When it comes to mangaka, I tend to intuitively differentiate between “virtuosos”, “researchers” and “directors”:

1. The first are highly dexterous be it pencil or digital design, but they might explore themes insufficiently, their ideas and worldbuilding devolving into “rule of cool” and atmosphere. Or their works may lack a concrete goal in mind and seem purposeless.

1. The second take plenty of time to research and even analyse to boost the plausibility of their work, using meticulous details for thematic exploration and to immerse readers to the story’s workings. They may not always be quite skilled artists though, and their works might miss the greater picture.

1. The third tend to be big picture thinkers and plan their narrative carefully. They know what to express and what to stand for. This can be a double-edged sword though for they may neglect vital details, and their writing can have thorns such as mouthpiece characters.

Yes, this distinction is arbitrary. Mangaka are people, and not to be boxed. And it also boils down to factors such as genres and pressure from publishers. Yet, it is not as if I describe an “impossible trinity”. Nothing says a creator cannot excel in drawing, research, and story planning simultaneously.

Nonetheless, it simply takes too much time to master all three, in fact many mangaka have assistants to help with technicalities. And I doubt many are as wholeheartedly devoted to art as to deny other ways to earn a living and boost their meagre incomes. I am not trying to point out a perfect creator exists; instead, I believe the ideal creator is they who achieve perfect balance within their “own framework”. Mori Kaoru is such a creator, and it shows in Otoyomegatari, her passion project.

Otoyomegatari is simply put, beautiful. All-round beautiful and drawn by Mori’s own two hands; she does not employ assistants. Her artistic skill translates into meticulous details within character designs, traditional art, animals, there is nothing she cannot depict.

Background work does not falter behind either. Be it cities, natural landscapes, the interior of a bathhouse or a yurt, occasionally I cannot distinguish between key and secondary details. There is also enough food porn to push the reader at storming the fridge for a mid-read snack. Be warned however that there is a little nudity at times, though Mori presents the characters elegantly and thus they never lose their dignity with cheap scenes such as molesting ones.

I believe however the true depth of her artistic skill concerns encapsulation. Occasionally, she may employ calculated usage of blank space rather than fully drawn backgrounds, to make for contrasts with key details. She also toys creatively with panelling (including borderless panels). Some chapters even follow a more “show, don’t tell” approach allowing artwork to do the talk in place of speech bubbles.

Mori takes long breaks from writing not only to rest, but to pile up study material for references. What is even more remarkable though is this influences her writing style as well.

First, it shows in the worldbuilding. The setting is not eyecandy; it is organic, believable and characters are true to their upbringing. Be it the wander lusting Englishman, the hardy nomad, the lonely wife of a Persian merchant or the child husband nobody feels out of place or unrealistically depicted.

Second, it shows in the neutral perspective. Otoyomegatari intends to represent diverse societies of Muslim faith, over whom Mori does not take a stance, she rather displays those societies as they were. This is especially important for multiple reasons: it does not offend people of an Islamic background, does not predispose readers to specific opinions, and allows for authenticity setting-wise.

This might be more debatable, for I have read criticisms that the story does not seem to lead anywhere at times. I disagree, for I believe Mori knows what she wants to express. Perhaps not to the extent where she plans out everything, but her choices are calculated and not haphazard at all.

The greater picture concerns the Great Game chronologically and the Silk Road topologically. An era of intense antagonism between the Russian and the British Empires for control of trade routes and springboards of strategic importance, this is bound to affect the cast of characters in various ways.

And the Silk Road allows for frequent changes of scenery connected to people from very different walks of life, all tied together in a grand tapestry. The story essentially interchanges between a “zoomed out” perspective (for which the protagonist is the key player) and a “zoomed in”, concerning individual characters and various aspects of their daily life.