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voltstone · 1 year ago

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…so about that clementine comic: a (very long, sorry) essay (May 2022)

Getting around to writing this little essay of mine, putting my thoughts down before the comic comes out, has been like finally squashing the damn fly that’s been a nuisance for months. Like, half-a-year-ago months.

Before I get to it, I’m just going to preface and briefly explain what this essay is: it’s me more or less digesting this big change for the TWDG fandom, and articulating a bigger point with canon vs fandom—and just how weird TWDG actually is in how it fits with that bigger point.

That, and it’s an essay that was spurred by my irritation of the comic’s premise alone. To be transparent, this is an essay that’s biased. Clementine as a character means a lot to me, which should become evident given that I use myself (i.e my Clementine) as an example throughout this thing, and then there’s just my fondness of the games. So yeah. I’m biased. But, I’d like to think of myself as a storyteller (in progress) in my own right, so hopefully this essay will be able to articulate my grievances with the comic, and do it well—while still being as unbiased as possible, to boot.

In any case, being that the comic isn’t out yet, I would like to say that I’m not going to tear Tillie nor Skybound a new one. I’m just critical of the premise, to the point that I wish to essay. And it be long (…sorry, can’t help it; neurodivergent passion and all that).

Though because I’m not here to harp on my grievances and bulldoze something that isn’t even out yet, I’m going to meme a little too. Just to ensure that the essay maintains a civil but fun composure. ;)

[Why Comic?]

Okay, so, originally, this was going to be the last section of this essay, but now it’s the first. Because of one article. Lol.

Well, one possible article? Something like that. (Yeah no not really. I am a dumbass, but I’m a dumbass with a point that still stands in this section. Lol.)

Before we get into the article, however, it’s first important to discuss Skybound in relation to TWD and TWDG.

Skybound, or Skybound Entertainment (2010), is Robert Kirkman’s company where the overarching purpose is to provide space for creators with their intellectual property and, well, to create. Which is great! We love that. And this is Robert Kirkman, who, is the storyteller behind TWD, alongside Invincible, Outcast, and a slew of many others.

Skybound Entertainment itself is older than TWDG by two years, so the company has watched Telltale’s story develop since the beginning. And given that it has Kirkman at the helm, there are strong ties between Telltale, Skybound and TWDG that go way back. However, they are considered two separate companies—even with some history of collaboration on TWDG. But, by the time Telltale had to close-up shop, it’s unsurprising that Skybound—through Skybound Games, established in 2018—picked up where they left off—and they did this, from what I’ve found anyway, by giving the team behind TWDG the resources to finish Clementine’s story.

In short, Skybound has just as much skin in the game(s) as the chance of a walker being seen still in one piece, without chunks sloughing off: slim, but more probable than you’d think.

And this isn’t to blame Skybound in any way. It’s just how it is. Telltale had the rights to their series up until mid-Season Four: The Final Season (S4), and S4 was finished by the same team, just with Skybound’s resources (and probably with some of their own team as well).

…the thing is, however, is that Skybound seems to be more like the babysitter for Clementine rather than the parent who has nurtured and watched her grow. They still do care for her and what this character represents—the 10th year anniversary with the documentary and #clemenTEN (lol) shows that quite plainly—, but they never had the time and opportunity to truly nurture her, as a company, in the same way that Telltale had.

Ergo, Skybound is going to make decisions with Clementine that those more familiar with the character may not do—especially given that Skybound has other series and such that they’re working on.

Which brings us back to the article I came across in a meme. This article.

…which I can’t find? Yeah, I’ve tried to search for it on Skybound’s website, but…yeah no. I have questions if it has been removed, and if it hasn’t, please, someone, tell me where it is so that I can put the link in here. Lol.

[5/20/22 Edit: May not be able to find it because the article never existed or something something where a doodoohead on the internet, like, lied to me?! Making me another shatforbrains. However, it doesn’t really change my point in all of this. So yay. Also am not gonna edit anything because I don’t wanna.]

Anyway. In summary, Skybound announces in this article, “After some internal discussions and some reviews of fan feedback and online, [. . .] Clementine: Book One takes place in an alternate continuity that is no longer directly canon to Telltale’s the Walking Dead series [as] we now see that fans prefer to have their player choices honored in future storylines of Clementine.”

And here’s my response to that, regardless of wherever the article may be: thanks, but no shit, Skybound.

This essay is here to pick apart TWDG in terms of interpretation and what that would mean regarding any sort of adaptation. But ultimately, it is to criticize whoever thought this was a good idea and maintained the comic’s stance of canonicity with TWDG until recently. Because…as I will make very clear in the next two sections, I don’t know how anybody could’ve looked at this story, as a part of a company who wasn’t there to tell it until the end, and came to the initial conclusion that they did. It both confuses and bothers me.

Skybound. TWDG are a choose-your-own adventure story. What do you mean “we now see that fans prefer to have their player choices honored”?! That is the whole point of TWDG: I made a choice with this character, let’s see how it plays out. To the extent where people often have criticisms that Telltale didn’t allow for much impact with said choices.

So yes. I ask this given that I…genuinely don’t understand how this happened. And perhaps I’m a little late with this, but, well, I still feel the need to air everything out for myself, and explain thoroughly why I do not appreciate the comic on a basic level. One, because I think it’s an interesting subject regardless; I go into Clementine functionally as a character, fanfiction being a skill, etc. Two, if there is a chance (a very slight chance that I highly doubt will happen, lol) that anybody associated with the comic’s production sees this, it will (maybe?) serve as both the perspective of a fan and of a developing storyteller. …and perhaps a little jab of “please don’t pull something like this again, with anything.”

I am going to maintain that I don’t have ill-respect towards Skybound. Because I do respect them as a company; outside of this, I appreciate a lot of their work.

This Clementine comic has just left a bitter taste.

I also don’t blame Tillie Walden either, nor do I envy her position. All I can do is point towards my main TWDG fic and say that's the best I can do, which even then would have probably led to backlash of the fandom. Continuing Clementine's story, no matter what, would've always received some level of backlash. Which is kind of what happens after you wrap up a story with a neat bow, and then decide to try and cut it back open. If anything, as I discuss in this, the most I can blame Walden with is being reckless about Clementine’s story. Nothing more.

Ultimately, I find that Skybound underestimated the gravity of Clementine and what she means to people—which says a lot considering that I do think Skybound knows her impact on the video game industry. (And, on top of the history with Telltale and TWDG.)

I doubt that there was sufficient planning for this. I doubt they knew what kind of story they wanted, hence why they gave it to Walden. I doubt their decisions weren’t to cut corners—away from the nuanced, TWDG canonicity. I doubt that their intentions had nothing to do with the cash cow that Clementine is.

But, mainly, I doubt that they knew how to work around Clementine’s nature. Because, functionally, Clementine is a rather confusing character. She’s not the first, and hardly the last, character with Telltale-like qualities, though I do think that Skybound found themselves in new territory because of those qualities. To be honest, I genuinely wonder how Skybound sees Clementine. Do they see her as one singular, whole character? Or do they see her as one character made up of many, many interpretations? Or rather, slices…

Regardless, I feel like the majority of the backlash wouldn’t have occurred if Skybound didn’t maintain that this comic would be canon in the first place. That this is what Clementine does at the end, no questions asked. If they had said that the comic would be one iteration of what Clementine does after TWDG, how many people would be upset? If the games and shows and comics are all different from one another, why didn’t they say that the Clementine comic would be different from the games? Especially given that the games take a choose-your-own-adventure approach.

You could almost say that this comic is not very Telltale of Skybound.

[What…is This? (Brief Rant)]

Alright. Now we get into rant time.

…but first another detour. Let’s acknowledge the games as they are:

As a whole, TWDG stand as the story of Clementine. The odd seasons—Season One (S1) and Season Three: A New Frontier (S3)—are through outside perspectives, those being Lee and Javi. The even seasons—Season Two (S2) and S4—are through Clementine herself. But to explain what that story is, I think it’s better to shift the perspective a little bit. To her signature ballcap.

Because rather than Clementine’s story, TWDG is the story of Clementine’s hat.

The ballcap being the only thing she has of her home from before given that it was her father’s. The ballcap is the symbol of family.

So let’s shift again:

TWDG is the story of Clementine searching for a home, a family.

S1. Clementine dawns her father’s ballcap, borrowing it until her parents return from their trip. But, of course, they don’t, so Lee becomes her surrogate throughout the season. She’s able to have a father-figure for the first half-year in the apocalypse. Even so, much like the hat, Lee is temporary. Clementine wants to find her parents. Though come to find, they’re dead, and so too her surrogate swiftly after.

So Clementine is left without her original family, nor the one from the motel.

S2. The season of chaos—all to bring Clementine to a breaking point. She had Omid and Christa, a small family for quite some time, until they were lost. Omid, to her neglected gun, and then Christa, who was detached from Clementine, leaving S2 Clementine (at 11) with her first line, “Talk to me, Christa.” The woman’s fate remains to be debated, something unknown to Clementine, after they were ambushed and then separated alongside a river in the woods.

There’s then a new group—a potential family—who she travels with. And along the way, Clementine finds a remnant of her old, motel family: Kenny. One by one, the potential family succumbs to the winter—including Rebecca, but not before she gives birth to A.J, yet another ray of hope. By the end, A.J is believed to be dead, and Clementine is once again ignored. The remnant of an old family is at odds with the last of the potential—Kenny and Jane—, and they mean to fight to the death. Between them, Clementine is shoved away, quite literally, despite her shoulder having been shot, and, well, despite Clementine being a child who needed both.

So Clementine reaches a breaking point where she is the deciding factor between which lives: the last old family remnant, or the last of the potential family, or neither. And afterwards, once it is discovered that A.J is, in fact, alive—but was hidden to prove Jane’s point—, she can then decide if she wants to abandon the remaining family to live with her own. A.J…

S3. Regardless of how S2 ends, Clementine finds her way to Richmond alone with varying scars. A.J is still with her, though it’s made clear that she is getting tired—especially with a S2 solo ending. Because raising a kid is a lot to handle, more so when the parent is a kid herself. An offer to join a group comes in the form of Ava, who is a part of the New Frontier. Clementine eventually joins whether or not the initial offer is accepted (i.e. whether or not Clementine is open to joining a group, or not), in order for her to find the medicine needed for A.J, who falls ill.

