Rock Is a Lady's Modesty

ZeroMajor12★ 5

I'll try to cut to the chase and give you my insight on the entire anime in general. Like most musical anime, this anime slaps with its incredible music. Maybe it's because I'm more fond of the rock genre than any other genre, but the electric guitar and drum play is a real treat. Combined with decent 3D animation to enhance their impact, it makes the music sections really fun to watch when they arrive. Most of its scenes that show the main cast playing and trying to overcome their shortcomings are cool to watch, all together, the music scenes are long but never feel likethey overstayed their welcome, and it's able to deliver the climax really well with all the emotions swelling into one last epic guitar SOLO! Another applause to give is how well done the voice acting for the main cast, particularly Lilisa. She breathes a lot of life into Lilisa that you almost want to root for her. And to top it off, you have Band-Maid performing a good opening song for this anime, so some good things are going into this anime. Unfortunately, this is where the complement ends. This anime suffers from a lot of downtime. Obviously, you can't just constantly show your main characters playing rock all the time without any story progression, but character progression in this anime is too basic and amateur compared to the already good music production. The anime really likes to rely heavily on tropes to move forward, without considering the chemistry between secondary characters beyond the main cast. So, any good minor characters are simply thrown out the window. Not to mention how repetitive the gags for the comedy sections can be. For example, if you look at Lilisa, her scenes mostly consist of trying to hide the fact that she's playing rock again, but the minor characters that are used for the gag are so poorly emphasised that they practically do nothing to progress the story or add anything to the story's context. It's always the same schtick; therefore, whenever it decides to escalate the story, it usually starts to introduce characters that have some form of relation or similarity to Lilisa, just so it can forcefully invoke the same kind of emotion Lilisa would feel after the end of their conversation. Meets a snobby artist? Show Lilisa being absolutely pissed. Gets insulted for her playing? She gets pissed and tries to outplay herself again. It's practically the same thing, and the story tries to act like Lilisa is growing as a character when she's been doing it since the first episode. The only character I had some fondness of is Isemi, since her quirk and cute side, along with her little character arc in the anime, makes her the most polished out of the main cast. Going back to Lilisa, I initially liked her at first, but when the anime started to replay the same gags, she got really dull and boring to root for other than her rare crashouts against Otoha, her partner-in-crime, who's also even duller than Lilisa. Otoha is a perfect example of how NOT to write a deuteragonist for a story, she has to be one of the most boring deuteragonists an anime has to offer, there's almost no redeeming qualities about this character other than the fact that she crashes out after delivering the performance of a lifetime, which is fairly good because I like edgy bursts, but it feels like a last minute insert into a poorly done character that only exists to make the main character play again. Watching Otoha is like having a minor character being forced into the role of a deuteragonist without any qualities of what a deuteragonist should have. Yes, sure, she is a constant companion and also as important as Lilisa in most case scenarios, but her dialogues and mannerisms do not suffice as a proper deuteragonist. The chemistry between these partners is extremely stale; you could skip the scenes between them and the anime would run just as fine. The latest character to join the band would be Shiraya, another character that I think is only made for the sake of progressing the story. Nothing about this anime feels real, it's like some copycat that wanted to do rock anime because it saw the success of other anime doing it without recognizing why. Speaking of character arcs, it does a somewhat okay job at growing the characters, although I find it to be very little in the main cast, despite Isemi (she gets off, because I like her). The character progression is not horrendous by any means, despite how I word this, but for a music anime about teens showing their angst and having frustrations, it's not worth the buildup to watch a character struggle for so little growth. Not to mention that Otoha has received NULL growth because she's seen as the PERFECT drum player who goes mad for every EPIC climaxes she gets. What I don't like is how they set up Otoha being just another school student who just loves to play drum, and then spend the entire season not receiving any growth! And since she's already perfect anyway, you get no insight regarding Otoha, because the series is more interested in showing Otoha just being a maniacal drumroller, and Lilisa going insane with the secrets she has to keep! Like Lilisa ironically, it's like watching an anime doing an amateur job at writing characters despite having the talents and proficiency of other aspects, like its music, style, and production. Not only are the characters just too basic for this anime, but the characters' arcs are done in such an amateurish manner, it makes me want to scream, "YOU CAN'T EVEN WRITE CHARACTERS PROPERLY!!!!". This anime is an example of how not to exploit tropes to write characters. To summarise, Rock is a Lady's Modesty has irredeemable qualities, such as a boring deuteragonist, abysmal character growth, but it also has its own merits too, great music, good production, and emotionally powerful scenes. Take the good with the bad. Thank you for reading.

