Kill la Kill review


You know what? Let me just stick this here:


Cool, now that we’ve got that out of the way, let me tell you why Kill la Kill is FREAKING AWESOME.

Once in a while, there comes a media experience that reminds you what human creativity can accomplish. Kill la Kill is one such experience. Let’s have a little look into the behind-the-scenes aspects that make up the series.


L-R: director Hiroyuki Imaishi; producer Masahiko Otsuka; translator Tatsuru Tatemoto.

Kill la Kill was produced by Studio Trigger, a team created by ex-members of Gainax, a studio famous for such series as Neon Genesis Evangelion, FLCL, Panty & Stocking With Garterbelt and Gurren Lagann. The latter two were directed by Hiroyuki Imaishi, whose first order of business as co-creator of Studio Trigger was to direct Kill la Kill.

Now, if you’ve ever seen Panty & Stocking or Gurren Lagann, you’ll know two things:

One, that Hiroyuki Imaishi is certifiably insane.


Ladies and gentlemen, Inferno Cop.

Two, that Hiroyuki Imaishi is certifiably awesome.

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Ladies and gentlemen, Gurren Lagann.

Let’s just say the show was destined for greatness from the get-go.

But enough back story. Let’s look at why Kill la Kill kicks so much ass.


No no no, “kicks”, not “whips”.

Kill la Kill is the story of Ryuko Matoi, a 17-year-old drifter who finds her way to Honnouji Academy, a massive, obelisk-like concrete monstrosity perched atop the top of a multi-tiered shanty town. It kind of looks a bit like the Tower of Barbs from Let It Die.


Ryuko is on the hunt for her father’s murderer, armed with one half of the weapon used to kill him – a giant pair of scissors! (just go with it)

Her mission brings her into conflict with sinister student council president (and full-time ice queen) Satsuki Kiryuin, and her elite four students, who lord over the academy and submit its students to gruelling exercises, armed with their transforming “Goku Uniforms”.


You see, each student has their own rank at the academy, from the incredibly wealthy and powerful three-stars, to the lowly no-stars, like Ryuko’s new best buddy, Mako Mankanshoku.


Regardless, Ryuko is no match for these uber-powerful uniforms, and is quickly dispatched by the forces of Honnouji Academy. But just when her mission seems doomed to failure, she bleeds on a pile of clothing and…



..she gets accosted by a talking sailor uniform that desperately wants her to wear him. His name is Senketsu, and he’s basically an evolving Goku uniform on steroids. Thus begins Ryuko’s crusade against Satsuki Kiryuin, and to find out the truth about what happened to her father…


Now, I know what you’re thinking. “Ace, this is sounding dumber by the minute. Scissor blades? Caste systems? Giant structurally unsafe concrete towers? TALKING CLOTHES?” And you’d be right! But here’s the secret weapon up Kill la Kill’s sleeve.

Everything in the series is gleefully, giddily silly, and it knows it. Every aspect of the show, from the writing to the animation to the voice acting is oozing with a combination of over-the-top mid-90s anime cheese and a modern sensibility.



In essence, Kill la Kill is a parody of shonen series of yesteryear, featuring a cast of big beefy boy and sexy girls with ludicrous “finishing moves”, “techniques” and motivations. Overly-revealing and sexualized transformation scenes evoke famous “magical girl” series like Sailor Moon, but with the added spice of attitude and knowing humour that Trigger is best at.


No seriously guys, I like it because it’s funny. Honest.

It’s that sense of self awareness that raises Kill la Kill above the rank and file to a place where it can not only be appreciated as great entertainment, but as an indictment of modern anime itself. Far too many anime today focus on ensuring characters look perfect in every frame, every scene, every episode. Kill la Kill is far more inclined to throw consistency out the window in order to give a frame some more punch.


Character sizes warp and change depending on the situation, attacks launch their victims high in the air, through walls, other people, whatever stands in their way. Everything in Kill la Kill seems to be in a constant state of motion, like a small child who’s eaten too much candy and just can’t. Sit. Still.


And the characters are great, too! Ryuko and her nemesis Lady Satsuki are easily two of my favourite lead characters now. Ryuko embodies what I love to see in my protagonists – a sense of barely contained bubbling rage occasionally bursting into action, while still being sympathetic. It’s badass.


And Lady Satsuki? Lemme tell ya, I’ll be her loyal servant any day, yanowataimsayin?


I’m saying she’s very very scary please don’t kill me

Her ensemble of cronies, too, get a lot of fun moments. Everyone’s favourite Ira Gamagoori, aka MISTER LOUD NOISES is obviously a crowd pleaser, and very much a retro throwback character, though I’m personally partial to Nonon Jakuzure, the obnoxious band leader who fights with the power of classical music.


For those curious, the English dub of the series features a slew of well-to-lesser known talent, who fill their roles perfectly in a spot somewhere between early 90s cheese and modern professionalism. It features all of the cliches of old-timey dubs (ALL YELLING, ALL THE TIME) but has a sense of razor-sharp wit and awareness that just makes everything fun and punchy.



Speaking of listening, the soundtrack of Kill la Kill is easily its weakest aspect. Not because it’s terrible, but because it’s mostly fairly unremarkable. That said, Before My Body Is Dry is a beautiful catastrophe of dubious English, edgy metal and a rap verse. I love it.

So basically what I’m saying is I’ll take re-watching Kill la Kill another eight times before I watch Attack on Titan again. Let me repeat my previous statement.




A pleasure to watch from start to finish. Likeable characters, an engaging plot and stunning, if rough, animation make Kill la Kill one adrenaline rush you won’t want to miss.



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