See all reviews of Kill or be Killed (14)

This week, Kill or Be Killed takes a one-issue hiatus from Dylan’s chaotic point of view to show us what’s going on with Kira.

Kill or Be Killed #7 (Image Comics)

Screen Shot 2017-03-14 at 1.26.21 PM

Observations

  • Sign #1 that Kira has a messed up family: They keep a book of family members who have died over the years dating back to the 1800’s.
  • Is it just me, or does this therapist kind of suck?
  • Dang. You try to do the right thing and still get yelled at 🙁
  • I’d hate to see how manipulative Kira’s mom is when she’s not on morphine.
  • C’mon Kira, don’t do that…
  • Yep, this is about as horrifyingly awkward as it gets.
  • Uh oh…

The Verdict

This was a very different type of issue than we’ve had before—and as good as it is, I’m also a bit of a meathead who wants his guns, ‘splosions, and blood. This story offers absolutely none of that.

Fortunately, Kill or Be Killed #7 is still a beautifully crafted look into arguably the most influential person in Dylan’s life. Brubaker’s script provides Kira with a heartbreaking backstory that also makes some of her less sympathetic actions a lot more understandable.

Sean Phillips’ usual brilliant work is interspersed with a matte photograph effect that emphasizes just how much Kira’s past—and her family’s history—is burned into her strained and tired soul.

We also get an interesting twist at the end that plays on the question of Dylan’s sanity. Kira’s discovery is something the reader has probably been considering for a long time, but the fact that she’s thinking about it now as well is going to make everything a lot more complicated (in a good way).

So yeah. No violence or Dylan’s nihilistic snark. But even with an issue that deviates drastically from the series’ usual focus on tone, Kill or Be Killed is still a heck of a good read.

Kill or Be Killed #7
Is it good?
No guns, explosions, or blood, but we still get a beautifully crafted story about arguably the most important person in Dylan's life.
Brubaker’s script provides Kira with a heartbreaking backstory that also makes some of her less sympathetic actions a lot more understandable.
Sean Phillips’ usual brilliant work is interspersed with a matte photograph effect that emphasizes just how much Kira’s past—and her family’s history—is burned into her strained and tired soul.
An interesting twist at the end that plays on the question of Dylan’s sanity.
Not a whole lot of action for meatheads like me to enjoy.
Kira does something really stupid that should have ended up being a lot more awkward/embarrassing.
8
Good
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