KANLen09★ 8

Rock Is a Lady's Modesty — What's the cost of living a life of the fictional rich and noble when all things rock 'n roll are much more frictional to develop a hidden interest so bold and verbose that it tells a better life story above all? High society (or sometimes simply referred to as society). What comes to mind when you hear of these two words that defined a group of upper-class citizens whose world is miles apart from that of the average common folk? If you're thinking of wealth, power, fame, social status, or anything of that sort, you've pretty much got the thinkingon point. Reserved only for the "specially" born and bred, it's a life that no doubt anyone wants to experience, but in the world of mangaka Hiroshi Fukuda's Rock wa Lady no Tashinami deshite a.k.a Rock Is a Lady's Modesty, it is anything BUT the case, with its coming-of-age story about how musicality transcends the borders of one's heart being its driving force to be true to oneself and go against the formalities of the world. And if you didn't know any better, this is the mangaka's 2nd rondo of his works being adapted into anime, which started with the adaptation of his very first work: Spring-Summer 2013's action fantasy series of Joujuu Senjin!! Mushibugyou. The Noble Maiden, one of a handful of titles bestowed to ladies-in-the-making for being prim, proper, prestigious, and, most importantly, popular. This is the setting for the ladies-only elite school of Oshin Girls' Academy, where young ladies that are bred from the stature and reputation of families that have proven themselves and contributed to high society come together to be taught more of that same nature and be successors to their own families to keep the legacy going. One student in particular is the blonde-haired, twin-tailed young lady who goes by the name of Lilisa Suzunomiya, and the 1st-year lady student racks up her popularity by showcasing through her refined expressions what the next Noble Maiden should be like. However, deep down, there is a secret that the unassuming young girl holds her resentment for, and that is to play some music with the gift that made her the real lady beneath all the "preposterous" fine facade of hers, with an (electric) guitar that her late father had bestowed upon her. In the rage to fit the demands of high society and a family's remarriage that cemented her future, Lilisa is in one of two camps: to uphold her adopted family name and be the next heir to the Suzunomiya empire or commit to the guitar and see everything fall apart before her very eyes. It's within this context that we see Lilisa bump into another girl, Otoha Kurogane, who, as the daughter of a prominent political family, has all eyes on her as the top popular student that exudes admiration and fangirling from within. Yet, in an ironic twist of fate, Lilisa soon finds out that Kurogane is just like her — a relentless drummer practicing in the music room of the school's old and unused schoolhouse that's way off the beaten path, and a fiery confrontation between the girls' primp image and their preposterous rawness begins to rear its head. Clearly, this form of high society, or what is more commonly referred to as a "Class S" culture, is one that has existed since the early 20th century in Japan, and the literature's influences and legacy go far beyond as both a social phenomenon and even spawning its own genre as a pseudo-Yuri genre counterpart that depicts lesbian literature. And if there's one thing that's unapologetic about Rock Lady, it's that Hiroshi Fukuda wants the audience to know that this "Yuri" story is more than just an act of symbolism of how Japanese high society has been deemed "unreachable by the average reader," and that it allows the scrutiny of the market itself to be viewed through the lens of both Lilisa and Kurogane, who not only want to upstage themselves as girls of high stature but also as girls who know how to rock the party with "intended" BDSM-like sexual innuendos and phases of seduction that reek much in similarity to Kakegurui. Also, I think it's a fair judgment to call Rock Lady the "antithesis" of many shows of the same regard that have recently come into emergence to redefine the sub-genre of girls' band series, which you'll instinctively know THE one that made all of this possible: Bocchi the Rock!. In fact, author Aki Hamaji even endorsed and recommended the series alongside her very own when it comes to the deconstruction of the girls' band feature, which, as you can tell, it has revitalized the AniManga scene around that specific culture. With shows being similar in style, like the BanG Dream! franchise with its spin-off series of Summer 2023's It's MyGO!!!!! and last season's Ave Mujica, as well as last Spring's Girls Band Cry, the hype around the girls' band sub-genre has never been more fired up than before. From the pure to the raw, the fate of Lilisa Suzunomiya and Otoha Kurogane is one that's unapologetically doused in not just "friendly chaos" that's combined with the show's depiction of the class anxiety and societal sexism, but a dynamic and electric Yuri/lesbian relationship that knows no limits to amp the seductive BDSM traits of the series overall. It goes both ways between the ladies trying to be the dominatrix over the other with their explosive but sapphic and proud vulgar expressions. That's the story of "liberation and libidos," and the show