Emma
a review by Krankastel
a review by Krankastel
Second Mori Kaoru review, one devoted to her first long form story. Emma is a historical romance set at 19th to 20th century England, mostly during the Victorian era and a little during the Edwardian.
Not unlike other media set back then, Emma portrays class struggles and shifting social dynamics thanks to developments during the Industrial Age. However, it is not “Dickensian” as in delivering scathing social criticisms, but rather takes a neutral perspective and romance always remains the main axis. Class gap obviously plays a major role, and the premise overall is a bit cliché, but the execution works because of character writing, meticulous artwork and Mori’s almost uncanny eye for historical accuracy.
The leads’ dynamic drives the narrative, yet the cast runs a wide gamut: English and foreigners, old money and nouveau riche, working class and gentry. Not all are explicitly fleshed out, but everyone behaves faithfully according to their circumstances and their daily lives speak more than words.
And unlike other works with star-crossed lovers, Mori does not always depict upper classes negatively. Quite the contrary, there are many sympathetic people alongside the stuffy, haughty, and antagonistic ones. Other than being realistic, this allows readers to appreciate and empathise with characters across classes.
Character designs are smooth to the eye and loaded with rich amounts of details in their hairstyles, clothing, and headwear. One point of criticism though: certain faces look too identical. Occasionally I could not distinguish e.g. some prominent male characters.
Backgrounds’ quality can be a bit more variable, from slightly functional to meticulously detailed and atmospheric. Otoyomegatari excels more at this department, but nonetheless there are many great panels. At later parts Emma is becoming increasingly “cinematic”, with more creative uses of paneling and better contrasts of key details with blank space than in earlier chapters.
A self-professed Anglophile, Mori did not employ speculative elements but rather relied on deep research and proper steps to ensure accuracy and immerse readers. This is evident not only in familiar Victorian elements, but also in hyper-specific and obscure references, terminology, and characters’ dialogues. I was in awe with many closing notes describing trivia that had totally gone over my head.
There were however a couple of inaccuracies early on, which is why Mori made a most admirable decision; she hired a historical consultant from the 3rd volume on. She was THAT devoted to her work.
The romance does not follow “anime” tropes at all and whatever fanservice present does not degrade characters or cheapen the plot. There is also no excessive melodrama, and sexuality is much in line with Victorian tendencies for a healthy dose of realism.
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