Conflict arises between her desire to nurture A.J and serve this new, military “family”.

And Clementine is kicked out, once again under the belief that A.J is dead. So by the time we meet her as Javi, we find a Clementine who is hardened, and bitter. Or, a Clementine who’s a scorned kid with the identity of an adult, and a mom.

Through S3, Javi (and/or Gabe) is the one to remind Clementine that she doesn’t have to be alone. She discovers that A.J survived his illness, and with some help, Clementine discovers where he is and aims to reunite with her only family.

S4. After McCarroll Ranch, where A.J was kept, they’re on the road (with a car!). Clementine has found a way to survive with A.J, and has matured since the prior season. They find a new group (the car thing doesn’t last long in this, lol): the school kids.

And through them, Clementine and A.J find their home, in the end. The school kids teach A.J the lessons that Clementine couldn’t, and Clementine teaches them the skills to defend themselves against raiders—who are led by the final remnant of her old family, Lilly.

Clementine is bitten, however.

In her presumed final moments, she consoles A.J as Lee had done with her. But, no matter what, A.J disobeys Clementine’s request. Because A.J is not Clementine, and his love for his surrogate prevails the need to live on. He tells her that they could be like the walkers in the train station—tied to the spot, together in death. And not a minute later, he severs her leg, saving Clementine.

Weeks later, she gives the ballcap to A.J, for Clementine no longer needs it. The past is behind her, set in stone. She has found what she’s been searching for. Rather than a motel, it’s a boarding school. Rather than Lee and her, it’s Clementine and A.J.

Rather than a normal life alongside a treehouse, it’s set in a time where the dead roam, with a fishing house nearby.

Clementine is now on her last leg, but as S4 closes, it’s the beginning of a new life…

With these games and Clementine’s arc laid out, I have to be honest. I never wanted a continuation. Both as a fan of Clementine and as a writer, I feel that a continuation for Clementine would never be the best choice for a comic series. Especially when there’s so many gaps where we didn’t see Clementine.

That, and of course, S4 was perfect in wrapping TWDG up—with a little bow and all.

Now, to clarify before the essay gets into S4 in more detail, what I mean by continuation is what happens after. Yes, a lot of people would want to know, but here’s the thing: like in any sport, you need to end on your prime. S4 was just that for TWDG.

But I get it. At the same time, I do think having Clementine in her own comic would be perfect for her. TWD started out in the comics. By having the TWDG character recognized in this way would be to give the utmost, ultimate respect for Clementine within TWD universe(s).

If the comics expanded on the what happens after, then a choose-your-own-adventure comic should’ve been done to respect TWDG’s format. But, they could have easily expanded on things that, well, we’re curious about. Between S1 and S2—what happened? You could have Clementine be quiet and never talk about what exactly happened to Lee (if he was shot vs left behind). And this is in-line with set Clementine’s character given that remarks on her “being a puzzle” and keeping to herself were made throughout S1. So, that even leaves room for a comic that isn’t choose-your-own-adventure. Especially since Clementine is a strong enough character to not be the focal perspective. She is a strong side-character—in part because that is how she started off. So, a comic between the first seasons could’ve been from Christa’s perspective.

Between the other seasons. What about in the New Frontier? What did Clementine do? What did she learn from a bunch of ex-military surviving in the apocalypse? What about with A.J? What did they do together before they got to Ericson’s?

And outside Clementine’s story?

Kenny, between S1 and S2. The whole S2 squad—I want to see how Nick shot his mom, which traumatized him to the point of drinking in front of a kid. Carver! Christa and Omid before they met the S1 group! Lilly! What did she do?! How did she surpass the boat god and ended up with the boat?! How did she get into child labor?! (Not the pregnancy type, the— Okay, okay, never mind.)

And the school kids. What happened?! There were around forty at the start (according to the wiki), how did it get down to ten? Of course, Minnie and Sophie are a given, but that still leaves a lot of room. How did a bunch of troubled youth manage to survive?

And guess what?! That could’ve been done through Aasim! He has been writing a “chronicle” (diary) in the games, so why not go with that?! (Could even have a bombass title with chronicle in it!!)

Speaking of the school kids, let’s go back to S4.

Because this season is a mark of how TWDG understood a crucial lesson every writer must learn: when to end a story. How to end a story.

S4 is a masterpiece in this regard. And I don’t throw around masterpiece often. So I do mean it here; literally the only true criticism I have of S4 is how the nostalgia over Lee probably got in the way. (I mean, I know his impact, but the dude has been dead for all of A.J’s life plus a year or so.)

So yeah. And that is a nit-picky criticism at best.

Because S4, uh, like I just said, is a masterpiece in concluding Clementine’s arc.

First of all, can we just appreciate the setting itself?

Starting with the train station. The train from S1 was, arguably, where the brightest moments between Lee and Clementine happened. This is where, after losing Katjaa and Duck, Lee teaches Clementine how to shoot a gun, cuts her hair short, and—at another station—the first moment of fighting together and putting those skills to use. The train also led to Savannah.

So, really, where the train is symbolic of the birth of Clementine’s independency, it’s interesting that a train station leads to the school kids. The end of Clementine’s independency alone, with A.J, and the beginning of her independency as a leader.

Then we have the school.

For one thing, it’s the perfect little place for an apocalypse. Walls. Resources for food—from hunting, fishing, to a greenhouse. Land…

And, of course, it was established that Clementine liked school. Sure, she probably was bored since Clementine strikes me as a really smart individual, but she did like it. And Lee was a fucking professor. And, and, the school kids are around her age; kids around Clementine’s age…kinda don’t last in this story. So again, pretty symbolic that a boarding school is the setting.

On top of that, it’s a boarding school for troubled youth. Which…by this point, Clementine kind of fits that bill. (At least, my Clementine very much so does.)

The troubled youth element adds so much to this. It plays with many of the things introduced in this season: such as mental health (like Clementine being afraid of Rosie, though I do think they should’ve pushed that a little further). Because, think about it. The kids were left behind by the adults responsible for them. So what does that mean? Well, it means that they had to find ways to cope with their struggles in order to survive. Like Louis with his confidence, Violet with her abandonment issues, Ruby and Marlon with their anger, Brody with her anxiety, and so on and so forth.

Honestly, I don’t think there was a more perfect setting for S4 to go with.

Clementine has trauma. She has a lot of it. If anything, Clementine probably used that #roadlyfe to run away from confronting it. How so? Well, when you’re on the road constantly, hopping from place-to-place—by foot or with a car—, while taking care of your kid, there’s not a lot of opportunity to dwell on the past and truly unpack what is being harbored. I wouldn’t be surprised if Clementine used that as a sort of coping mechanism.

I also wouldn't be a surprise if that was part of why Clementine and A.J were on the road for so long. To be driving around for years is…a fucking long time in an apocalypse. Given that she would've needed to scrounge around for gas, Clementine would've come across other pre-Outbreak stuff, if not established settlements with people. Other things may have happened, sure, but that is something to consider.

But, yeah. Where S4 left off, there still would be some things that Clementine would have to process through. There would be a story there, albeit short. Arguably perfect for a comic trilogy where she reflects on the things we didn't get to see—like in-between the seasons.

Before we go too deep with that though, here’s another few things that this season taps into:

It was the first time we encounter a Whisperer in TWDG, and with James the question of whether or not walkers are inherently bad. Or rather, if they're monstrosities versus just another element of nature, albeit as a symbol of decay.

It was the first time we saw Clementine with a dog since S2—a Pit bull at that, one who isn't violent or terrifying because Rosie is a good girl and will only attack people who are bad.

Oh, Clementine doesn't need to worry about car insurance.

(No, but seriously, Clementine has a very bad driving record. She crashes two cars, three with Kenny, potentially one for each season after S1.)

And, of course, Clementine finally being bit. Thus putting “I’m still. Not. Bitten” to rest. (Although, “It’ll take more than a bite to kill me!” sounds pretty fun.)

Back to Clementine’s leg and what it means with that #roadlyfe. For one, Clementine is now, more or less, stuck in one place. She has to rely on people again, while leading them. And now that she is in one place, there’s opportunity to watch Clementine as she builds her own settlement.

With S4’s conclusion, questions were raised about how much hope there was for that settlement. Which could be answered with Kent Mundle’s response to the following anon question.

(At the end, there will be a link to Kent Mudle's stuff, including his comic Beret. Because why not?)

S4’s end is hopeful, and the beginning of change for Clementine. No longer is she a straggler on the road. She has graduated to survival within a community.

But…, as much as I love the ray of hope, we do have to acknowledge that Clementine, after her #roadlyfe, would probably have a very difficult time with this change. She is not used to relying on others. She is not used to having one leg, being kept on the sidelines watching other people deal with walkers, nor having to sit and confront all of what she has suffered.

So, yes, I will recognize that there could be conflict to explore with Clementine adjusting from being on the road to staying in one place, and maybe feeling that she isn’t doing enough for the boarding school given her leg. I can see scenarios where Clementine may act a little reckless, like leave the school to try and thin-out a (small) herd to help. With her one leg. And the school kids have to go and drag her back.

But not with Clementine leaving.

So now, with S4 concluded, we have the comic itself…

Clementine is back on the road, looking to put her traumatic past behind her and forge a new path all her own. But when she comes across an Amish teenager named Amos with his head in the clouds, the unlikely pair journeys North to an abandoned ski resort in Vermont, where they meet up with a small group of teenagers attempting to build a new, walker-free settlement. As friendship, rivalry, and romance begin to blossom amongst the group, the harsh winter soon reveals that the biggest threat to their survival…might be each other.

(This is "brief" rant time. Lol.)

What.

The ever-loving.

