In the final kill – “Of Kill, Me, and Baby,” the latest thing to catch Yasuna’s interest is cop shows on TV. She brings “toy” handcuffs to school and after cuffing herself to Sonya, breaks the key. Sonya finally slips out and cuffs Yasuna to a tree. Yasuna then guesses Sonya’s birthday is near, and arranges a party with Agiri, who must be assembled from three boxes in the right order (when they don’t later on, it’s not a pretty sight).
The crime theme returns when Yasuna learns Sonya is going off to do a job, and tries to stop her. She falls into a trap, but drags Sonya in with her. When Sonya leaps out, Yasuna makes an impassioned plea not to leave her and not to kill anyone else, as it may negatively affect their friendship and disallow her from continuing the hijinx of the last thirteen episodes.
Sonya lowers a rope for her. As much as Yasuna antagonizes and annoys her, Yasuna’s tearful words move her: she doesn’t want things to change. She wants to keep being teased by Yasuna, and she wants to keep hitting her in retaliation. Perhaps not the healthiest friendship, but a solid one nonetheless.
This week’s episode was all over the place…but in a good way. Yasuna and Sonyas relatively normal activities (Making mochitsuki, playing New Year’s games, flying kites) are interspersed with an eclectic series of skits, some of which apparently parody classic Japanese folk tales (we’re not which ones, exactly).
These presented as Yasuna’s “first New Years dreams”, even though you can only have one “first.” There’s also a boxing dream and a zombie dream. Yasuna, Sonya, and Agiri (and the extra girl) play various roles, but pretty much maintain the same personalities throughout. The use of diverse art styles are a nice touch.
Yasuna is a girl who’s so optimistic, she believes she’s “not retarded yet” because she’s lucky Sonya’s “not hitting anywhere damaging!” But as Sonya points out on numerous occasions, Yasuna’s fortunes may only be a product of her stubborn stupidity rather than luck – and in one instance, Sonya’s skill, as she saved Yasuna’s life from an assassin.
Yasuna actively seeks out ways to be injured, both by Sonya and by whatever she’s seeking out. But she’ll be damned if she’ll let anything get her down. She can be beaten with a fishing pole, have flower pots and knifes thrown at her head, and even get her hand bitten by a ninja toy, but these things can never hurt her spirit.
Concerning culture fest, breath-holding, record-breaking, water sampling, starting pistols, jumping pigtails, the useless character, the old man at the bottom of the human pyramid, UFO jitsu, juggling beanbags and knives, organ-grinding, pot-balancing, and the art and challenge of swatting mosquitoes.
On Kill Me Baby, dead horses are rarely beaten, because the comedy jumps from one thing to another so quickly, and never dwells on anything inordinately long. Sometimes the segues between items are a bit forced if not random (including many a bizarre transition card) and serious yet funny narration stabs. This episode’s attention span was as short as Yasuna’s, but it had its share of charming moments.
The way Sonya’s hair reacts to a pistol shot, the way Rie Kugimiya’s red-haired character was dismissed just as soon as she appeared, Yasuna swatting aimlessly at a bug while making soap bubbles with the swatter – all nice details. Sonya even screwed up a few times, failing to kill the mosquito, dropping a dutch oven on her head, and even letting Yasuna score a slap square in her face. Of course, Yasuna paid dearly for it, but we’re just excited she landed a hit at all. Such things are rare.
Yasuna repeatedly tries to get defense pointers from Sonya so she can counter her attacks in future, culminating in a nunchuk demonstration, followed by nunchuk maki rolls that are stolen by crows. After school they head to a crepe stand in a park, and come face to face with an escaped bear; Yasuna neutralizes it when their heads collide after she falls off a pole. Sonya offers to help recover a girl’s ballon lost in a tree, but fails. She and Sonya then play hide-and-seek and tag with the girl; Sonya is abandoned when it gets too late.
There’s not a huge amount to say about KMB except that it’s not terrible, its comedy is just weird enough to work most of the time, and the naive art style is oddly endearing. We wish Agiri was a little more than one-note, and her voice can grate, but at least her ‘ninjitsus’ are ridiculous and often useless. It’s obvious we can expect episodes to be formed from a handful of skits focusing on various simple ideas – in this case, nunchukus, bears, and balloons. With several series airing this season that feature huge casts and complex storylines, we see this as our weekly respite. Set brains to ‘low’ and enjoy.
Cheerful, ditzy high schooler Oribe Yasuna’s friend and classmate Sonya is an assassin. This means she’s always on her toes for threats, no matter how small. These threats include bugs and stray dogs, and she also opens bottles with a swipe of her hand. While investigating a ghost sighting in a classroom, Yasuna meets Agiri, a ninja and a member of the organization Sonya works for. Antics ensue.
To be succinct, Baby Please Kill Me (or Kill Me Baby, let’s just call it KMB) is charmingly dumb fun. It’s a bubbly, fairly lazily-paced comedy with little or no serious conflicts, despite the fact one of the characters is a frikkin’ assassin. That’s kind of the whole premise, though whether Sonya actually ever kills anyone is up in the air; she doesn’t this week. This series doesn’t try to make things too complicated, but there were plenty of chuckles to be had.
Stylistically, KMB is simple too. Slightly deformed, childish characters, liberal use of bold primary colors, and some decent texturing mixed in. Fanservice is thankfully nonexistent. The voice actors, none I recognized, do a good job bringing their near-chibi charges to life. A really horrendous, repetitive opening sequence is countered by a really cool, funky ending sequence. While that opening was not the best first impression, the more we watched, the more we liked it.