(This article has been authorized by WeChat public account & B station column: Cyber Generation to publish)
An alien creature came to the earth, in order to reproduce and survive, using a small number of humans to occupy the earth. The fusion of alien creatures and humans can greatly improve the physical attributes of human beings and enhance their combat effectiveness. But relying on their power for a long time will eat back humans. In the end, both pros and cons merged with alien creatures and fought for the earth... Alas, that "Venom", go back a little bit, today is not about you, but her - "Killing the Girl" (also known as "Killing the Girl") Kill la Kill").
When it comes to KLK, the first impression of many people is: cool. It is true that in KLK, Imaishi Yangzhi used very bright editing, with a large number of powerful repetitive actions, to achieve the effect of combining dynamic and static, making the rhythm of the battle plot staggered and ups and downs; with the high-pitched and passionate soundtrack of Hiroyuki Uesawa, it is the whole film. The rhythm of the animation is equipped with a high-speed engine, bringing the audience an exciting audio-visual experience. However, if you only regard KLK as a brainless cool work, it will be a pity. In terms of production and core, KLK is a very good work.
From a production perspective, KLK is a very stylized animation. Take the first episode that Imaishi Yangzhi personally directed as an example. As the beginning of the story, the first episode set a very good style tone for KLK. The exaggerated comparison of the size of the characters highlights the gap between the characters' strengths; the oppression brought by a large number of looking up perspectives fully expresses the tense atmosphere within the Instinct Character Academy under the rule of Satsuki. Through the rotation and stretching of the lens, as well as the repeated switching of near and long shots, the exaggerated action performances of the characters make the overall style of the animation appear active and dynamic, without letting the repressed style in the academy take over.
In addition to the performance style, KLK's art style is also unique. The appearance of the huge red floating font as a narration not only lays the hardcore tone of the work, but also helps the development of interesting performances. The recent release of "Spider-Man: Into the Spider-Verse" brought the comic-like art style into the public eye. In fact, in the field of TV animation, works of this style are not uncommon, such as Jojo and KLK. The simple and rough lines on the faces of the characters, the split mirrors imitating the comics, and the often-appearing color pencil-style painting and coloring all endow KLK with a special charm that is different from ordinary works.
But while maintaining the comic style, KLK's use of light and shadow effects is also amazing. In view of KLK's non-realistic style, light and shadow can be used as desired to serve the performance effect, and the difference in the status and power of the characters can be displayed through the contrast of light and shade. The light and haze that can be seen everywhere, around the vivid use of colors of Liuzi, contrast with the monotonous gray tones of the Instinct Character Academy, highlighting the rebellious attributes of Liuzi's character.
The setting of combat fibers in KLK builds the worldview and combat system of the entire work on the clothing, and the most prominent representative of Liuzi's use of the scissors is the sword. If you want to defeat the battle fiber, it is best to cut it with scissors. Using combat fibers, all kinds of extreme uniforms, as well as blood and purity, make KLK's combat mode avoid boring repetition and increase the fun. The addition of "Nude Beach", while further enhancing the richness of combat, can be regarded as a small satisfaction for Imaishi's obsession with mecha.
Moreover, the subtleties of the battle fiber setting are not limited to this. The extreme uniform of combat fibers hides a wealth of political and theological metaphors behind it. Elements of metaphors and puns are not uncommon in Imaishi's work. It can be seen from "Angel of Garter Garment" that Imaishi is very keen on the tribute to European and American culture, the use of theological elements, and the metaphor of political culture. In this work, there are a lot of pun metaphors such as "Instinct College", which is a metaphor for Benneng Temple, "loss of war dimension" and "loss of war intent".
The blood and purity of the two divine garments also refer to something: the bloody sailor suit represents youthful, ignorant, energetic, rebellious, and fits in with Liuzi's character; while the pure wedding dress symbolizes secular constraints , The control of parental (mother) power is closely related to Satsuki's fate.
The first sentence of KLK's opening chapter uses the mouth of Mr. Mikisugi to describe the political environment - totalitarian politics. Not only inside the Instinct Character Academy, but also in the outside world, Satsuki's mother Luo Xiao also used the fighting fibers to exercise another form of dictatorship over the world. The next scene is the appearance of the Discipline Commissioner, which naturally transitions from real history to alternate reality, but the connotation is equivalent.
As the most important props in animation, the extreme uniform is not only a symbol of strength, but also represents the social status and identity of the owner. The higher the level of the polar uniform you have, the stronger the power you have, the better the family conditions you have, and the higher your status in the academy. In the real society, uniforms also exist as a symbol of identity. The police wear police uniforms to have law enforcement power, and doctors wear white coats to have the right to prescribe. The social significance of uniforms lies in this. However, the answer seems to be self-evident whether people in police uniforms can shoot, people in white coats can see a doctor, and whether people in extreme uniforms can gain more power.
Similarly, "people are pigs with clothes", and the status and value of people are determined by the clothes they wear. So, whoever holds the power to make and distribute clothes, controls the world. Therefore, "Terror is freedom, King's Landing is liberation, and contradiction is truth". Luo Xiao of Guilongyuan relies on the primitive fighting fibers, through "clothes", the "great will of heaven, earth and man, etc.", and through "spiritual falsehood" "Sewing" and "Shinra Jiava", completed the unity and absolute obedience to the will of all people, and achieved domination of this world.
On the contrary, the "nudist beach", which has abandoned the power of extreme uniforms and fighting fibers, represents the free will of people and the dignity of being born as a human being. They deny the status and power brought by clothes, deny the identity of "pigs in clothes", and intend to prove the existence and value of human beings themselves through the battle of their own strength, which cannot be measured by external objects. Fight to the end. This American theme of advocating freedom, individualism, and dystopia also frequently appears in Imaishi's works.
Therefore, in the process of pursuing the truth and avenging his father, Liu Zi has verified the official propaganda slogan: "Dress, kill, hunger, thirst, ghost, and survive, and finally smash the world!" With the development of the plot, for The theme of father's revenge gradually gave way to Liu Zi's choice of his own growth path and his search for self-identity. The development of the relationship between Liuzi and blood coincides with the process of Liuzi's self-knowledge. After going through a series of processes of getting blood, fearing blood, giving up blood, accepting purity, and finally choosing blood again, Liuzi finally Completed the identity of "I am neither human nor clothes, I am me". And Liuzi's mirror image, Satsuki, stepped down the unattainable altar step by step and embarked on the road of fighting with his partners. In the end, the two sisters swung their knives together, smashing the world bound by the fighting fibers, and also severing their own past, completing their respective coming-of-age rituals. Although the childish days of wearing sailor suits are gone forever, it does not mean that everything in the past is nothing; not to be bound by the past, but to pack the past into a bag and move on, which is the so-called growth.
However, Imaishi Yangzhi is a very bad old man. He hides his ambitions behind the scenes of fun fighting, nonsense, bad taste, and the transformation of a beautiful girl. Careless Azhai people are easily confused. Mako, as KLK's funny role, perfectly fills the gap between the bloody battles. Mako's idiot attributes are naive and cute, pure and a little bad, the weakest among the three heroines, but the most lovable character. There is also the transformation part of the shameful degree, Liuzi, Satsuki and even the Four Heavenly Kings, there is always a suitable one for you (funny
"Kill la Kill" is the first TV animation feature after Trigger's division from Gainax, and it is also the second supervision work of Imaishi after "Angel of Garter". In addition to continuing the unique personal style, the Japanese animation style and the American spiritual core are perfectly integrated, making this animation glow with dazzling brilliance. Although the rhythm in the middle and late stages is a bit out of touch, it is still a masterpiece of high quality.
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