Fuck is that??

That is bad. That is really, really bad on a fundamental level. Notice the following: “looking to put her traumatic past behind her and forge a new path all on her own”, “journeys North to an abandoned ski resort”, “the harsh winter soon reveals that the biggest threat to their survival…might be each other”, and then, of course, “a small group of teenagers attempting to build a new, walker-free settlement.”

What does that look like? Premise alone, does this sound familiar to you?

It should.

Because everything from this summary—aside from the last quote—is S2.

This comic is not throwing away the last season. No. Oh no, it’s not.

This comic is rewriting Clementine’s journey, except this time, without A.J. But, from what has been released thus far, there will be an emphasis on Lee—S1 stuff. Which uh… Yeah. This is, quite literally, erasing all of TWDG.

So no. No. You can’t just reskin Clementine’s whole fucking story as if A.J never existed. You can’t just pretend that Clementine didn’t already forge a new path with the trauma from S1 behind her; you can’t just pretend that she didn’t already travel north with a band of new people to an abandoned ski resort; you can’t just pretend that she didn’t already find herself in a cruel winter where the walkers were literally the secondary threat to her. And, for the love of a writer’s integrity, you cannot just sit there and smear S4 as if Clementine would trade Ericson’s for another settlement—a settlement, which, would probably serve as an uneasy environment for her given that the last ski resort she went to was where she was kidnapped and immediately sent to work for Carver. Not to mention that, unless you had her journey with Kenny who was desperate to get to Wellington, Clementine went south the first chance she got because S2 was traumatic enough to send her immediately towards Richmond—not. North. There is no fucking reason why Clementine would want to go north. Ever. S2 left that impression on her: North = bad, we don’t like snow.

Like there is a fucking reason why S3 had so much fire, so much warmth to it—including the flashbacks. (Outside of Wellington, of course.) The last thing Clementine needs is to be reminded of how she got the big ass scar on her arm and the bullet wound at her shoulder.

And.

For the love of a writer’s competency.

You cannot just put a little stupid beanie on her head with a dumb little ball to replace the old hat—though thanks for leaving the ballcap with A.J, at least.

This is what I mean by the comic disappointing me as a fan of Clementine, but pissing me off as a writer. As I said before, something that every writer will have to learn is when to end a story. Those behind S4 understood that, and they did so masterfully. Now, I can’t tear apart the comic for that since, well, what’s going to come out this summer is the first of a trilogy. So like…yeah.

However, another thing that every writer will have to learn is when to evolve a story. When a character’s arc has been satisfied, and how the story thereafter will take on a new path. TWDG do this. Between S1 and S2, the change was shifting the story from Lee to Clementine. Between S2 and S3, the change was shifting Clementine from a character still needing others for survival to a character who knows how to survive on her own—to the point where Javi needed to remind her the value in putting trust/faith in others. And then, S3 to S4, the change was shifting from a bitter, angry Clementine without A.J to a Clementine who has matured, become cautiously weathered, with A.J by her side. Despite its flaws, this game series also managed to do this masterfully as well.

And the comic.

Does not.

Do that.

The comic doesn’t want to evolve the story. It doesn’t want to explore what conflicts would arise from Clementine finally being stuck in one place after so many years without a designated home, and being a fresh amputee on top of that. There was absolutely a story to explore there.

But no.

We got this.

Instead, we got a story where the comic blatantly ignores that Clementine already has a settlement of her own, and how the whole of TWDG is her forged path. And on the “put her traumatic past behind her”?! Yes! She absolutely needs to do that! But where has all of that trauma come from?! The road! So putting her back on the road—a few weeks—

The comic is set a few weeks later, by the way. (The wiki says so, anyway. I don’t 100% buy it, but it still seems like she shouldn’t be walking on a new amputated leg regardless.)

But to say that and put her back on the road a few weeks later—her leg is healed?!—is the last fucking thing you want for a person like Clementine with her experiences to do. It is the equivalent of telling a war veteran to overcome their PTSD by plopping them right back in the trenches. Or telling any PTSD-survivor to cope with it by plopping them into the environment that’s the source of said PTSD in the first place.

And sure. Some people don’t have the opportunity to do that. Sometimes that environment is the only place they have open to them.

Like the road was for Clementine.

Until she got to the school.

So are you. Fucking. Kidding me?!

Clementine is no longer the person who doesn’t have the chance to get out of the source of her PTSD—the road. She has a settlement of school kids at a school for troubled youth. Let’s remind ourselves that these kids had to learn how to manage their mental illnesses and behaviors given that they needed to survive after their caretakers abandoned them. They would’ve absolutely had the tools to help her.

Oh, and let’s also remind ourselves how devastating it would be for Clementine to abandon the school. Every single one of the kids probably have abandonment issues because of the adults. What’s more?!

Violet.

One of the two potential romantic interests for Clementine. Regardless of that, however, here is a character who has arguably the most significance to the plot of S4 no matter your choices. Violet is who is closely associated with Minnie, neck-and-neck to Tenn. Violet is the one who had the most conflict between both Marlon and Brody because of it, and is the one that sticks up for Clementine and A.J. She also is the one who takes leadership when Clementine and A.J are voted out. If you save her, Violet sees Minnie alive and realizes how twisted around she was about her; later on, she shoots Minnie with a crossbow to save Clementine, without hesitation, and then the last fight is where it’s a choice between her and Tenn. If you don’t save Violet, she ends up getting manipulated and twisted around further by Minnie (and Lilly, lol), and then acts as an antagonist on the boat as well.

This is by no means undermining Louis’ character as the other love interest, by the way. His role in the plot is quieter in large part because a) it felt to me that S4 was the first push towards his development, not a full arc like Violet (which isn’t bad in itself), and b) while Violet played a bigger role as leader, Louis was kind of pushed aside because he was morning and purposefully distant (again, not bad in itself).

The point is, it’s evident that Violet is the school kid with the strongest character leverage in terms of plot.

Which is why I’m using her specifically to show how fucking dumb it is for Clementine to abandon the school kids.

Violet has had abandonment issues since before she got to the school; Violet was abandoned by her grandmother who killed herself right behind her back, and then, presumably, her parents neglected her one way, shape or form. And then we have how this was probably exacerbated with Minnie—given that she thought she was dead, and, if you save Violet, knowing that Minnie was alive the whole time yet didn’t go back for her would’ve, I don’t know, pushed her abandonment issues further. Of course, if you saved Louis, then Violet with her abandonment issues is a given.

So uh. What. Are you. Doing?! Why?!

Actually, no, I don’t need to ask.

The comic took the route of cutting corners. The idea to continue Clementine’s story blossomed, and Skybound sprang on the opportunity. However, which is what this essay will discuss in depth, they realized how huge of an undertaking this actually is. So they didn’t even try to bottleneck every Clementine, every ending, into one comic—nor try to develop a choose-your-own-adventure series.

They threw away TWDG’s whole story because it was too difficult for them. Even though they are writers. And that is their job…

Now, before I go further, I will say that I am not going to go with the idea that this is all Tillie’s doing and Skybound just greenlit it. For one thing, the comic is also Skybound’s responsibility. They can easily approve or disprove what they want to come out of their company. Two, I don’t think it’s fair to dogpile on one writer for taking a job—especially this one since, again, it’s a huge undertaking—, nor when that writer has written some fair stories before. So as you read this essay, do note that I am not here to drag Tillie down or anything. I’m not happy with the comic, for sure, and I have a lot to criticize from the premise alone, absolutely, but I’m not going demonize a creator for something I can just ignore with my own fanfiction. Lol.

At its core, I doubt the comic understands the games at a fundamental level. Not Clementine’s arc, nor the school’s importance. It’s jarring, honestly, looking at the summary and looking at Kent’s response to the anon question. I don’t believe for a second that anybody from the game’s development actually took part in evaluating the comic. That, and if anything, I believe that if Tillie has played the games to prepare for this, the basic concept of the comics were already realized. Because I can’t imagine anyone could feasibly end the games, knowing that they’d have to continue with the story, with the conclusion that this would be the right step to take. And if that’s how it happened then…well, I learn something new every day.

It is a cash grab, something that plays into the insecurity of letting a story end.

However, as the high of my rant recedes, this isn’t to say that the comic will be a horrible experience. Because I do not know. It’s not out yet. Lol.

(Other than the first chapter which is…um, fine? I guess? Outside of acknowledge that exploring an Amish community within this world is actually very interesting, I’m not going to go into it. Don’t feel like it.)

Perhaps there will be some elements that will be good. Things that people would potentially incorporate into future stuff—assuming that TWDG will have future stuff to offer. It’s just unfortunate that the story has laid itself on a foundation that won’t viably stand the test of time. The concept and framework alone is terrible, and from experience, if the concept itself is terrible, if the story is fundamentally broken, there won’t be much you can do to fix it. Other than, well, scrap it and start over.

One lesson is that if any continuation of your story has to sacrifice crucial elements established beforehand, that continuation should not exist. This is different from retcons where retcons are used to adjust or edit a slip that was done before—like fixing a timeline issue that shouldn't have happened in the first place.

This comic isn't a retcon of the last three games. It's sacrificing ¾’s of TWDG and A.J along with it. For what? An interesting story? Sure. Maybe. But an interesting story that belongs here? I doubt it.

[Tangled Web of TWDG]

Okay, okay. Ranting aside, let’s talk TWDG.

Because…it’s a great series. :D

No but seriously, who actually thought that asking for any continuation would be a simple thing to ask for, and thusly an easy task to accomplish?

And I ask this earnestly: who really thought that would be an easy thing to do?! And do it well?!

Quite frankly, before we go frothing at the mouths, let’s evaluate how big of an undertaking a comic for Clementine actually is.

