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510 pages, Paperback
Published September 23, 2023
1.5⭐
Writing a book, I’d guess, is not an easy task. So, as much as it pains me to write something negative about a work someone poured their heart and soul into, it seems that most critiques on Goodreads are written from a biased perspective. Hopefully, I can offer a perspective from a different angle.
Show, don’t tell
A huge cliché, I know, but when it applies, it applies. We’re told that Yoshiko—our main female character—takes after her father, an art and poetry lover, rather than her mother, a kick-ass, don’t-mess-with-me warrior and leader. We’re told what the city of Hié looks and feels like before certain events happen. We’re told that Asumi, Yoshiko’s maid, is her only friend.
Now, I know not everyone likes a slow start, but I’d take a slice-of-life introduction that lets us get to know the characters and world—like in The Dragonbone Chair or Malice—any day over this. It feels like Ishii might have been afraid to let the story breathe at the beginning, resulting in a narrative that feels lifeless and lacks emotional investment. The introduction of the male lead, Gora, is slower, but even here, most aspects about him are simply told to us.
Split personality
There’s a strange disconnect between some of the content and the book’s tone. Initially, I considered giving a slightly higher score because it felt like the book might be aimed at a younger audience. While it seems a bit lazy to just apply the YA label—which suggests certain tropes that aren’t present—the tone does feel like it’s targeted at that age range. Or possibly aimed at an even younger audience, yet there’s a significant amount of violence, both gory and sexual in nature, which likely wouldn’t be appreciated by that age group.
Yet Yoshiko, who I guess is in her early 20s, reads as though she’s around age 15-17.
Unbelievable
(I’ll keep this section abstract, but it could still be considered spoilery.) When reading fantasy, we expect some wondrous things to happen, so when I talk about “unbelievable,” I mean within the context of the story. We’re to believe there’s an entire city beneath the main city, with exits everywhere, yet nobody knows about it. We’re to believe Yoshiko can walk into a castle unnoticed—not once, but twice! We’re to believe Gora is simply handed a ship. We’re to believe that in her 20 or so years, Yoshiko has never been into the city. We’re to believe that a nation who just lost its sovereign leader can immediately launch a retaliatory invasion—and when they do, they don’t use their ships to fire cannons; they just send their men to slaughter. We’re to believe a hidden natural harbor exists, large enough to fit a big ship, yet somehow nobody knows about it. The list goes on.
Perhaps a younger audience might shrug off some of these points, but even then, the story seems overly convenient at times.
I saw the prose compared to Robin Hobb’s. Now, I haven’t read anything by Hobb yet, but from what I’ve heard, her prose is descriptive, immersive, and rich. Ishii’s prose, however, is quite literal and straightforward, as though she were playing it safe—more akin to Sanderson’s style, though not as forcefully “accessible.” Yet I felt there’s potential for more depth if she took a few more risks with her writing.
In the end, Origin Curse felt like it had the foundation of an intriguing story with strong thematic elements, but it ultimately fell short in execution. Between the “tell, don’t show” approach, plot conveniences, and safe prose, I found it hard to fully immerse myself in the world and connect with the characters. There’s potential here, and I hope Ishii’s future works will embrace a more daring style that allows the story and its characters to resonate more deeply. For now, though, this one missed the mark for me.