"Year 50," by Geoff Bluske, is a fine addition to the short list of worthwhile dystopian/zombie books. The best part of the novel, however, is its writing competence. What a relief and pleasure to be able to sit back and enjoy his writing craft on display here. Few typos to contend with, sentences that make sense, paragraphs that build, situations that are thought out, interesting characters with believable problems: oh what a wonderful feeling!
Yes, at a basic level, “Year 50” is another end-of-the-world book with zombies but, really, as the story unveils itself, it really is no such thing. It is a highly readable, tightly tuned, strong female characters driven, exciting journey. Part of its attraction, for me, is that it deals with the psychological impact of what these disturbingly young characters must do to survive and assist fellow survivors in a dangerous world fifty years after the collapse of worldwide human dominance. Their world is at once extremely local, lethal and filled with dangerous, audio- sensitive predators, and isolated pockets of suspicious humans. Flawed heroes, the main characters, two orphaned sisters and the few people they trust, fight and scavenge as a team, make difficult decisions, and pay heavy personal prices. There are no easy answers in “Year 50” but, here and there, some glimmers of hope do shine out.
I thoroughly enjoyed the finely drawn world that the characters inhabit – it is gritty, detailed, and seldom spans more than a few days walking distance in any direction. In addition, the night belongs to the predators, and any human abroad in the Wild must find secured shelter before the sun goes down. This confinement of life into daylight hours, armed camps and small distances added to the intensity of the plot. I loved the prevalence of sign language as the communication choice when abroad in the Wild, and I appreciated the practical explanation for oil-driven predator “puppets.”
However, it is only fair that I also point out a few negatives.
There is an occasional issue with point-of-view confusions as the reader is suddenly thrust into other characters’ minds without much warning. I think, if some of the mechanics of chapter breaks and internal section breaks were improved, much of the POV confusion would disappear. Still, it wasn’t that hard to decode, but it did force the reader to look back and puzzle things out.
I thought the impact of religions and belief systems took an unnecessarily negative hit in the book. I’m not complaining about the suicide cult presented here, it’s just that no person of admirable faith was shown to balance things out. I do not, for a minute, accept that all forms of faith (except for blind cults) would vanish from the human race. Perhaps, that would be something of value to explore in the next book.
And, finally, I have to agree with the many weapons critics. Yes, the errors over “clips” vs. “magazines” are annoying, and worse than that, they degrade the believability of these very capable female fighters. “Magazines” are what you slap into and out of guns. “Clips” are what you attach bullets to in order to load empty magazines. In the case of many pistols, the magazine has an integral clip that allows you to slide the bullets directly in, but it is still called a magazine not a clip. Shotguns often have an internal magazine. The confusion of these terms is rampant in movies and books and, while it is easy to understand what the characters mean when they say, “My clip is nearly out,” or “Toss me another clip,” it infuriates the military types and it is, in fact, inaccurate. On the other hand, in dialogue during the heat of battle, it is hard to believe that anyone would choose to say a three syllable word when they could utter a one syllable equivalent. I use “mag” when I’m in a hurry and feel it would solve both problems.
Okay, that’s it for the negatives. In summary, as a fellow Indie writer, and a picky reader, it is a distinct pleasure to be able to enjoy and celebrate Mr. Bluske’s fine writing, his competent plotting, good character development, and the clarity of his scenes. Bravo! I look forward to the upcoming “Year 51.”