And I’m going to start this by sharing my Clementine (for brevity’s sake, Clementine bolded will mean my Clementine specifically): Clementine is not a hero. She made mistake after mistake in S2, like chopping a lovely lady’s arm off, and so, by the end of it, Clementine simply snapped. Both Jane and Kenny died. After S2, she lost faith in people and only saw good in A.J. She didn’t trust Ava’s offer to join the New Frontier initially, and only joined once A.J got sick and needed more than supplementary care (i.e. medicine). Once A.J was taken from Clementine, it was yet another breaking point. So, with the guilt of S2’s events—namely Kenny’s murder at gunpoint—, and the guilt of not being good enough for A.J, Clementine turned raider. She began to steal off of others, namely the runners for the New Frontier, and spurred up hell whenever she felt it right. (This stemmed from assuming Javi wasn’t the first person she robbed. Lol.)

Then Javi came along, and he served as the one who reminded her the good in people. He helped Clementine find A.J’s whereabouts, and Clementine tried to clean herself up to be better for A.J. Once on the road with her little goofball, she tried to hold herself together, be the better person for him. By the time she got to the school, however, Clementine realized that she was still guiding A.J down a rocky path. Of good intentions, sure, but she saw her own flaws that she’d inadvertently imposed on A.J. Especially once Marlon was shot—a parallel to Kenny, her greatest regret. Throughout the remainder of S4, Clementine teetered down the fine line between teaching A.J the right thing, and feeding into a nasty side of herself. The school kids were there, however, and they taught A.J when she couldn’t, and they taught her how to deal with that nasty side—since they had to teach themselves the same, after the adults abandoned Ericson’s.

That nasty side being addiction, actually. Clementine’s an alcoholic. And a bad one, at that. I know this element lives purely in my head, shh. Clementine can’t literally be an alcoholic in the games. However, the alcoholism is my own representation for Clementine losing herself, straying away from who she was with Lee. I played S3 and S4 as if she struggled with the addiction, so it still ruled my interpretation, and therefore the choices I made. Thus, she’s an alcoholic.

And for the past couple years now, I’ve been writing Clementine’s story in a fanfiction because, well, the story’s important to me.

But we won’t get into that. Point is, Clementine isn’t a hero. Complicated, for sure, but she certainly played the villain in multiple lives—including her own. Here’s the thing with this: that doesn’t sound like your Clementine, does it? Maybe some of yours are similar to mine, as in you’ve made similar choices, but it’s probably without the alcoholism aspect—which is a central component to Clementine. I do like to push things a little. Lol.

Now, what does that shit have to do with the comics?

Well, this: despite playing the same source material, depending on our interpretations, how our interpretations defined our choices, and how those choices furthered our interpretations (it’s a vicious cycle, really), we are going to end up with different Clementines. Clementine may not be the “correct” interpretation to you, but Clementine is Clementine to me. Clementine is the result of my interpretations, my choices, and my interpretations based off of those choices.

And this is the beauty of Clementine as a character: she evolves throughout the games to reflect every one of us. Clementine the character is a lot like her namesake in that Clementine is but one slice of the whole. She’s but one slice, a reflection of me; given that Clementine is the only slice of my own, however, that slice is Clementine whole. And your Clementine is but one slice, but that slice is the whole of your Clementine.

At the same time, however, those pieces are not made of different characters. They are Clementines, not apples or oranges or lemons. So I’m not saying that a certain interpretation will be unrecognizable, but rather that a certain interpretation will be distinguishable from another. I.e. Clementine may be very different from your Clementine, but both interpretations recognizably come from the same character while functioning as individual wholes in their own right.

I’d like to think that every one of our Clementines has a different last name. They’re all still Clementine, but just different enough to be appreciated individually.

(This line of logic also applies to Lee and Javi, by the way. Aside from the last name thing. Lol.)

The reason why Clementine is this way is because she is a game character shaped by our choices—even those made as Lee and Javi. She’s not the same as a book or film character where, while the interpretations can vary, their presentation remains stagnant. Rick will always say and do the same things no matter how many times you read/watch his story. As will Michonne (ignoring her game), and Daryl, and so on. Clementine isn’t like that, not unless you choose the same choices every time you play the games. TWD comics and shows will forever have the same input every time you open a page or flip on a screen, and thus the same output; TWDG have a variety of inputs (choices) which leads to different outputs. In this way, headcanons do actually bleed into the games but not the comics/shows because of this (take Clementine being an alcoholic where the choices I made, especially in S4, were based off of that premise, and how that headcanon interacted with the game, versus how headcanons don’t impact the comics/shows unless you’re actively working on them). Obviously there’s limitations with TWDG, like how Clementine can’t literally be an alcoholic, but there’s enough there to leave people with vastly different Clementines as a result. There’s limitations to the choices you can make, but my point is more on how those limited choices do have a heavy influence on our perception—which is arguably more important than “oh! What will this choice do?”

So yeah.

Expecting a comic to be able to bottleneck every interpretation of Clementine, and appease everyone, is outlandish. It’s an unfair expectation to have for any creator, and it’s a…really, really risky thing for Skybound and Tillie to have signed themselves up for. It’s quite honestly the same as knowing a bear-trap is there, then to step in it to earn some of that good, good money.

Maybe they thought they could get away scot-free without losing a leg, but Clementine also thought that she’d never get bit and keep both calves, so…

Though I guess it does say a lot about Clementine. She only has one calf left, yet she’s still quite the cash-cow.

…anyway.

As a result of Clementine’s nature—being that she is actively shaped by the player’s interpretation—, on top of us having watched her grow up throughout the seasons, there has been a foundation set for emotional attachment. There is a level of personal devotion that we harbor for Clementine since, again, she’s a reflection of each and every one of us.

So as a fanbase, there is that element at play. Then, there’s how TWDG is a niche of a niche. TWD was extremely popular at one point, for sure, but that popularity has since declined to a small audience, and not everybody is interested in apocalyptic settings. Ergo, TWD is a niche. TWDG are a niche of that niche—and, honestly, I think the fanfiction count found on FF.net and AO3 says that plainly (the TWDG is 10 years old now, and there’s 2,774 fics on AO3, which is slight compared to the 23,553 fics for TWD).

TWDG = niche of a niche. Okay, cool.

What that means is, in conjunction with our personal devotion, TWDG have a smaller community to cater to.

Or, Clementine has a cult following. Lol.

And with cult followings, feeding us is both very, very easy and extremely, extremely difficult. Easy in that you could literally give us a single line (something like, oh I dunno, “Clementine lives” at the end of another comic) and we will go frothing at the mouths after it. Yet, given that cult followings are particularly sensitive to how their character(s) will be represented, you still have to be careful. Granted, no matter what a creator does, somebody emotional will be pissed off. However, so long as the community can see that the development was treated with care and passion for what’s been already established, people will accept it. And I think S3 is honestly a good example of this; the game is the weakest of the four, and people love to hate on it (for fair reason; the script is…something I’d expect from a draft, lol), but S3 still does get the love that I think is deserved. People still do care about it and its characters like Javi. That, and it does some interesting things. There’s passion behind it, and people appreciate that.

By this point, since the games have concluded as a niche (of a niche), the cult following is really the only audience who is aware of the comics, and is who the comics are for. Having a cult following be the primary environment of your audience is a slippery slope for a company to appease—especially a company that, really, did not create the work that the audience follows.

Now let’s consider: Clementine = slices of a whole x cult following

Which is a scary equation for an adaptation. But here, with the slices of a whole, we have a juxtaposition upon us—which will guide the rest of this essay. It’s also something I kind of…skirted around before.

And what a strange juxtaposition it is. Clementine is simultaneously a character flexible to each and every one of our interpretations, but also a character that is, well, her own character. Yes, Clementine’s strength as a character is also a strange juxtaposition. She’s not like Ellie in The Last of Us given that those games are linear—choices can be made, but none that impact the story itself. She’s not like Geralt from the Witcher franchise since Geralt is an established character outside the games, and despite the games having choices that weigh into the story, his characterization is still quite true to what was established beforehand. She’s also not like other titles such as Elder Scrolls, Fallout nor Cyberpunk 2077 where the player characters are the most flexible in terms of characterization.

Clementine is, functionally, a strange character in this way. She’s neither the rigid characters people play as like Ellie and Geralt (though the latter has more wiggle-room), nor the player-inserts like in the aforementioned games. Clementine is a character made for the “Telltale RPGs” where the characters have rooted characterizations beyond the player’s interpretations, but the player interpretations of those characterizations will influence the choices made, and thusly the overall interpretation and conclusion of said characters. …which sounds like it extends to Geralt as well, but notice the made for the “Telltale RPGs”. Ignoring the comic (and fandom stuff) for a second, Clementine doesn’t exist outside the games. She, along with Lee and Javi, are unique in this way—even within Telltale’s character line-up, across the board.

And what does this mean for the comic?

Well.

It means they really shot themselves in the foot—with a rifle. On top of the whole…rant I made earlier.

As much as I would love to see Clementine have her own comic, she is not a character made for it. Unless it is a choose-your-own adventure novel, or it was established, from the beginning, that the comic is but one Clementine, Clementine as a Telltale-RPG character would never be able to function in a linear story because she was designed not to.

But also—and here’s the rifle part—the comic would still have to abide by her set characterization. On top of being flexible with her being a Telltale-RPG character.

This is what I mean by Clementine having a strange juxtaposition.

There are different slices of her—different interpretations—, but those slices are still all Clementine. Not apple, nor orange, nor lemon. We were given multiple choices, but all of those choices were within the realm of Clementine being Clementine. Clementine had the option of leaving or staying to watch Kenny beat Carver to death—but there was never a choice to help Kenny kill Carver. Because Clementine wouldn’t do that, ergo, the option wasn’t presented. Maybe apple would do that, however, or lemon. Clementine had the option of telling A.J that he should apologize to atone for his actions, or back him up after shooting Marlon—but there was never a choice to kick A.J out and leave him to fend for himself, nor start a fist-fight with the school kids for being upset. Because Clementine wouldn’t do either. Ergo. The options weren’t presented.

Now. This only gets more convoluted when you consider that, even though every option presented is in-line with Clementine as a whole, not every option is fit for a single slice of Clementine. For example, Clementine would’ve never accepted Ava’s initial offer to join the New Frontier. Because she does not trust people. If anything, she hates people. However, other interpretations may have jumped on the offer. Which is fine. Good even.

