Damn it, there's always one.Īll That Remains forces me to make a promise I know I won't be able to keep, to another character I know I shouldn't get attached to. I keep people close only to support Clementine's survival, not to become confidants or friends.Įxcept for one person. If I get bad vibes from someone, Clementine tells them to go to hell. I choose her dialogue in much the same way I raised her as Lee – no bullshit. They don't trust her, and I don't trust them. Every time she pulls out a gun, I recall that I – as season one protagonist, Lee Everett – taught her how to use it, back when she still had hope that there was good news on the horizon.Ĭlementine eventually meets up with a brand new group of hardened survivors holed up in a rural house. I want to protect her, but I want her to be strong and fight for her own survival. Playing as Clementine is a heart-wrenching mash-up. This is our Clementine, and even though we can control her movements, we can't stop her from growing. Her transformation reflects a sudden, too-soon loss of innocence and the icy shield that forms in its wake. In the forest on a cold, rainy night, she fights off a group of adult attackers and ends up alone, scrounging for food in the most disgusting places and systematically killing the undead. She's still young, but she carries herself with more maturity and the weight of survival on her shoulders her voice is slightly deeper. The game kicks off 16 months later (roughly 400 Days), and Clementine has grown exponentially. But once again, Telltale demonstrates that zombies may be the least of our worries in the desperation of the apocalypse. She carries a handgun like a pro and knows to search new areas for the skulking undead before getting comfortable. She's young and fragile, with a glint of hardness in her eyes. The prologue of All That Remains exists for precisely this reason, and it shows Clementine much as we've come to know her, perhaps just weeks after the events of season one's finale. Telltale uses this formula to pull on classic drama tropes, setting up scenes of hope and happiness only to subsequently murder every fluffy feeling it just cultivated. The series is a twisted point-and-click adventure with a heavy emphasis on narrative and action sequences. After playing episode one, All That Remains, I don't know whether Clementine is soaring up or falling down.Lessons learned in The Walking Dead's first season carry over just as the save files do – trust no one and don't get attached to anyone or anything. One hard twitch on either lever could tip Clementine to salvation or destruction, compassion or killing, life or death. The apex of a seesaw is a precarious place. Clementine is the humanity in all of us – but in the premiere of season two of The Walking Dead, when we take direct control of Clementine, she's also humanity's inherent, grey-tinted truth. She is the balance, representing everything worth fighting for, worth decapitating for. Perched in the middle of this seesaw is Clementine. The kind of emotions that make someone lock an injured, ailing little girl in a shed in the middle of a storm, offset by the compulsion to give her a decent meal and tuck her into bed. On the other end slumps the shadow of death, mutilation and irrational violence. On one end sits the golden halo of the human spirit, strengthened by trust, dignity and love. The Walking Dead isn't a roller coaster of emotions it's a seesaw.
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