Once it gets to the dying embers, Netflix’s The Idhun Chronicles suddenly realises there is a lot of context behind the story, and season 1 falls apart.
This review of Netflix anime series The Idhun Chronicles season 1 contains no spoilers. The series was released on September 10, 2020.
We recapped the entire season — check out the archive of recaps.
Another month and another attempt by the streaming service to add to their ever-growing anime collection — this time we are treated to The Idhun Chronicles and with plenty of promise at the start, it ends up becoming a disappointment for Netflix.
The story follows Jack, a young man who arrives home to see his parents have been murdered — he is soon jostled into a world of magicians, dragons, serpents and unicorns — which is as whimsical as it sounds but there’s a whole mythological concept behind it. The Idhun Chronicles attempts to roll in a story where tragedy spurs action and the characters have a purpose to protect Idhun and its people. There’s a strong sense of danger around the corner, but mostly it’s two villains with the sight for violence.
The first two episodes get off to a cracking start — this is only a 5-episode season. However, once it gets to the dying embers, Netflix’s The Idhun Chronicles suddenly realizes there is a lot of context behind the story, and season 1 falls apart. The creators have introduced a heavy world but tried to squeeze it all in when the audience is not prepared — one of the episodes, in particular, is mostly exposition at its most extreme form.
There is a story here and The Idhun Chronicles has scope to widen, however, it does need to step up the story structure for the second season. If five episodes do not work, increase it, and allow flexibility for the writers to massage the mythology behind the character’s experience. Answers are too fast-paced and it becomes too convoluted, making for a dragged finale.
Due to the potential, The Idhun Chronicles might be worth watching but I wouldn’t rush to it.
Daniel Hart is the Co-Founder of Ready Steady Cut and has operated as Editor-in-Chief since 2017.