So yeah. Convoluted. Lol.

Either way, then we get to the question:

Would Clementine abandon A.J at the school?

The short, simple answer is no.

Clementine to A.J is Lee to Clementine. Clementine is essentially A.J’s mom, and A.J is practically her kid. She went through hell getting A.J back—even has the potential to have killed a man just to know where A.J was kept. (If you don’t make a choice for Javi when Dr. Lingard asks to euthanize him, Clementine will do it. How do I know this? Because of my interpretation of Javi: I played him as not a coward, per se, but someone who does not like seeing the face of who he kills. Thus, my interpretation of his hesitancy influenced Clementine and revealed something about Clementine’s character: that she would.)

Now, I know I’ve harped on this point long enough, but it’s for good reason.

I firmly believe that Skybound, and therefore the comic, greatly underestimated Clementine as a character—both in our attachment to her as a cult following, but also her complexity as a Telltale-RPG character. To avoid the time and energy that would’ve been spent in crafting a choose-your-own-adventure story, no doubt. Or rather, to cut corners.

And then insist that because they have the rights to the IP now, what they say goes. What they do equals canon. …while furiously brushing the nature of Clementine’s character under the rug. And what canon actually means.

Speaking of, let’s discuss canon, and how TWDG fit into that.

[What is Canon Actually?]

I’m gonna say it. You’re gonna watch me say it:

The concept of canon versus fandom is bizarre.

It is.

Take mythology for instance. Those stories, with a grain of truth or not, serve as a prime example as to what I mean.

And I’ll do this by absolutely undermining all of human, mythology history, but you’ll get the point: person creates story—as a way to document history via oral storytelling, or to express a message—, and that story is told; the story is passed down, and it changes with the interpretations of whoever is then telling the story; the story builds on itself and evolves to encompass every interpretation that has been accepted by the culture—by separating itself into multiple iterations if details being to contradict, or by converging in on itself.

And then.

The stories become ingrained, and the cycle continues on.

Canon is the source material. It’s that original storyteller. Fandom is interpretation. And come to find, throughout history, it’s fandom that ultimately decides the canon’s fate. Fandom will reject things that it doesn’t like with canon, and it will alter the story with time. And as a significant amount of time passes, we end up with stories of Heracles turning into Disney’s Hercules.

In this way, a culture’s mythology is an example of how canon and fandom is actually quite intertwined. And, as I will go over later, we see this with American mythology—comics. DC and Marvel comics being the major two.

Now, this isn’t to claim that there has never been a difference recognized between source material and interpretation. For one, Homer often credited in writing the Iliad and Odyssey—meaning he is the original storyteller, or, more probable, he is the one that documented oral traditions. Homer’s existence and the fact that his name has yet to be forgotten after all this time is, in itself, evidence that people didn’t just wake up one day and decide to finally credit a storyteller for their contribution to culture. This has been something that has been done for a while—albeit in different ways.

What this is to claim, however, is that there are two core reasons as to why fandom and canon are separated as we understand it now: copyright and technology.

And we’ll start with the former. Copyright history is quite interesting. Something that goes back further and deeper than people tend to assume. We’ll start in 1790 (yes, it’s a crusty, dusty law) where it was written into the new U.S Constitution:

“Congress shall have the Power . . . To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.”

United States Constitution, Article I, Section 8

And, in modern times, that translates to providing the “exclusive right to reproduce and distribute his or her work, [and] a right to publicly perform or display the work” (Copyright.gov). This also extends the creator’s right to give other parties a license to do the same, but, there are limitations, especially as technology has developed. (The Copyright.gov website explains this in more depth.)

What this means is that, already, we see a line dug between canon and fandom. People can’t just write fanfiction and expect to get paid for characters and a story they, themselves, didn’t create. Which, fair enough. I am by no means going to claim that writing fanfiction is a cakewalk, but I do understand why fanfiction is a free service: it is done out of passion, nothing more.

Technology has made its impact as well. And this doesn’t just mean the Internet—even though it arguably has had the largest impact with this discussion. Any advancement that makes it easier for people to communicate and discuss interpretations of material has contributed. Cars. School systems. Conventions. While versions of these concepts were probably present in the past, the sheer convenience of all of these has made it easy to bridge the gap between the creator and their audience. And because of that—at least for the sake of this essay—, copyright was established as a sort of barrier to ensure that the creator is able to be compensated for their contribution.

The Internet, of course, has done this tenfold. I’m sitting in my bed with my cat on lap, snoozing away. I don’t have to be at a convention, or even see anybody of the fandom, to discuss Clementine and TWDG and the comics with others. And because of that, the difference between canon and fandom is simultaneously a slippery slope and a solid border. The way people can interact with a fandom and talk directly to the creator allows for that slippery slope, but at the same time, because of the law, the difference is more defined. Which I find to be interesting, if anything.

So how do TWDG fit into this?

Well, to understand that, it’s best to understand how Telltale fits into this. Without going into too much their history—since, frankly, it’s not really relevant here—, understanding what Telltale Games was (and kind of is now?) will better contextualize TWDG and canonicity. Telltale is known for their choose-your-own-adventure, point-and-click style games. Yes. And, ultimately, that has remained to be the trademark for the majority—if not all—of their time. Another thing? Comic books. Outside of the gameplay and story type, Telltale is known for being the game company that adapted comic books.

Here's a few:

The Wolf Among Us. Bone. Batman. And, of course, The Walking Dead.

Granted, Telltale didn’t only adapt comic books, but for the sake of this part of the essay, the comic-book-thing is another point of interest. And I’m going to use Batman as an example.

We go to May 1939, in Issue #27 of the Detective Comics: The Case of The Chemical Syndicate. Or, Batman’s first appearance, thanks to Bob Kane and Bill Finger. Then, six issues later, we have his origin (you know the one: turned into a rich orphan in a dark, dark alley). Five issues after that, Batman sees the introduction of his very own Watson: Robin, who completes the dynamic duo. In the 1940s, Batman received his very own comic series, starting off with Joker and Catwoman appearing in the first issue.

Oh, and this early batman wielded guns. Which uh…, if you’re familiar with Batman, is really, really weird. However, this is an example of how characters and stories evolve over time, depending on what both the creators and fandom accepts and rejects.

We hop over to the 60s where Batman was associated with a campy, tongue-in-cheek, largely due to the show at the time. As that interpretation fizzled out, Batman was back to his roots with his grim stories rekindled.

And since then, with comics alone, we have a slew of different interpretations that, together, have built Batman’s overall identity: Dark Knight Returns, Batman: The Killing Joke, Batman: Nightfall, Batman: Year One, Batman: A Death in the Family, Batman: Arkham Asylum, Batman: Death of the Family. And a plethora more. The reality is, Batman didn’t spawn from one iteration. He is an amalgamation of a whole evolution: Golden Age. Bronze Age. Silver Age. Modern Age, and 21st Century comics. The New 52. DC origins. My rat pea brain is frothing. Television. Film.

(Also, the interpretation section of Batman’s Wikipedia makes my point plainly. Specifically the gay one, where the argument between whether or not Batman is gay I found to be entertaining.)

And. Of course. Video games.

Telltale’s Batman series is but another interpretation that has added to the mountain of other perspectives that makes the Caped Crusader, well, the Caped Crusader.

TWDG, however, are unique compared to the Batman games. Where Batman adapts both the world and characters from the comics, TWDG don’t (aside from Michonne, and a few character references done in S1, and Jesus). TWDG only adapt the world from the comics. The reason why boils down to TWD, and how it would’ve been redundant to have Rick Grimes be in a new game series when there were the comics and show going on all at once.

So, instead of a sheriff’s deputy, we got a convicted murderer. How fun! :D

But to that point, here is another element which Robert Kirkman himself noted (after being asked if Clementine would be in the show):

“I mean, honestly, like, we love Clementine and those games are fantastic, but I like that there are different elements to each iteration of The Walking Dead that you can only get in those iterations. [. . .] I think if we cross-pollenate too much, it takes away from what makes Walking Dead special in all the different genres.”

Iterations.

Something that has been commonplace in American comics like Batman, in mythology, religious texts, etc. Here, Kirkman recognizes why iterations are so fascinating and important for storytelling, and it’s just yet another reason why I do respect him as a writer:

Iterations bring individual perspective.

By using the same foundations—whether it be with all the characters, world, and storyline, or just the world—, it opens the chance for people to deconstruct and explore nuance. And obviously, Kirkman—as the creator—has given other parties the license to do such a thing, given copyright. Between the show(s) and the comics, the differing perspectives is in the different interpretations of TWD—the original storyteller, and then those who are adapting it. Between the comics and the games, however, rather than interpretations of TWD itself, it’s with the different interpretations of TWD’s world. “Okay, so we’ve followed a cop, let’s follow a convict.” And then it developed from there.

And this does extend to Clementine’s fic in regards to TWDG, though it passes into the fandom space. It’s the same as what’s going on between the show(s) and comics—with the additional, tangled web discussed previously.

So, in regards to this comic, it’s important to acknowledge that TWD—as a whole—has embraced different iterations throughout its time. Here, we can appreciate this layer of complexity with TWD on a grander scale.

On a smaller scale, TWDG have a another layer of complexity that the TWD comics and shows don’t have:

Well, obviously, the tangled web. The fact that Clementine is running around with a bunch of other different slices of Clementine. Those different slices arguably being different iterations in themselves, while being attached to one singular, overarching iteration of Clementine.

What this means for canonicity and TWDG is that it’s…complicated, though in a different way than Batman (and the TWD comics versus show, for the matter), yet with a similar result. Batman is an amalgamation of iterations throughout the decades, now including Telltale’s, which has left us with a multitude of interpretations, a multitude of versions—all of which still resemble each other as the same character. Clementine has one iteration—now two, including the comic. But unlike Batman, Clementine started off as a choose-your-own-adventure character, so she is inherently an amalgamation of every interpretation that has guided players through the games, as a reflection of those players, and each interpretation thrives and are considered canon.

