's diatribe. Rather than coding it as some sort of "default submissive" behavior, as many other shoujo series might treat her previous work ethic and subservience towards him, Skip Beat! explores the sort of treatment that Kyoko received as a child that conditioned her into thinking that this was her "place"; we also learn that she once had a great deal of promise, such as academic intelligence, that her caretaker role led her to neglect. Though the show only touches on some of these aspects, such as her poor relationship with her mother (which I presume is explored in the rest of the manga), they are compelling because they are explained in the context of Kyoko becoming a stronger person and finding a meaningful life's work in acting, rather than the sort of self-victimization that invites the need for comfort and dependability. Indeed, Kyoko is an astoundingly strong character throughout the series, a fact manifested alone by her uncanny ability to grow as an actress and snatch opportunities to gain recognition even when given menial jobs, but also by the sheer amount of effort she puts into reclaiming her life, which is, ultimately, what this is about. She is hardly a flawless character, for some of her behavior, such as following an agency's manager around to beg a job from him, is certainly questionable, but the flaws, if sometimes exaggerated in a cartoonlike fashion, make sense given her character history. I was thoroughly behind her throughout the show's run, and I'd definitely call her one of the most engaging and empowering female leads, especially of a shoujo anime, that I've yet seen.So what of the other characters? I'll say that the show very deftly transitions Sho from a "love-to-hate" character into something of a rival for Kyoko, whose egoistic personality is given some more context, while still maintaining the fact that he is despicable. That last aspect was just fine by me, for I never wanted to like him nor hoped he and Kyoko would reconcile, given the reservations that I expressed in the intro to this review, and I was impressed at how the show managed to avoid that trap. More interesting still is Ren Tsuraga, a rival of Sho employed by the agency Kyoko eventually comes to work at, who approaches the archetype of the "asshole with a secret heart of gold" in yet another of the series' cleverly misleading ploys. The pitfalls of that archetype are that such characters often serve as victimized characters for whom the main female lead can play caretaker too (the "misunderstood punk" archetype is similar in this regard), all the while ignoring previous harsh or abusive comments made by said character. Yet the show cleverly plays with this trope as well, for while Ren is sharp-tongued and derisive, most of the unpleasant things he initial says to Kyoko bear some truth. Revenge does indeed make a poor motivator, and Kyoko initially seems to offer little to the department besides a possibly-higher-than-average drive to succeed. He simultaneously serves as something of a foil to some of Kyoko's antics and yet also gives her an impetus to grow in a way that deftly avoids being patronizing; he's one of several factors that allow her to figure out what she actually needs to do to succeed. Indeed, that's one aspect of Skip Beat! that I appreciated immensely, for while the other characters are often fun to watch, the show is ultimately about her rather than her filling in the needs of other people, which is a common frustration I have with shoujo anime. Thus far, I've made Skip Beat! sound dead serious in this review, but let's be frank: it's also a damned funny show. A good portion of the show's comedy, in my opinion, stems from visual gags, such as the terrifying (yet somehow cute) spirits that emerge like tendrils from Kyoko whenever she is enraged, and whose presence the other characters humorously always seem to sense. Other times, the humor hinges on well-played slapstick gags, such as a hilarious scene involving mukimono (ritual vegetable carving) of a radish in a hilariously inappropriate context that I won't spoil here. Regardless, I laughed a great deal at this show, and found Kyoko herself to be hilarious the majority of the time, also. The fact that it's a comedy works in the show's favor in one regard, in that while the art isn't exceptionally good, it shines in such moments as the super-deformed expressions Kyoko's coworkers make in response to her over-driven attitude. The animation is certainly serviceable and the OP, a driving rock number, pumped me up for the show every time. While the character design wasn't my favorite aspect, I thought it was fine, and the mangaka certainly took a lot of care with the clothing the different characters wear (which may be a plus for some shoujo fans); those who haven't seen many shoujo anime might want to note that yes, the 041b061a72


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