One day, a girl from a foreign land came to Benneng Town, claiming to be looking for the enemy who killed her father. A mysterious pair of scissors in her hand can cut through the invincible extreme uniform. The tangled liuzi who transferred to the school began her countless struggles in the academy...
This is the first episode of "Kill la kill".
Just reading it, it is already unbearably misplaced: the protagonist is entangled with Liuzi, she has an absolutely unquestionable plot of finding her father for the protagonist of the juvenile comics, but it seems that she has gone to the wrong shed, and even today's B-level movies are written less. in absurd situations. However, in this weird school that sounds like Big Brother will come out at any time, the drama of tangled Liuzi making troubles in the Heavenly Palace, but it's so exciting to watch... It's so bloody!
Chaos, but justified, this is the most incredible part of "Kill la kill".
"Kill la kill" is the first work after Imaishi's supervision led a group of veterans to break away from the Gainax company's system and set up Trigger. From the documentary about the preparation for two full years, it is not difficult to see that they attach great importance to the pioneering work. Imaishi carefully absorbed his lifelong creative experience, and finally, he decided to imitate his own past.
Yes, behind the seemingly crazy and cult-like structure of "Kill la kill", there are traces of precise calculations one after another, which are all tributes and confessions to his past by Imaishi.
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The first one to be imitated was, of course, "Tianyuan Breakthrough" (Tianyuan Breakthrough グレンラガン) supervised by Imaishi in 2007.
It is not necessary to say much about the popularity of this play. This time, "Kill la kill" invited the playwright Nakajima かずき to directly upgrade it to a series composition, imitating the latitude and longitude of "Tianyuan", and constructing the initial prototype of this work.
The similarity between the two lies in the display of the unity of the theme and the main axis. In the story of "Tianyuan", the protagonist has a super potential "spiral force". The helical force comes from DNA, and DNA is exactly the appearance of the helix. When the helical force is at its most powerful, the super-large auger bit in reality is used to defeat the powerful enemies. Spiral force is the tenacity of the will. When the master finally defeats the emperor of the universe with the spiral force, it is the glorious victory of the human will. "Kill la kill" changes the image of the spiral to the power of clothing, and the extreme uniform is naturally a symbol of class. When the class that is originally a foreign object has imprisoned the future of mankind, the only way is to tear the cassocks of all beings, and everyone is naked. A new order of equality can be rebuilt.
In addition, the huge bright red fonts inserted every now and then in "Kill la kill", introducing the names of people, unique tricks and dialogues, and the expression method is completely inherited from "Tianyuan Breakthrough". This is deliberately overdone, but it is not too much to use a good trick, and the production team will go with the flow.
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The second imitated is "Angel of Garter Stockings" (パンティ&ストッキングwithガーターベルト) supervised by Imaishi in 2010.
This work is extremely crazy, completely erotic, and completely spoofed--just as a Japanese, drawing two Powerpuff Girls everywhere to kill men and comrades, you know how profound the cult interest in the bones of today is. However, the works played crazy, and the sales also went crazy. The CD sellers were stunned by Waterloo, and even the already huge North American market was not as good as expected.
"Angel of Garter Garter" may be the subject that Imaishi has revealed so far that he wants to shoot the most, and he also plays very well. But can Kill la kill be played like this? Before the bloody river of sales, he had to steer cautiously.
"Kill la kill" absorbs the great cult energy of "Angel of the Garter" and the limited use of clean lines. For erotica, he made a bold but restrained performance. Why do the heroes and heroines of "Kill la kill" dress revealing to serve the audience? Because clothes will control human beings, so crossing less is more free! And after the defeat of the people in extreme uniforms, they will be "off the line" and tear to the naked eye-catching picture, which is also a shame for war criminals, and it must be done! These little erotic humor, I think the audience will smile knowingly. But as far as the point is, the eyes of everyone in the play are only lustful but not obscene, and they have not crossed the lower limit that humor can tolerate.
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"Tianyuan Breakthrough" is the madness of willpower and perseverance, and "Angel of Garter Stockings" is the absurdity of feces, urine and semen. Crazy and absurd, each has its own merits and tastes. Being able to guide two different animations at the same time is a part of Imaishi Hiroyuki's self. After leaving Gainax, this Imaishi is the most greedy Imaishi. He strives to be even higher, and in the end, by imitating each of his own ways, he wipes out each of himself.
So, after two years of preparation, Trigger finally settled the two past transcripts of "Tianyuan Breakthrough" and "Angel of Garter Stockings", and handed in the beautiful answer sheet of "Kill la kill".
From the first second of the first episode, "Kill la kill" told the audience not to try to justify the absurdity of the story.
In Instinct Town, adults are ruled by minors, and human beings are ruled by clothes; under the combination of the two, the uniform of students has become the biggest basis for people to be human, and what you wear is your power, money and power. The ㄧ cut sum. If you wear the wrong clothes, you will die. If you want to break the pyramid of clothing grades, you are either flattering the powerful or killing the blood! The false premise of such a cult can be called a mockery of the real social class, but I think more, just to find a reasonable footnote for the madness of the entire play that follows, that’s all.
Crazy what? Naturally, the madness is in the battle without taboos.
The smooth battle scenes of this work are dizzyingly gorgeous. Within a limited budget, 2D and 3D are subtly intertwined seamlessly, continuing the consistent insistence of Japanese animation on visuals; the storyboards are controlled by a group of veteran actors with more than 20 years of experience in the industry, paying tribute to the figure of the Showa giant everywhere. This blend of old and new seems to have also staged the inheritance of the times.
From absurd to crazy, "Kill la kill" has beautifully completed the imitation of the first two works, forming a masterpiece that is both king and evil, orthodox and partial, bright and dark.
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"Kill la kill" still has the shortcomings of fusion. Nakajima's script is too overpowering, and some of the scenes seem like they're slashed for the sake of being impressive, and they're a swaying contrivance. Yes, a good work often leaves some "stalks" for future generations to pay tribute and ridicule, but when Da Lala predicts which parts are future stalks in the play, this kind of escape always feels like a kind of arrogance in disguise . The story took a turn for the worse after the battle in Osaka, and the pattern suddenly expanded into a world-class disaster. There were also some awkwardness in wearing big shoes for small feet, which made the main axis lose the explosive power that was crazy in small circles in the early stage.
However, "Kill la kill" can still be the biggest star in 2014, which is a surprise in the eyes of the audience. This may not be Trigger's best animation in the future, but at least it will be the best performance of Imaishi Yangzhi so far. He broke through his own watershed, released the flood, and stirred up a new height. The successful mixture of absurdity and madness is worthy of a full house applause for Imishi Yangzhi and Trigger.
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