To the audience present, Elsa's singing style in the Shadow of Evil was both familiar and strange.
It was familiar because it resembled a performance in a musical, using melody and lyrics to express the character's experiences and emotions.
As for why it was strange, her specific singing technique was different from that of mainstream musicals.
Feilin's musicals were derived from opera; their vocal techniques emphasized purity and stability. The main difference from opera lay in the dancing, but the singing styles themselves hadn't completely diverged.
But in the Shadow of Evil, Elsa wandered a snowy mountain, her singing not what you would call proper or standard, but absolutely free, pleasant to the ear, and full of emotion.
Critics might not like this kind of singing, evaluating it as lacking polished details, devoid of profound expression, with emotions that were only skin-deep, and so on.
Just like their reviews of the Underground Discard's album.
But who cared?
