Bernice Summerfield - Series 11
11.3 - Year Zero
It is amazing just how something can pull you in so easily.
After so many years of listening to the ranges Big Finish produce, I finally
decided to take the plunge into the fearsome Bernice Summerfield back
catalogue, and boy was I in for a treat!
I seem to remember at the time of its release, Epoch was listed as a ‘new start for Benny’, somewhere new listeners could jump in and still understand the story. I have to argue with that. Without these two previous releases (i.e. Year Zero and Dead Man’s Switch) I would have been lost. It simply feels like there is too much bleed through between the two series to ignore them. So my advice is don’t. Buy YZ and DMS first, not only would you be confused, you would miss out on two great stories. They do make a far better jumping on point, I had very little Benny knowledge, other than she had a son and worked for Brax, I barely even knew who Jason was, yet I could still follow easily, and what I needed to know was explained later in an understandable way.
The idea behind Year Zero is inspired. Post-apocalyptic stories aren’t exactly uncommon, neither are stories where the government are trying to cover up something. But to have a post-apocalyptic story where no one can explain the event, or, after 55 years, knows if it even was an apocalypse is where this story shines. Seeing Benny attempt to discover what happened whilst trying to keep what she is doing secret is fantastic and gives some great scenes with the inquisitors. And, as we slowly see Pallis turn to her side, we grow more attached to these people, with their way of lives threatened to a point when even their names are not their own. As Benny gets closer to discovering the truth, it becomes clear something far more sinister is going on, but will she ever discover it? The question stays right through until the ending, and the shocking climax really hits home.
Jonathen Clements has outdone himself with this script. For a story that could risk being incredibly drab, the setting of police interviews could have risked a long and dreary set of dialogues which, in many writers hand could lose viewers interests within the first few minutes. However, Clements does something that I can only describe in one way, he makes the conversation intelligent. This suddenly turns it from a long conversation to a revealing, in depth audio which doesn’t lose pace for a second. In particular, the scene with Pallis and Benny where the latter deduces the origins of a can of pop is incredibly. Between Clements’ writing and Lisa Bowerman’s incredibly ability to bring life to any scene, it becomes not only fascinating but memorable.
In fact, there is very little that I didn’t enjoy about Year Zero. The only problem I have is the resolution of the main plot. After such a great start, it is a shame how it was resolved later. The events established in this play really don’t seem to follow through to Epoch and the resolution is a little blurry. It really is a shame, but it doesn’t stop this having such a huge impact.
And so, I after hearing this, I had been drawn forever more into the world of Bernice Summerfield. It quickly jumped onto my top list of audios (of all time). In fact, at the same time I bought this story, I also got everything up to Road Trip (from a small shop on the Isle of Wight, if anyone’s interested). Before the end of my week away, and based solely on these 70 minutes or so, I had to return to buy Legion. Simply put, this audio managed to squeeze another £25 out of me. And I don’t regret a penny of it.
I seem to remember at the time of its release, Epoch was listed as a ‘new start for Benny’, somewhere new listeners could jump in and still understand the story. I have to argue with that. Without these two previous releases (i.e. Year Zero and Dead Man’s Switch) I would have been lost. It simply feels like there is too much bleed through between the two series to ignore them. So my advice is don’t. Buy YZ and DMS first, not only would you be confused, you would miss out on two great stories. They do make a far better jumping on point, I had very little Benny knowledge, other than she had a son and worked for Brax, I barely even knew who Jason was, yet I could still follow easily, and what I needed to know was explained later in an understandable way.
The idea behind Year Zero is inspired. Post-apocalyptic stories aren’t exactly uncommon, neither are stories where the government are trying to cover up something. But to have a post-apocalyptic story where no one can explain the event, or, after 55 years, knows if it even was an apocalypse is where this story shines. Seeing Benny attempt to discover what happened whilst trying to keep what she is doing secret is fantastic and gives some great scenes with the inquisitors. And, as we slowly see Pallis turn to her side, we grow more attached to these people, with their way of lives threatened to a point when even their names are not their own. As Benny gets closer to discovering the truth, it becomes clear something far more sinister is going on, but will she ever discover it? The question stays right through until the ending, and the shocking climax really hits home.
Jonathen Clements has outdone himself with this script. For a story that could risk being incredibly drab, the setting of police interviews could have risked a long and dreary set of dialogues which, in many writers hand could lose viewers interests within the first few minutes. However, Clements does something that I can only describe in one way, he makes the conversation intelligent. This suddenly turns it from a long conversation to a revealing, in depth audio which doesn’t lose pace for a second. In particular, the scene with Pallis and Benny where the latter deduces the origins of a can of pop is incredibly. Between Clements’ writing and Lisa Bowerman’s incredibly ability to bring life to any scene, it becomes not only fascinating but memorable.
In fact, there is very little that I didn’t enjoy about Year Zero. The only problem I have is the resolution of the main plot. After such a great start, it is a shame how it was resolved later. The events established in this play really don’t seem to follow through to Epoch and the resolution is a little blurry. It really is a shame, but it doesn’t stop this having such a huge impact.
And so, I after hearing this, I had been drawn forever more into the world of Bernice Summerfield. It quickly jumped onto my top list of audios (of all time). In fact, at the same time I bought this story, I also got everything up to Road Trip (from a small shop on the Isle of Wight, if anyone’s interested). Before the end of my week away, and based solely on these 70 minutes or so, I had to return to buy Legion. Simply put, this audio managed to squeeze another £25 out of me. And I don’t regret a penny of it.