Trigger’s first great anime proved to be riotous fun and to have a decent high story at the same time. If one wished, one can delve into Kill la Kill’s themes concerning excessive shame (as I did), the isolation caused by wealth and power (which I still haven’t written about), wealth as a source of corruption (which Japesland wrote astutely about), how people’s excessive concern for appearances strips them of their personhood (as Good Bye Navi touches on), and its hierarchical treatment of friendship. I was pleased to see that my guess that Satsuki and Matoi would become friends came true. In many ways, Kill la Kill felt like an Attic tragedy, especially with the internecine conflict among the Kiryuins (someone should compare the main characters to Agamemnon (Isshin Matoi), Clytemnestra (Ragyo Kiryuin), Orestes (Ryuuko Matoi), Electra (Satsuki Kiryuin), and Pylades (Mako) ) and the chorus-like role of Mako.
Though it was a great show on many levels, the panache and flamboyance of the characters separated it stylistically from most anime released around the same time. The show offered its audience more twists than any show in recent memory. I also remember becoming immediately attached to Matoi when I saw that she had the moral courage to run from losing battles in the beginning of the show–very un-Shounen-like, but Orestian! (Yes, my dear readers, you can see that an article comparing on the Oresteia and Kill la Kill is presently being contemplated.) In my opinion, the plot’s greatest weaknesses came from its excessive borrowing from Tengen Toppa Gurren Lagaan. This did establish Trigger’s commitment to epic stories, but their next work can do without aliens, evolution, crazy power-ups, etc. But, Kill la Kill makes me look forward to their next great work.