And here’s how:

The games are canon up until a death screen. Between the fatal choice made—or not made, with those damn quick-times—to the red screen doesn’t count. Because, uh, you died. Which leaves the game to prompt you to try again.

So? It means it doesn’t matter how you ended S1, or S2, or S3, or S4, if you ended them, that was the story told to you. A story, which, becomes your source material. Your canon—and thusly your Clementine.

Which, like, no shit. Lol.

But then let’s dive in a little deeper. Dig up another layer:

Interpretation.

Because, hey, it works in a really funky way here. Interpretation in fandoms (which take the form of headcanons) are typically generated in isolation from the canon material. Simply put, copyright. Whoopie.

Another reason why goes back to the idea that there are characters who are stagnant—like Rick, and Michonne, and Daryl—, and those who are not—Clementine, Lee, Javi. Fandom headcanons of the former three can only do so much. They do not actively impact the story, not unless the creators allow them to (but, well, again, copyright). With the latter three? Headcanons do. Like how Clementine suffered from alcoholism as a way to represent her losing sense of self, and the way that interpretation influenced how I played—how my canon, my source material, took shape.

So, again, Clementine is a very, very strange character in regards to canon. When compared to many other characters created nowadays, most of which only have one (maybe two, if there’s a film-adaptation-thing going on) iteration, I can’t help but think that Clementine is reminiscent of characters from mythology. Depending on what story needs to be told, and who is telling that story, gods like Athena, Loki and Oya may do things that contradict what other stories claim, all while being recognizable as Athena, Loki and Oya. Functionally, it is the same with Clementine, albeit within Telltale’s singular iteration rather than centuries of cultural development.

I also like to think that where Batman is a tower, where the foundation will always be that Issue #27 and people have just built on top of that, Clementine is a mirror. Every person who has played the games has a shard of it, and when we look into our shard, we see our reflective Clementine, but when those shards are put together, we see Clementine whole. And Clementine whole isn’t one singular interpretation—not like how Kane and Finger created Batman.

Which, honestly, brings us to interpretation in practice.

And how it’s a skill.

[Writing Fanfiction is a Skill]

Nope, didn't read that wrong. I mean it.

I have almost 6 years and over 1,000,000 words archived on AO3, dammit (and a few more million to come, lol), so trust me when I say that writing fanfiction is a skill.

When you write fanfiction, you are developing the skills of writing which can be applied to your own, original works. Sure thing. You get to learn how to grammar, spell, use fancy punctuation (talkin’ about real fancy shit, now!), and other cool things. All without worrying or spending your time/energy on developing a world and characters from the ground-up.

However, when you write fanfiction, you're also developing other skills that you wouldn't otherwise develop. It’s like a special exercise that exercises one special muscle that no other lame exercises do. Lol.

The fact of the matter is not everyone can pull a character from another person's story and keep all the components of their personality. Well, okay, nobody can keep all components. Naturally, there will always be parts missing, or altered. For one, the original creator might not have included everything that was running through their head when their character was born; things are always cut, that's just how it is. Two, interpretation will always skew as people take the character(s) into their own hands.

If you're writing fanfiction purely as a hobby to express yourself, and you're not all that concerned over maintaining the intended character traits provided in the original piece of work, then this isn't an issue. A lot of people write characters as homosexual/queer, or as trans, or with mental illnesses (or all at once; sounds fun) as a way to simultaneously acknowledge their acceptance of a character and explore themes they wouldn't have otherwise explored. And there is nothing wrong with it. That's a normal thing to do, and I highly doubt that this is just some sudden phenomenon. So if that's how you roll, keep on truckin' along. There isn't inherently anything wrong with using fanfiction that way.

However, there is something to be said about the value in being able to write a character believably—as if you yourself wrote it (but not, like, in a stealing way). Being able to mimic their dialogue. Nailing their little quirks. Acknowledging their complexity. Out of the two directions you can take fanfiction—purely for expression or writing a character as is—, the latter falls more in line with comprehensive skill. You would have to comprehensively read in order to effectively write Percy Jackson as if you're Riordan himself.

Will anyone actually ever be able to do that? No, because interpretation will always skew, and everybody except for Mr. Riordan is not Rick Riordan. Is it constructive to be a fanfiction-copycat? No, because you have your own style in doing things, you have your own views, and why do Riordan's work for him when he could do it himself?

The truth is, for the majority of writers, fanfiction tends to be a meld of both. Writers will strive to emulate their characters, but with certain traits, they'll bend the characterizations set in order to express/explore their own interests. Which is cool. That's ultimately how you find yourself as a writer (or any artist, really) when practicing with fanworks. That, and you'll find people who think of characters in different ways. Which is also cool.

But there is a balance at play here.

When I write fanfiction, I am there to develop my writing skills, and my adaptation skills as well. Largely because it was a way for me to observe how different characters act, and to practice on how to write different characters. When I write fanfiction, I want you to be able to hear the characters speak through my dialogue. And if it’s a fic with minor-canon divergence? I want you to be fooled as to which lines of dialogue are from the show/game, and which are of my own.

In short, I want you to believe that the characters from whatever show, whatever game, would behave this way, talk this way, in my stories.

I want you to believe that Clementine could be an alcoholic, yet still recognize her all the same.

There’s a sweet spot in writing fanfiction. Of course, you may be able to pick apart which trace is of the canon, and which are of the fanfic author’s. But so long as the fic has you believing what the characters are doing are what they’d do, then it doesn’t matter if you’re able to pick apart those traces. Because that’s you accepting the fanfic author’s interpretation—out of appreciation, or even to the point where you adopt the interpretation with your own.

And about the value in being able to comprehensively read a character and then write your own story around it… Well, this comic may be a good example as to why that is actually a crucial skill to have:

The thing about fanfiction is that it's a collaboration between you, the person writing the fanfiction, and the creator. Most of the time, the collaboration isn't direct, and the creator doesn't know about it. And that's fine. (…great, even; most, if not all, fics are just meant to be unseen by the creator because of that legality stuff lol.) But, with the reader and fanfic author, that is typically reversed because you can interact with each other. That, and fandom discourse can and does impact how people write characters in their fics.

And you know what else is a collaboration?

Damn near every single bit of fictional entertainment except for writing. Literature, unless you buddy-up to write a book, is usually a solitary thing. But writing a script for film? Movies or shows? Video games? The continuation of a franchise?

Yeah. Those all require a collaborative effort in some way, shape or form. And it's funny how that skill in being able to mimic another person's character to continue the story, through collaboration, can be found within writing fanfiction—a (typically) solitary thing.

If Tillie isn't a good fanfiction writer, the Clementine in the comic can be, at worst, described as her own character wearing Clementine's skin. Which…I hope not. I’m gonna give her the benefit of the doubt. What I will maintain, however, is that the comic is another iteration of Clementine. Separate from the games. On account of how I don’t see the comics being able to effectively bottleneck every Clementine. That, and it makes more sense. In the same way that Batman can have many iterations, Clementine can as well. And you can pick-and-choose which you want to go with.

With all that said, though, this is the point that will be better judged once the comics are out. I can’t really say if Tillie is good at adapting another character because what I’ve seen isn’t much—especially since it will be 256 pages long.

I mean…from what I have seen, I know that the comic Clementine won’t be Clementine. And because of that, I’m not going to adopt Tillie’s interpretation with my own. My benefit of the doubt is extended to an appreciation if Tillie does end up serving Clementine well. …which isn’t what I saw from the first chapter and all that was released before, but whatever.

In any case.

Writing fanfiction is a lot like playing with action figures. You're borrowing them for your own stories—and that can include your own universes if it's an alternate universe. You could swap out the clothes and detachable limbs to craft a story however you please, or you could keep the action figures as they are and have at it.

More often than not, the action figures will remain how they came in the box, but they will act in ways that are skewed from the original characterization. Some people are better at closing that gap between original work and interpretation, and with very few, it's to the point where you barely realize it. To the point where, if the piece of fanfiction they wrote was published, it could be just a development of the story.

Which is how collaborative fiction works, isn't it? Especially in franchises based off of one creator’s foundation—like Robert Kirkman’s comic book—, which are then adapted as a tv show. Then you have how people are constantly swapped in-and-out of long projects, yet those different interpretations come together as canon.

And with the comic, if what we know as of now isn't a fluke but is instead what the story offers, it's probably in-part due to lacking that fanfiction skill—or, well, skill in adaptation.

But that isn't to say that Walden herself is a bad writer.

(tillie walden's artwork, with a.j)

[Walden Conundrum]

Let’s start here: do nOT HARRASS HER MY LORD THAT’S NOT WHAT WE’RE HERE FOR CLEMENTINE WOULDN’T APPRECIATE IT SHE WOULD SEE IT AS A WASTE OF TIME AND DOWNRIGHT STUPID ALSO THIS TUMBLR BLOG DOESN’T STAND FOR ITTTTT—

deep inhale

This does apply to Skybound as well, for the matter, though of course Walden is one person and Skybound is a company so…yeah.

Anyway. Look.

I'm going to be honest. I've investigated a little bit. I've gone around and looked into (some of) Walden’s work (which will be linked at the end).

First, let’s cover her professional career. Walden is a cartoonist, and as of now, she has seven works under her belt starting from 2015: The End of Summer (2015), I Love This Part (2015), A City Inside (2016), Spinning (2017),On A Sunbeam (2018), Are You Listening? (2020), and My Parents Won’t Stop Talking! (2022). And then, of course, the Clementine comic in not too long.

In the awards department, she has won three Ignatz Awards—for her first two books—, and then two Eisner Awards for Spinning, (Best Reality-Based Work), and recently for My Parents Won’t Stop Talking! (Best Graphic Album—New) . We will come back to the reality-based genre.

So…, yeah. Walden isn’t just this random cartoonist.