constantly makes you aware that you're not just watching a constant catfight, but it's the catfight to end all catfights that doesn't diminish what's to love of the raw friction between the two ladies. However, while it takes two to form a small music team, it takes twice as much to form a band, and that's where both Tina Isemi and Tamaki Shiraya contribute to their "liberation" of rock 'n' roll. The vice-president of the girls' academy, Tina, looks the part of a model, and being the daughter of a family-owned cosmetics brand, she's instantly adept atupholding her Prince Charming persona in public. But in regard to her true self, she's anything but that as a gentle girl who has no mission in life until she chances upon the twin-tails girl's performance and wants to be in their reign. As for the latter, the childhood friend of Kurogane and a 2nd year at the academy's sister institution of Kuroyuri Girls' School, who's also well-versed in the underground music scene, holds nothing back against those who try to oppress her, and having only had Kurogane, who is her central area of influence, to even pick herself up to be a skilled musician, she's the epitome of "don't try to mess with me, or I'll mess you up even worse." On the sidelines, however, are also people who are in the direct line of fire when it comes to Lilisa and her two-faced facade of a persona, which, as you can imagine, affects them greatly. I've already mentioned that Lilisa was adopted into the Suzunomiya household after the passing of her late father, which brought both her and her mother, Yuka, into the prestigious family. However, like the strict confirmations of the Class S regime, Lilisa is always constantly informed by her mother to give up on rock music, something that was once shared within the commoner family before the remarriage, which is instantly noticed as a change of heart to not want to disappoint the new family's expectations. Moreover, the arrival of the mother-daughter duo does not bode well for the younger "adoptive sister," Alice, of whom she's the true biological heir to the name, and assumes her declaration to chase them both out by exposing Lilisa's facade and proving them otherwise, only for that same "class" act to rather influence her instead as a fan of Lilisa's. How the tables have turned. Interestingly enough, Rock Lady's production is also a twist on real-life fate as well. For the man who helmed the Gundam Build Divers series, as well as Fall 2023's The iDOLM@STER Million Live!, on a friend's recommendation, director Shinya Watada instantly found the series interesting and was even surprised that the studio of Bandai Namco Pictures reached out to him for a directorial role in the anime project, alongside assistant director Ori Yasukawa, who played drums in an amateur band. That proves more than enough to form a staff team centred around the marriage of rock music. And to make this effect come alive, the idea of using motion capture for the performance aspects of the anime comes as a consensus, but it's only with the help of producer Tatsuya Sunado scouring for bands that best fit what they're looking for that Watada picked the band that fits this rhetoric to a T: the famous all-female rock band BAND-MAID, which instantly hits all the right notes for rather gruesome recording sessions that at first were hard to overcome but went well thereafter. Even the VAs themselves have given recognition that despite the different-than-usual voice recording sessions that prove quite the challenge, at least to both central MC's VAs of Akira Sekine (Princess Principal's Charlotte, Senpai wa Otokonoko's Aoi Saki) and Miyuri Shimabukuro (Fruits Basket's Yuki Soma, Bofuri's Syrup), it's a lot of work and codependence with the author himself to flesh out Lilisa and Kurogane's characters to their very best. All of this combined really gives you the sense of appreciation of how coincidences can actually elevate the original source material to its full potential, which I think Shinya Watada and his staff team did an absolutely great job at that. When it comes to the actual production, Bandai Namco Pictures is as versatile as a studio you can get for its diverse range of shows, and Rock Lady is no exception to the formula. Great animation alongside the pseudo-3DCG motion capture that is supposed to induce head-turning epilepsy, which I'm thankful that it's not overused at all, gives the show its own identity to tell you that it's not goofing around, not even for a moment. Even the music is specially tailored for a series like this, with Band-Maid and its group members contributing heavily to the musical aspects of the anime, more than just its normalcy of a fired-up, rock-heavy hype of a banger OP song. With Little Glee Monster onboard for the ED, it's not a bad song either, and it's something that's outside the usual comfort zone for the all-female vocal group themselves. If you fancy a show that's all rock 'n roll, all hype, and Yuri/lesbian-induced, Rock wa Lady no Tashinami deshite a.k.a Rock Is a Lady's Modesty has you all covered for an experience awaiting its doors to be opened. While it has similar vibes to Girls Band Cry, the show is wholly its own thing that does just as majestically (in the ladylike sense), but with hard, punk rock vibes so toxic that it leaves you coming back for more battles. Even pure-minded ladies do have their antitheses of life as well.