I was not rude to you, so you do not need to be rude to me and call my very logical argument nonsense.
Legend of the Five Rings is a fantasy setting. It is neither Japan nor China nor Korea. But it has an art aesthetic that has direction.
Dungeons and Dragons 5th Edition suffers from some inconsistent faux art aesthetic, one that tries to look oddly inspired by older historic fashions yet lacking any logical direction. Official D&D 5e sourcebooks still exclude jeans wearing heroes, or popular modern automobiles or portable computers and mobile phones. If the argument some here are making is that anything goes in D&D, then why the lack of obviously modern accoutrements?
I was not being rude, but your argument is completely off-base, as you are comparing apples to oranges. In fact, you're complaining that this orange isn't red enough.
Firstly, Legend of the Five Rings is a fantasy setting, but it has obvious inspirations from East Asia, especially Japan/China/Korea. I mean, if you have folks who literally call themselves samurai (which is essentially a Japanese knight), the inspiration is clear. More than that, it is pulling from a very specific time period in East Asia history, being the Warring States period of China and the Sengoku period of Japanese history. The art direction for this time period has a level of consistency that LotFR mimics while also using modern art techniques (and it does so quite well).
D&D has nothing close to such historical or regional consistencies in its inspirations, and it shouldn't either. Consider three of the past biggest adventure modules, being Tomb of Annihilation, Descent into Avernus, and Rime of the Frostmaiden. The first draws upon influences of Mayan, Aztec, and African art, from pre-colonial (and I mean very pre-colonial) periods. Descent into Avernus pulls influences from Christian depictions of hell, including Dante's Inferno and other Renaissance concepts of the infernal. And Rime of the Frostmaiden pulls influences of the cold frontier of colonial exploration (into regions like Siberia and Canada), Nordic myths, and even indigenous tribal customs.
All three of these modules are (nominally) set in the same setting, Forgotten Realms, and yet have completely different inspirations. I would argue that each book, which tackles a specific element of fantasy, actually is quite internally consistent. They aren't very consistent with each other, but that's kind of the point. They are supposed to reflect a very diverse range of fantasy elements.