Outside of that, Walden is a graduate of the Center for Cartoon Studies, where she now works as a professor. Walden was also a competitive ice skater (sounds fun; it also means she likes snow). And, something that has bled into her stories, Walden is an out lesbian.

So from looking at both her achievements and Walden herself, I can see why Skybound would have an interest in hiring her. For one, she’s young—mid-20s. She’s an out queer person. Both of these mean that, following a line of logic, Walden would be someone who understands Clementine who is a young, bi woman (teenager, whatever) at this point—compared to an old fart who has his hands cramping whenever he draws. Then, you have her achievements. The Eisner Awards are a big deal in the comic industry—think of them as Grammys, but like, for dialogue-pictures.

Okay. Never going to describe comics like that again. Got it.

With this, I dug a little deeper. Turns out, you can read one of her works on her website—free of charge. ON A SUNBEAM (OAS). 20 chapters long. Easy read.

And you know what? It's quite enjoyable. I had a fun time at least.

OAS is a sci-fi novel in which there is space, and there are fishes, and those fishes are fuckin’ rad spaceships. There’s a cat-horse in there, and there’s high school, and a team of people who are in a fish spaceship that go fix some juicy-ass architecture (I do love architecture). 20 chapters. Free to read on her website. I do recommend.

Now, okay. To actually explain the story, OAS is a sci-fi novel where it follows Mia, who is about as flawed as you can get, in two main timelines: one at high school, and the other as she joins a team (on a fish spaceship!) that primarily oversees old architecture projects. In space.

Also, it is quite a queer, feminist story. There are no men, so the lesbianism is a given, but there is a nonbinary character (who’s pretty cool; hi Elliot :D). And with that said, I do appreciate how this was handled. None of it felt forced—especially compared to other, pandering stuff I’ve read. The story is of queer identity. Cool. And the story moves on.

So, yeah. That was a nice aspect of it.

Overall, the comic itself is more or less an emotional journey than anything. All the sci-fi stuff takes a backseat and melds into the environment.

The main character, Mia, is…destructive, reckless, abrasive at times, etc. etc. Yet, Mia's also fiercely loyal. She knows her flaws, and whenever they come back around to bite her on the ass, she's remorseful. I'm going to be honest when I say that it was nice to see. It can be difficult to be able to write such a flawed personality with their redeemable qualities littered throughout.

I’m not going to get too far into the comic, however. One, that’s not the point here, and two, frankly, going in blind was a fun time. I do encourage people to read it if you so choose just to prove the point that, no, I don’t think that Walden is a bad storyteller. So, if you have the time and interest, forget this Clementine business for a bit and read it. Maybe you’ll enjoy it too.

But…yeah. She’s not a bad storyteller. Instead, I believe that Walden was not at all the right fit for these comics.

And I’m going to start with her art-style.

Personally, it’s not my favorite. I love sharp, bold linework matched with vivid colors—see Marvel and DC comics. And if colors aren’t included? Well, that’s cool too. I absolutely love Little Witch Academia’s manga (specifically Satō’s), and adore Kakegurui. And many more, of course.

So, yes, I’m personally not the audience for Walden’s style. Hers is very simplistic overall. The linework is made of thin and “freehand” lines. The shapes are as well.

All to make room for color.

And, if you’re familiar with Walden’s work or have just popped over to OAS, you’ll understand why this is a huge thing:

Color is the blood to Walden’s style. Without it, it’s…dry? I suppose? The best way to describe Walden’s art-style is that it is all color with as little linework necessary to guide that color. The linework is there to show you where the characters are looking, not to be the epitome of detail.

Which…, while it’s not my jam, I can respect that. For one thing, this style worked well with OAS—and I can imagine it goes well with Walden’s other projects as well, outside of Clementine. In other words, it’s good for contemporary, self-reflective work.

If anything, I think this is the main reason why people have criticized the art-style in the Clementine comic as much as they have. Because TWD is known for its greyscale comics, which is why the Clementine comic is doing the same. The issue with this is because Walden’s style is reliant on color—that is truly where the story is being told, and I gotta say, she has an eye for it—, I don’t think that the linework in greyscale is going to be able to hold-up.

Now, to be clear, I have grown to appreciate the style. I don’t take much issue with it for the comics anymore. Partially because of OAS. At the same time, here I was just a week ago gushing about variant covers (especially Michael Walsh’s) because…damn, that’s my kind of shit. And it is very different from Walden’s work. But, again, I do appreciate Walden’s style. I know it has it strengths, because I’ve read it in a full, finished story. So I shall maintain that the Clementine comics won’t truly be representative of Walden’s style.

Another thing: concepts. I have a suspicion that the Clementine comics will tap into some interesting concepts. Well, okay. Less of a suspicion and more of a guarantee; as seen in the first two chapters that have been released (both linked at the end), we have the comics exploring an Amish community.

Which.

Um, yeah. That’s actually a really interesting thing to be looking into. The Amish are quite secluded from everyone else, but, wouldn’t the Amish fair better in an apocalypse an a city-person? They’re already independent. They already know the skills required to live off the land. And in a franchise that has largely explored how people had to change with the world, exploring a group of people who were already a step ahead—despite being behind technologically—is very interesting.

Now, uh, will we explore more of them? Well…no? Maybe? Unless Amos says things here-and-there.

Ah well.

But, that will be a potential highlight of the comics.

Another highlight is actually similar to Walden’s approach to sci-fi—have the genre be the environment, and let the people be people (or monsters).

This is another thing that fits TWD very well. In all honesty, this approach goes hand-in-hand with Kirkman’s refusal to explain how the apocalypse started—which is something that I actually like, and have incorporated in my own (fanfic) writing. Of course, the unknown is scary and interesting, thus curiosity beckons for an answer, but the point of TWD has always been about the people. (Until recently with the show trying to explain an origin, but…I don’t care.)

So…yeah. That is yet another point.

And now we get into characters and plot.

…both of which I can’t justifiably comment on using OAS as an example because, well, adaptations are different than what Walden is accustomed to.

Here we have an interview of Walden’s, given at the end of the first chapter. (The interview link will be at the end, through DomTheBomb’s video(s). I’m not going to go over the whole interview.) For our purposes, there are two questions that are important, though I will reference things from the other questions (there’s only five in this interview).

Tillie, you’re known for writing and drawing your own characters—what made you excited to take on this project and dive into Clementine and the world of TWD?

I was excited by the prospect of entering the world of TWD mostly because it felt so different from all the other work I’ve done. All my past books have been loosely autobiographical, pretty quiet, pretty sensitive. The idea of bashing in the heads of walkers, and writing characters who are shaped so deeply by survival sounded fascinating. And of course in the process of working with Clementine’s character to make these books, I’ve found so many connections between her story, the apocalypse, and my own life.

After I read this…, things started to add-up.

The Clementine comics are outside of Walden’s comfort zone. They’re within a genre that she isn’t familiar with, with a character that isn’t hers… And, yeah. Okay. For what it’s worth, I’ll give her props for branching out. It is an exciting thing for any storyteller to do.

But. It does raise the question of how far outside her comfort zone is she? Has Walden ever written (or drawn) fanfiction? To this level specifically. If so, how much? Has she ever developed adaptational skills to a professional level?

And as I’ve read through this interview, and some others, I’ve realized why Clementine is traveling to Vermont: to compensate for branching out. By plucking Clementine from an unknown to a known, I can imagine it made it easier for Walden to craft this story.

Here’s the thing.

Walden is a (loose) autobiographical storyteller—hence why she was awarded for her reality-based work, which I do think was deserved. Her skills are in slipping elements of herself into her stories. After reading OAS, I can say she does it well—with OCs and original stories, anyway. And if she’s played the games? Well, her Clementine is a reflection of Walden, isn’t she? So…naturally, Walden is going to impose herself onto Clementine—as was designed by Telltale to do, maybe elevated given Walden’s past work.

In regards to the comic, this is an issue.

A blaring one if Walden is not familiar with writing fanfiction to begin with.

When you write characters with comprehensive skill, you develop the ability to write in different perspectives. To write characters outside of your comfort zone—especially when you get to fandoms with large casts. And given that I live in a fucking desert with sand and dust and cacti and shit, I’ve had to spend time and research to write environments I’m not familiar with because most of my fandoms don’t take place in a desert.

Ergo, I don’t believe Walden developed those skills. Not enough for Clementine.

And because of that, we have a Clementine who is warped. She doesn’t talk like Clementine because Walden is writing Clementine’s dialogue as she herself would talk. Or, at the very least, how she thinks Clementine would talk, but through a heavy layer of bias. Clementine left the school for snow because Walden likes snow—even though, Clementine probably wouldn’t (again, Clementine would go fucking insane).

This is what I mean by fanfiction is a skill. Sure, elements of Walden’s personality would end up in the comic regardless. But, the key to fanfiction is being able to get into a character’s head unfamiliar to you. That is the trick to a successful fanfic/adaptation.

Not doing whatever the fuck you want because you’re in charge. We have a name for that. It’s called crackfic.

With that, here is the second question:

Your process as a writer/illustrator is a little different than most. You don’t do scripts, and instead prefer to just dive right into the layouts—why do you think this helps you?

God I hate scripts. I feel like as a cartoonist, our skill is in synthesizing the drawing and writing process. If you separate them, then in my mind, I’m not really making a comic anymore. Of course we outline the book before we start, mostly so my editor knows I have some idea of where I’m going, but then like you said, I go right into making a draft of the book, without scripting or thumbnailing. I think this process works for me for a few reasons. One is that it forces me to build the story visually right from the get-go, and often my best moments of writing and plot are inspired by an image I draw. Another reason is that it’s faster. This is huge, since we’re trying to bring a Clementine book to people each year (it’s a [trilogy]). And I think the final reason is that by writing and drawing at the same time, I naturally create a lot more silent spreads than I think would be inclined to do if I was scripting. “Drawing of the beach, no text” doesn’t sound lovely in a script, but when I see it, I can feel it, and I know it belongs.

Ah.

