It seems that quite a number of dramas I’m watching at the moment have a lot going for them but are let down or even ruined by inadequate plot structure and this one is no exception.

So what went right?

Well the first half of the drama worked well for me. The premise for this show was good and could provide plenty of opportunities for tension. It gave a credible necessity for the superpower which featured throughout the unfolding layers of the plot.

The driving force behind the story was well handled, of being wrongfully accused and the resultant lack of trust destroying a life. It created sympathy for the character, Kim Do Ha, played by Hwang Min Hyun, as he struggled to release himself from the hole he had crawled into. I liked his performance but I can imagine that it was just a bit too underplayed for some. However, I wasn’t very enthused by Kim So Hyun’s performance as Kim Sol Hee. I think an opportunity was missed here (either by the actor or the director, or both) to beef up the character a bit. Given her character’s background, she could well have shown more edge. The blandness didn’t help the chemistry between the leads which was tepid rather than fiery. I think the most notable performances came from Yun Ji On as Deuk Chan and Lee Si Woo as Syaon.

There was enough differentiation in the secondary cast to keep me interested but that leads me into a discussion of how the plot was handled, because as far as minor characters went, the cup runneth over…

Nothing is more unsatisfying than loose plotting that requires an army of insignificant characters whose only purpose is to pass on information, overhear conversations or create contrived meetings. Knowing characters are being introduced for these purposes alone really gets annoying. Their fragmented stories float around the central plot like misshapen asteroids.

It smacks of the writer having a problem with the flow of information because of a lack of forward planning, and rather than thinking creatively, just introducing a convenient character to solve the problem. Sol Hee’s parents for instance had little impact on the plot and could have been easily dispensed with. Then there were journalists, gangsters, shopkeepers, composers, security guards and on and on.

Getting rid of most of them could have helped to change the story from an XXXL baggy sweatshirt and trackies into a designer suit. There was a lack of sophistication and it simply wasn’t sleek enough to create and maintain the tension, slobbing around like it had all the room in the world. The plot was fairly predictable from early on but the playing out of it was padded with over-complicated details (such as the rings) which failed to convince and required uncharacteristic motivations.

The flow wasn’t smooth either, with false resolutions splitting the whole story into segments sandwiched together with filler episodes. It felt like a revolving door that was clumsy and repetitive in nature.

So it’s back, yet again, to my favourite saying: Less is more. The real skill in plotting is to weave something close fitting with a few characters. Keeping things tight so that the viewer is wrapped up and has nowhere to turn to escape the tension. Then occasionally loosening a belt to allow them to breathe, before cinching it up again by a couple of notches. OK, I’ll accept that’s a bit OTT, it wasn’t ever supposed to be Through the Darkness. But the principle still holds and it could have been a much better drama with a little more attention and an editor’s blue pencil.