Episode 13 – Rock is a Lady’s Modesty

I’m glad I finally got this name: Ms. Rock. When talking about our four women, come up with good synonyms: girls, gangs, ensembles, groups, performers, etc., which are taxed. Unlike Tamaki’s original band name, I didn’t need to turn to writing this, so I had a lot of attitudes towards Alice, so I was pretty normal with Alice (regardless). More importantly, this is the best conclusion you might want this season. Locke is the modesty of the lady Provides a climax worth mentioning, showing the best climax of this adaptation and waving the pride of the character.

First, think I was surprised and satisfied with the musical core of the performance of the women of rock. The anime gives titles in mid-term cards and final credits, but if you want to find it yourself, it’s “At night, we occupied the light, accepted many secrets, and cultivated a dark “dream.” By the band Té (yes, all of their songs are so long). You can also hear the original version On YouTube. Their post-rock sounds are flavored by the technical complexity of mathematical rocks, making them a suitable choice for girls’ intense instrumental approaches, and Creative maid Do a job covering it. Based on the comments Youtube The video I linked, the manga also had to quote this work by name, maybe in the exact same scene, so the adaptation made on Mangaka’s intentions was very cool. I put it with Sonny Boy Let another post-rock band toe write a new song for the finale. Now, we need music and animation real Embrace this genre and dedicate the entire plot to a song that scores over 20 points.

I’m also shocked by the transparency of the subtext at the heart of this conclusion Rock Lady“Richly obvious allusion to history”. But here, nothing else but queer lenses can’t read the band sticking to instrumental music. Both Bittle Ganache’s love songs and Bacchus’ Vapid Pop have singers, and the characters repeatedly emphasize that these vocal-driven bands are “Norm.” There are pressures both outside and inside to make Lilisa and others comply with the norm. People criticize their instrumental music for not being suitable for the average audience. and “Voice: Straight:: Musical Instrument: Gay” Analogy on the surface, Rock Lady Use it in an internal way. If you are going to explain it sincerely, then you accept that these ladies are lesbians.

But let’s remove the subtext. Let’s take a look at the literal meaning of this episode. The rock ladies start to rebel against the concert in front of a group of angry women, their obsession with boys, and the rock ladies openly discuss their sapphic sexual fantasies from a sleepy congregation. It is a queer liberating act that eliminates the ghost of compulsory heterosexuality. The four girls basically hit each other on stage to the point where the crowded audience saw it and concluded, “Hey, we should try it.” The ending was a 24-minute relentless lesbian publicity, which was glorious. Incredibly, though, I express my condolences to a woman who hopes Tamaki will rule her. She barked the wrong tree, Tamaki wanted to bark otoha.

As for other explicit feminist behaviors, it is satisfying to watch girls completely weaken the boys, rather than having a lot of game pretentious first. Lilisa and the others have removed their temper so completely that Tina joins the middle finger’s action! Tina! Repeat my comment last week, this is a cartoon-like portrait of toxic masculinity, but sadly, even that comic is refuted in modern society. Rock Lady Nor will it avoid the layered theme here. Manager Lad moved on the Rock Lady stage, refusing Bacchus’ abuse and resignation, proves that men also benefit from feminism. Lilisa once again connects boys’ privileges to their wealth and reduces their wealth as rock tourists hope to use their money to expand their already large influence. Lilisa and the others weren’t that extravagant. To them, music is air. They can’t do without it.

But the real conflict in this ending is not between the band and the audience, nor between the girls and the boys. It’s between Otoha and Lilisa. Otoha prepares to retreat to her solo and masturbate drums, and then Lilisa reminds her why the two of them are attracted together in the first place. She proved that there might be room for pleasing the crowd and pleasing herself on stage, and Otoha is credited with the energy the audience can exude. Or she learns that she is an exposed person. There is some room for explanation. The most important moment, though, happened after the concert, when Lilisa and Otoha had an intimate one-on-one conversation. Lilisa rejects Otoha’s suggestion to add vocals, as it’s never to throw away his identity (and given the aforementioned queer reading, the band’s “exchange team” understanding is not the subject or narrative meaning). It’s about being proud of who you are and what you do and who they do.

On a technical level, the ending brings some heat from the early plot. Motion Capture and Dynamic 3D Camerawork synchronizes with the cruelty of Rock Lady’s performance. The storyboard and director are as good as ever. The flower images mostly return to the forefront, especially the final scene instills the proper romantic style between Lilisa and Ottoha. I lamented that theirs was hardly a complete kiss, but honestly – they were done and said dirtier things together.

Comprehensive, Locke is the modesty of the lady Swing to adapt. This season is not perfect, the production doesn’t always keep up with its own ideas, and the narrative sags slightly in the middle. The end result, however, is absolutely comprehensible to the task, and when it needs to be loud, it will ring loudly. Rock, your wild lady.

grade:

Locke is the modesty of the lady Currently flowing
Hidive On Thursday.

Steve is on Bruceky Meet all your release needs. They are modest as mouse. You can also catch them talking about garbage and treasure This week’s animation.