It certainly cannot be said that in recent times there have been a lack of proposals fantascientifiche, in television series. A few days ago, the fifth season of The Expanse, the new series has begun on Sky sci-fi Raised by Wolves and even Netflix does its part, thanks to the presence in its schedule of Star Trek: Discovery, whose third series has recently come to an end. All without disturbing the colossus of the moment, The Mandalorian. One would therefore think that the sci-fi is well represented in the serial sector, ready to be enriched by another proposal to be released in February on Netflix: Tribes of Europa. The continuous search by the streaming giant for new proposals has always cross and delight of the underwriters. While it has led to the realization of production appreciated as Altered Carbon The Love Death & Robots, on the other hand he did not fail to point out how this bulimia of contents can reserve bad slips, magnificently represented by The Nightflyer The Another Life.
Tribes of Europa: the Old Continent after the apocalypse
The announcement of a new series sci-fitherefore, it is inevitably accompanied by a certain skepticism, which does not exempt Tribes of Europa from inconvenient role of litmus test on Netflix’s foresight in approving their projects. As promising as the pedigree is, considering that the creators of Dark, also Tribes of Europa seems to be afflicted with the disease of most sci-fi productions of the period: the absence of originality.
As mentioned on other occasions, the lack of an original idea on which to build a series is not an insurmountable flaw, as long as the topics already treated are reworked and analyzed from different perspectives, which can show the spectators some compelling variations on the theme. The feeling is that lately you lack the will to go further, the temptation to re-propose stories now well-established seems to be considered a sufficient effort to give the green light to the realization of projects such as Tribes of Europa.
In December 2029 an unspecified catastrophe will plunge the world into a new era of scientific regression. Suddenly, every electronic device ceases to function, civilization as we know it today is completely erased from what will be remembered as the Black December. Years later, no one has yet understood what the real causes of this collapse of civilization were, but everyone seems to have understood that the rules of the old world are no longer valid.
Europe has fragmented, the political subdivisions we are used to no longer exist. From the ashes of the Black December a new civilization has emerged, made up of tribes living according to new rules, which better interpret the different ways of living in this desolate land. If on the one hand the Origins have chosen a lifestyle that abhors technology and favors contact with nature, on the other there are the Ravens, a ruthless Spartan-like society dedicated to violence and domination. Alongside these two tribes there are dozens more, such as the Femen, a matriarchal society, or the Crimson, a paramilitary civilization. To complete this complex human mosaic, there are the Atlanteans, an almost legendary community pointed to as the holder of an extremely advanced technology.
The Europe of tribes and violence
Power struggles lead these different tribes to fight each other. The triggering event of the new conflict is the plane crash involving an aircraft, which crashes near the village of the Origins. It is in this bucolic enclave that the three brothers protagonists of the story live, whose peaceful existence is upset when a patrol of the Ravens bursts into their village, intent on taking possession of the precious Atlantean technology.
From this violent assault the plot of Tribes of Europa, which revolves around this destabilizing event. The complex political situation that sees the various tribes fighting for supremacy in the Old Continent, as expected, is therefore linked to this precious artifact, the object of desire of each tribe, who see in this mysterious cube the ultimate weapon to impose themselves on rival forces .
The plot of Tribes of Europa it immediately suggests that it is the basis of the story there are no major innovations. Once again a mysterious catastrophe has caused humanity to retreat into a pre-technological civilization, as expected we have different social agglomerations that embody the classic reactions to post-apocalyptic society and the inevitable struggle for power completes the intertwining of a history that wearily repeats a canvas already seen many, too many times. As happened recently for Raised by Wolves, being based on a known narrative principle is not a bad thing, as long as the showrunners are committed to giving new visions, to grasping nuances never explored to surprise the spectators.
Tribes of Europa, unluckily, he cannot free himself from this lingering shadow of already seen. She feebly tries to create new situations, but the narrative of the series cannot find its own identity, remaining a slave to forced twists and unable to surprise the viewer. The three brothers protagonists of the story of this series would have the opportunity to interpret new points of view for a plot already seen, which again develops in a violent and cynical world, unable to overcome that sense of tired familiarity and forcing the viewer in a reiteration of commonplaces typical of the genre, completely failing to build an identity of its own, wrecking every possible vital flicker in a predictable, predictable story.
Tribes of Europa, a series with no identity
Ideas are not lacking, there are some interesting ideas, such as not wanting to show monochromatic characters in their identity, giving life to personalities that on paper are complex and promising, but every effort is crushed by a repetitive, tired narrative system, in which the characters are often faded copies of narrative archetypes that begin to show the weight of the years and the signs of merciless abuse by the screenwriters. A pity, considering the convincing visual impact of post-apocalyptic Europe, with the contrast between nature and city, mirroring the different conception of society of each tribe, in which each social peculiarity has its own echo from a visual point of view. But this characterization stops at a superficial visual definition, being diminished by a lack of care in giving the characters a credible and non-speckish caliber, making them predictable stereotypes.
At the end of the vision of Tribes of Europa the feeling of having seen remains yet another reinterpretation of a concept devoid of soul, now excessively exploited and unable to find new life. The vicissitudes of the three protagonists and the figures that revolve around them are lacking in bite, they unravel wearily along paths already traveled and never managing to show an authentic emotional twist, relegating the characters to the role of shadows of other more charismatic personalities seen in previous declinations of post-apocalyptic science fiction.
And here, we return to the initial discourse: the effort of finding valuable science fiction series. Tribes of Europa it could have been a pleasant surprise, thanks to a setting that, however overexposed, could reserve some surprises. The Netflix series, on the other hand, prefers to play it safe, without taking risks, giving up being an incisive production. A second season of greater courage, capable of grasping surprising narrative choices could give new life to the series, but the conditions are not very encouraging.
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