Initially, I was hooked. Shadow and bone has a promising setting: late 19th century technology with magic on top. You get a lot of lore thrown at you and hardly any explanation, but, hey; I am okay with that. They explain things later, right? Well, perhaps or.. perhaps not.
Unfortunately, they slit their wrists by using happenstance, contradictions and cliches to tell the story. And they add insult to injury by introducing new characters, while they haven't established old ones. Less is more? Just throw that under the bus.
The writers are the culprits. They organized the story around cool moments. And then they had to connect them. And there is where it goes wrong.
A key moment is when Alina's powers are revealed. She is on a ship that is trying to cross this mysterious fold, a rift filled with monsters. The ship is open, and the crew exposed. Then flying monster's attack and this crisis invokes her powers.
The problem here is that the people know obviously that this attack can happen, but did not take any precaution against it, like roofing over the ship or putting most of the crew under decks. Or use a better transport. And a few episodes later a better transport exists: the conductor uses a metal train as transport the Crows across the fold. A train he apparently has built by himself, including laying tracks through that dangerous fold.
And here we see the writers at work. They first needed a cool moment to reveal Alina's powers, then another to carry the Crows across. And thus they create an inconsistent world: open, vulnerable transport versus protected one. If the latter is possible, it makes no sense to use the first. Unless you need it for the story.
The story is rife with these inconsistencies. Is the fold impassible? Well, no, because apparently entire armies cross it to fight each other. And people seem to go back and forth all the time. Or do they? Too dangerous, just perilous, or merely a challenge? Decide, please?
Enemies teleport in whenever and wherever. Alina's party gets ambushed soon after her powers are revealed. They give a flimsy excuse: someone must have noticed her powers. Really? Because they saw her powers from afar? But even that is inconsistent. The people at the edge of the fold didn't see her powers, but the enemy did? And then quickly concluded what she is, who she is, where she is and where she is going? I mean, even the General was skeptical, but they knew for sure? It makes no sense.
Alina's persona is also inconsistent. We get introduced to her as a bright, determined and inventive person. Then a few episodes later her character flips. She becomes a whiny, annoying and docile person. And not to mention she killed her fellow cartographers, but this hardly seems to bother her. Instead, she wines on and on about how hard her life is and about Mal, her friend from the orphanage.
And Mal, the male protagonist, suffers too. He somehow became an expert tracker and an expert boxer between the orphanage and the army? How? When? Please explain? But no.
This sort of writing is insufferable. You just make it up as you go along. They brush aside rules that are established at one moment, the next moment. The conductor tells the Crows not to move because it will throw the train from its course. One does and nothing happens. Baghra, her trainer, throws Alina out and tells her to come back when she believes in herself. Do we see that happen? No. Does she train Alina anyway? Yes!
Is this worth your time? Well, perhaps. If you don't care about consistency and relatable characters? I guess you give it a ten. Hilarious.
Unfortunately, they slit their wrists by using happenstance, contradictions and cliches to tell the story. And they add insult to injury by introducing new characters, while they haven't established old ones. Less is more? Just throw that under the bus.
The writers are the culprits. They organized the story around cool moments. And then they had to connect them. And there is where it goes wrong.
A key moment is when Alina's powers are revealed. She is on a ship that is trying to cross this mysterious fold, a rift filled with monsters. The ship is open, and the crew exposed. Then flying monster's attack and this crisis invokes her powers.
The problem here is that the people know obviously that this attack can happen, but did not take any precaution against it, like roofing over the ship or putting most of the crew under decks. Or use a better transport. And a few episodes later a better transport exists: the conductor uses a metal train as transport the Crows across the fold. A train he apparently has built by himself, including laying tracks through that dangerous fold.
And here we see the writers at work. They first needed a cool moment to reveal Alina's powers, then another to carry the Crows across. And thus they create an inconsistent world: open, vulnerable transport versus protected one. If the latter is possible, it makes no sense to use the first. Unless you need it for the story.
The story is rife with these inconsistencies. Is the fold impassible? Well, no, because apparently entire armies cross it to fight each other. And people seem to go back and forth all the time. Or do they? Too dangerous, just perilous, or merely a challenge? Decide, please?
Enemies teleport in whenever and wherever. Alina's party gets ambushed soon after her powers are revealed. They give a flimsy excuse: someone must have noticed her powers. Really? Because they saw her powers from afar? But even that is inconsistent. The people at the edge of the fold didn't see her powers, but the enemy did? And then quickly concluded what she is, who she is, where she is and where she is going? I mean, even the General was skeptical, but they knew for sure? It makes no sense.
Alina's persona is also inconsistent. We get introduced to her as a bright, determined and inventive person. Then a few episodes later her character flips. She becomes a whiny, annoying and docile person. And not to mention she killed her fellow cartographers, but this hardly seems to bother her. Instead, she wines on and on about how hard her life is and about Mal, her friend from the orphanage.
And Mal, the male protagonist, suffers too. He somehow became an expert tracker and an expert boxer between the orphanage and the army? How? When? Please explain? But no.
This sort of writing is insufferable. You just make it up as you go along. They brush aside rules that are established at one moment, the next moment. The conductor tells the Crows not to move because it will throw the train from its course. One does and nothing happens. Baghra, her trainer, throws Alina out and tells her to come back when she believes in herself. Do we see that happen? No. Does she train Alina anyway? Yes!
Is this worth your time? Well, perhaps. If you don't care about consistency and relatable characters? I guess you give it a ten. Hilarious.