Possessiveness in Skip Beat! | Gagging on Sexism
Kyoko and Sho are also more at ease with each other than Ren and Kyoko who had a more professional relationship. If you were to be with someone, surely you . Before this, while Kyoko hated Sho for having used her as a maid . Ren and Kyoko definitely have a more uneven relationship since Ren is. Ren's notable jealous attitude can be seen when he and Kyoko acted as Cain and Setsu. Sho was calling Kyoko, which resulted Ren to rage in.
I will say that unlike some series, possessiveness in Skip Beat is not passed off as completely normal. The worst offenders, Reino and Sho, are supposed to be jerks.
At least I can tell Ren apart as he is the only one with a face like that with black hair. Erin I never thought of it that way, but that makes sense. While I appreciate the girl falling for the more mature guy, in this situation it feels too unequal power-wise. XD Still have a general one planned, if I ever get it done. But I like Skip Beat! The more people who point out questionable things, the better, I say.
The thing with the formality in Ren and Kyouko I hope will soon but surely slowly be resolved. The mangaka is working on that exact thing with the latest chapters, and seeing Corn and Kyouko get along so well makes me really excited for the future and what their relationship will be like!
As you said, I think many people use it as a statement of mutual commitment. It just reminds me of someone laying claim to something like you might with an inanimate object, telling someone else to stay away from it. I think he only now started understanding his own feelings.
Imagine how different all the controlling situations would have been if he and Kyoko had been in an established relationship or aware of each others feelings. Kyoko would have never accepted a dress from her coworker and I think she would have acted with way more anger towards Sho. Also, I absolutely despise Sho. She helps young Maria come to terms with her family life, and gains an adoptive little sister in return.
And most of all, she forms a strong, supportive friendship with Ren in which she watches out for his physical and emotional health and helps him in his career to the greatest extent she can, even as he does the same for her in ways both obvious and secretive.
Kyoko is so damaged, and yet she connects with so many people. It's tough for her, but she does it. There's a certain amount of give and take involved, with plenty of mistakes along the way and a slow, glorious, ever-expanding reward.
Even with this strong support system in place, Kyoko is determined to make her own way. Kyoko is more than capable of saving herself. Allow me to relieve any suspense: I am Team Ren, in the I-legitimately-ship-them-no-wishy-washy-business sense. Ren is an actor with much more experience than Kyoko, but he, too, is always striving to up his game and improve his craft.
Like Kyoko, once she figures out acting can be more than just a means of getting revenge. Ren's deception isn't just about his desire to appear a certain way, though. He's only smiling on the outside. He feels terrible about it. Ren checks himself whenever he strays into dodgy territory.
He likes her so much. Likewise, he holds himself in around the people who recognize exactly how he feels, like Mr Yashiro his manager, who ships the hell out of Ren and Kyoko and Lory who has a supernatural ability to pick up on love-vibes.
This sort of she-thought-he-thought thing happens a few times throughout the series, and it never fails to make me freak the fuck out over the perfection of it all. Their various deceptions, combined with their on- and off-screen roles, allow them to explore and work through issues that cause them terrible pain.
I feel like Nakamura always pulls back before she crosses a line, but your mileage may vary on that score. All the love for characters who aren't perfect but work hard to be better. I desperately want Kyoko and Ren to communicate openly, but it makes sense they struggle to do so. They both have concrete reasons for holding back, some cultural and some personal. The story gives them the space they need to work through their issues, together and separately, with evidence of growth on both sides.
As I write this, enough individual chapters to fill thirty-seven two-hundred-page volumes have been released in Japanese. Thirty-four volumes are available in English. Each chapter peals back another layer of this universe. The slower pace also makes the reader really, really want the answers to certain questions.
How did Moko get so hard? Is Sho even capable of being a decent person? It takes time to make your mark in any creative business. Neither does she fall straight into these relationships to come to mean so much to her. She works hard to build something with the people who matter to her, and to establish connections based on more than fleeting fondness. Consequently, these relationships carry great weight throughout the story. She never wants to love again because she expects love not only to hurt her put also to turn her back into the person she used to be.
It takes a lot of time to work through. Art, Structure, and Genre Nakamura imbues her art with a glorious sense of movement; another element that helps the pacing feel organic rather than laboured.
Each panel skillfully directs the reader from one moment to the next, allowing us to take in the full range of each emotion the characters experience, often from multiple perspectives within the space of a handful of pages.
REN AND KYOKO'S RELATIONSHIP | Anime Amino
She privileges reactions over settings, so her panels are uncluttered and character-focused--unless clutter is decidedly in-character, as when Lory arrives on the scene, or when the setting tells us something important about how these people relate to one another. Nakamura renders this process organically, in such a way that the reader lives it alongside the characters.
An example, presented in miniature because I'm not sure of its provenance but I really want to show you what I'm on about. Her captioning is as multi-layered as the story it tells. On occasion, this process happens with two characters at the same time, each person's response complementing or contrasting with the other.