Princess Ko’s been bluffing about the mysterious absence of her father, desperately trying to keep the government running on her own. But if she can’t get him back in a matter of weeks, the consequence might be a devastating war. SO under the guise of a publicity stunt, she gathers a group of teens from across the country to play to the media in a series of carefully orchestrated photo ops. In reality, each of these teens has a special ability, and together they will attempt to crack the unsolvable case of the missing royals of Cello. Chief among these is farm-boy heartthrob Elliot Baranski, more determined to find his own father than ever. And with the royal family trapped in the World with no memory of their former lives, Elliot’s value to the Alliance becomes clear: He’s the only one with a connection to the World, through his forbidden communications with Madeleine Tully. Together, sharing notes, letters, and late nights, Elliot and Madeleine must find a way to travel across worlds and bring missing loved ones home.
As with A Corner of White, I found the Madeleine sections of The Cracks in the Kingdom a bit too odd, a bit too quirky and pseudo-poetic/philosophical to be realistic or enticing. It fits with the Elliott sections because Cello is a fantasy world and it’s set up as an odd one and so all of that flows together, but when the Madeleine sections stray into that same mindset, it’s jarring. It’s also not my mindset, so perhaps that’s also where the disconnect lies–I have trouble connecting with characters who don’t sound real to me when they’re supposed to be “realistic.”
However, despite my problems with some aspects of characterization, I did really enjoy The Cracks in the Kingdom. I especially enjoyed the Cello parts, because that’s where the plot shined–some of the Madeleine bits seemed a bit tacked on–and the plot itself was nice and twisty and intricate, just the way I like my plots. Perhaps the ending reveal was a bit too convenient, but it will be interesting to see where it goes from here.
In parts, The Cracks in the Kingdom is so odd as to be jarring and Madeleine, Belle, and Jack still do not seem realistic to me. They seem like caricatures of real people, much more like Cello than the world seems to indicate, much more like the world they’re not a part of than the world they are. Luckily, though, the charm and wonder of Cello carries through, redeeming the sections of the book where Moriarty gets especially quirky, and showing off its own quirkiness in a much more natural fashion. The plot promises to be more intricate than the first book (or, at least, more obviously intricate) and it carries through on that promise. I’ll be picking up the last book to see where the story takes us and how Moriarty brings it to an end.