Rock is a Lady's Modesty

Episode 11

With the battle of the bands in its rear-view mirror, Rock is a Lady's Modesty returns its focus to Lilisa and her noble quest to become the Noble Maiden. This goes poorly. That's not surprising, either, because it's difficult to imagine a conclusion to this series where Lilisa wins that title by continuing to repress herself in a misguided attempt to “save” her mother. That would go against everything the show has stood for thus far. Nevertheless, it makes sense for Lilisa to believe she can still do it, as she continues to maintain the barrier between her band and non-band lives. She's a stupid teen. Let those among us without sin drag her in the comments.

Speaking of the band, the episode opens with a fun little scene that demonstrates how well their dynamics are settling in. Tamaki finds an outlet for her haughtiness through tutoring Lilisa in the art of the guitar. Otoha gently assuages Tina's insecurities while complimenting her ample bosom. Tina picks up on Tamaki's tsundere qualities. And Otoha briefly indulges Tamaki in her degradation fetish. I think this ensemble is going places. More importantly, they're comfortable around each other now. While their skill levels vary, their bravery in the face of adversity unites them, and that should be their trump card for whatever is going on with the boy band in the cliffhanger.

Lilisa, meanwhile, remains just as adept at and committed to scheming for the Noble Maiden position. Rock Lady's narrative toes a fine line between admiring her dedication and chastising her for her naivety. Clearly, she takes her student council position seriously, and there's nothing indicating that her plans and proposals aren't sound. Fujimurasaki, however, gently reprimands her for interrupting tea time, and the reality of her situation comes crashing back down. This is the cruel truth: there is no upward class mobility. No amount of extra effort can make up for Lilisa lacking the fundamental privileges of her peers. A prior Noble Maiden bought her way in by donating a building. Lilisa might as well try to lasso the sun, because that's just as impossible for her to accomplish.

Yayoi thus emerges as the icy avatar of the system Lilisa is up against. She's the portrait of institutional wealth—a beautiful façade that disguises the cruel capitalist machinations ticking behind every step and gesture. She is also a pitiable figure. When the principal recites the motto, “sacrifice and service that sustains a family's prosperity,” the operative word in there is “prosperity.” Even the Noble Maiden is ultimately subservient to her wealth and the accumulation of it. Family, therefore, turns tyrannical as well, and Rock Lady correctly invokes the terror of the patriarchy in particular. Yayoi mentions that it was her father's request that she quit the harp, after all.

On a technical level, the episode impresses me with how it subtly builds menace around Yayoi's presence. For one, she appears out of nowhere like a horror movie monster with the instinct to pop up in the wrong place at the right time. She also exudes the kind of overly friendly politeness that sets me on edge, speaking as someone who grew up between Philly and NYC. People don't act that nice unless they have ulterior motives. Yayoi deliberately toys with Lilisa, too, dragging her all over the school because she knows Lilisa can't refuse her. To match that mood visually, the episode introduces clouds that slowly encroach on the scene until they fully blot out the sun with Yayoi's dark revelation—that no girl who plays guitar can ever become a Noble Maiden. She slams that gate in Lilisa's face, smiling all the while.

Lilisa had already correctly surmised that she would be playing a zero sum game to become the Noble Maiden. However, Yayoi proves to her that she's playing with far less capital than any of her peers. This also ties back into Yayoi's introduction. While I first thought it was clumsy plotting that she just happened to overhear Lilisa sighing about her guitar, the coincidence works in the grander context. Lilisa needs to be constantly vigilant in manners that her peers simply don't, and one slip-up is all it takes to unmoor her. It's unfair, and that's the point. Lilisa does have one advantage, though. Less to play with means less to lose.

Lilisa's final act of guitar-shredding catharsis ends these events on a sympathetic note. After conforming to society's expectations all day, she reaffirms that music isn't merely “fun” to her. It's medicine. It's the only thing keeping her from exploding. I was really touched to see Otoha stop herself from accompanying her, too. It proves that their relationship isn't just physical. Otoha loves Lilisa enough to pick up on her emotional state, and she lets her vent without bringing her own baggage or pleasure into the situation. We don't see that side of Otoha often, and I hope Lilisa disarms her again in the future. For now, though, Otoha leaves us with a Pete Townshend quote and the hope that their band will keep finding ways to dance all over their problems.

Rating:

Rock is a Lady's Modesty is currently streaming on HIDIVE on Thursdays.

Steve is on Bluesky for all of your posting needs. He is modest as a mouse. You can also catch him chatting about trash and treasure alike on This Week in Anime.