So there is a lot to unpack here, and I will do this by taking each reason at a time before diving into the meat of it. Because, frankly, this answer is the one that bothers me the most. Now, for one, I am not a comic writer. At the moment my focus is in literature, but I would like to expand at some point. But, I am a storyteller, as is Walden, so at the crux of this, I do have insight as to…what Walden is saying here.

Insight that isn’t just for writers. Lol. I think it’ll be pretty easy for people to pick up what I’m picking up on.

First of all, with this answer, we learn that Walden is a gardener/pantser—both terms used to describe how a storyteller crafts their story. Gardeners are people who write as they go, and let the story develop in the moment. This method is quite messy and unorganized, but that is the point. What you’re doing is letting a story grow organically.

…also, this isn’t as different as the interviewer described. For comic artists maybe, I can definitely see that, but you will run into a lot of writers who take this approach. I have, at least.

Now, I am not a gardener. At all. I am an architect. I outline—to an extreme. So while I do definitely give my stories that time and room to breathe, I don’t just write as I go along. I hop around. I keep an outline. I even script my dialogue for many scenes.

But you know what? This difference doesn’t really matter. There isn’t inherently a right or wrong with being an architect versus a gardener. Here’s why: so long as you can get from Point A to Point B, and the product is good, it doesn’t matter what journey you took. A storyteller’s journey with their story is quite an intimate experience in some respects. I can’t really judge Walden’s process in this regard.

However, it is crucial to understand that one process doesn’t have a leverage over the other in regards to time. Outliners tend to wait a while before actually writing because they are dedicating time and energy in, well, planning. Now, I will usually just plop down and write a few scenes to feel out the style for the story—like first person versus third, past versus present tense, etc.—, but a significant portion of time is just outlining. By the time outliners do start writing, it is rapid-fire. The actual writing (for me at least) doesn’t take that long. I’ve gotten to the point where I can write 100k words in a month easy. But those 100k words came out after a couple other months of planning.

With pantsers, that, of course, is flipped. To my mind, I would think gardening a story would take longer than outlining because you have to keep drafting and editing and catching all the plot-holes you missed before. But, then again, I’m not a pantser, so naturally that process would take longer for me.

So, to Walden’s second point with time, the only reason why it should take a shorter amount of time for her to garden a story rather than script is because she is a pantser, not an outliner. So, as pantsing a story would take longer for me, outlining a story may take longer for her. If the process itself, however, takes significantly less time than an outliner because only one draft is written, and finalized, then…

Yikes.

That is not a good sign. Especially with an adaptation. On Clementine. Where you have to keep track…of the choices made…and potentially incorporating her Telltale-RPG nature…

Walden may be a gardener, but with pumping out a ~200-300 page comic each year, with this process, for this character, is reckless. Not the gardening process itself, mind you, but the implication that this requires less work, less drafts, for Walden to do within a short amount of time—1-2 years isn’t actually a lot.

Then there is the emphasis on the art. While I don’t write comics myself, I would argue from a storyteller’s perspective that comics are more than the art. Yes, the art is the focus, just like the narration is for narrative writing. They are the key components to their respective artforms.

But a key is not the only part in opening a door. You need the fingers to grip it. You need the wrist to turn it. And then you need the lock itself—the story, in which the key is cracking open for the audience.

The art, the narration, is the flavor to the story, not the story itself. If that wasn’t the case, every chicken would taste the same, no matter how it’s been prepared. Every apocalyptic universe would be the same. Sure, there’s absolutely similarities given that it’s the same genre, but try to tell me that TWDG and TLOU are the same thing. Go on. I’ll wait…

Point is, while the flavor is absolutely important, people care more about the meat. Clementine’s cult-following cares more about the meat. We are invested in the comic—for better or for worse—because of Clementine, not the art. In her other works like OAS, people may be there for the art. But that’s the difference between a continuation versus original work, isn’t it? People weren’t invested in the characters of OAS before reading, but they may have been intrigued by the art. With Clementine, no. Cult-following will cult-follow. And being the primary audience, if the meat isn’t good, people will not care about the flavor. At all.

Now. Again. None of this is a criticism of Tillie with her work overall. As I said before, one’s process shouldn’t really matter when it comes to a product’s quality. So if the product is good, it doesn’t matter if you’re a gardener or an architect.

However.

A storyteller’s process does have its impact. It doesn’t matter with solitary work, but it does in certain other contexts. Like adaptation, and or, continuations.

I outline to an extreme because 1) it works for me, and 2) the outline is there to jog my memory whenever I get back to a project after, inevitably, having to take a break and work on something else.

So again, is Tillie the right choice for Clementine? In short, while I understand why she was hired for this—because there's fair reasons—, I don’t think so.

I will be the first to say that I do not appreciate the basic premise. At all. It's quite frankly appalling and a punch right to my spleen—and then some. It makes me want to wear down my teeth to little numbs by eating sand (I live in a desert; it would be cost-effective). And I covered that. Again, Clementine put down her hat for a reason; to just give her another one with a cute lil ball at the top as she goes off into effectively a war-zone is a complete misinterpretation of her and her arc. There are better solutions. So many better solutions. They just aren't as simple as throwing Clementine back out into the world. So in that sense, my knee-jerk reaction is going to be no, she was not. At all.

But, to be fair, it is still early. There is still room for the comic to redeem itself. As in, there is a plan for it that does make sense. And if the fandom doesn't like it? Okay! We'll just kick it under a rug and not talk about it. Skybound may try to promote it, but if it ends up being that poorly received, there is nothing that Skybound, nor canon, can do about it.

After digging around a little, I’ve come to one conclusion: Skybound hired the wrong person for this.

Walden is known for writing non-fictional pieces—or, at least, works heavily inspired by her own life. To the point where she received an Eisner Award for it. Walden is also not a greyscale artist. The crux of her art comes from color, which is why people have said that the cover of this comic looks better than what’s inside.

That, and, Skybound probably hired someone who is not adept at writing fanfiction. Because if that is the case, I can see how her being a (loose) autobiographical storyteller is actually exacerbating that.

This alone, however, isn’t really the core issue. Storytellers can absolutely expand in writing different genres. So I do commend Walden for taking that leap. However, I think she bit more than she could chew because, rather than adjusting her process to compensate for the shift in story type, she treated Clementine the same as her other works. Which is…reckless. For those who don’t know, writing fanfiction does feel different than original work. Because you are working different skills.

There are a slew of choices out there, other than Tillie Walden, that would have done better. But, there is something to be said about how those choices are out there only because other people took a chance on them. Every storyteller has been in her place, once upon a time. And sometimes they flop miserably before they succeed a great success. So if these comics do flop, I hope Walden does fit this bill and is able to come out with great successes later on.

Critique what you want about her work, in and outside of TWDG. I get that her style isn’t for everyone, and that critiquing elements of a story with an adored character is good. That’s how companies learn their audience. Just don't say that Walden’s here to cannibalize the fanbase. Nor harass her. Regardless of whether or not she has the necessary skills of a fanfiction writer as talked about, Walden is still just an artist that took on a job.

[End]

So…yeah. In the grand scheme of things, even though the comic may be "canon", it's still the interpretation of one person—which isn't true to how the games work, nor Clementine as a character. The "canonicity" of this work is…really not strong. I don't care if Skybound will shove it down our throats that it is. It just isn't. Not if we don’t want it to. Not unless we consider the comic Clementine as a different iteration of the character entirely. Clementine is special to us because she directly reflects each and every one of our interpretations of her. The character shifts with our perceptions, and thusly our decisions made. If you're still angered by the comic, just remember that. "Canon" or not, the comic's Clementine still won't be your Clementine—just as much as my alcoholic one isn't. (Lol.)

I get it. The comic stands as a slap to the face and just pisses all over the entirety of Clementine’s journey. And A.J. Who has been around since the second season. Many of us find it absolutely appalling for Skybound to pull with Tillie as the writer. Sure. To the point where the comic’s Clementine has been deemed “Tangerine”.

But, if you're one to give chances and be optimistic, and you feel like giving the comic a shot, go right on ahead. Pre-order it. See to it that Tillie knows what she's doing and winds up crafting a salvageable story. A masterpiece? Um…no. Hopefully I’m wrong, though, and that she has a plan that makes sense, in the end. So who knows? Maybe you'll even stumble upon a storyteller that you actually appreciate, even with all this TWDG game-comic-Clementine nonsense.

Again, though, given the nature of the games, one comic made by a person won't destroy all Clementines. It simply can't… As I said, the comic is another iteration. Something that you could completely separate from the games. Your Clementine is your Clementine, and mine is mine. You know your Clementine; if your Clementine can't perceivably leave the school kids, and do anything she does in the comics, then she won't. It's that easy.

And though I’m not here to tear anyone a new anything, I know Clementine certainly won’t be the Clementine in the comics. Speaking of, I'm going back to my fanfiction. I have an alcoholic to write. ;)

(...when I'm not a shit updater. Lol.)

If you did read all of this, thank-you. I know it's a lot. But, ah well, fandom and passion and all that. Seriously though, I get it, but don't drag down a comic writer for taking on a job—even if it's downright terrible. We live in a society, and stuff. Give any just criticism, sure (this essay certainly did), but don't forget that the comic will not matter if you don't want it to. That is how canon works, in fact. Sure, there’s copyright and stuff, but stories develop overtime with the fandom, given that fandom can last longer than its creator. So yeah. As for myself, I'll continue writing my fics. I'm not interested in the comic, but I wouldn't mind seeing Tillie's work outside of TWDG. Actually do plan to keep an eye out for her stuff, all things considered.

With all that though, here are the links I promised. :D

Clementine Comic: Chapter One | Chapter Two

Walden Interview (with commentary) | DomTheBomb Channel

Tillie Walden: Website | ON A SUNBEAM Webcomic

Kent Mudle: Twitter | Tumblr | Website

PS: I STILL WANT THOSE BOMBASS VARIANT COVERS AS POSTERS I DON’T CARE I WILL DRAIN MYSELF OF MY RESOURCES FOR THEM PLEAAAAASE.

#volt's library #twdg clementine #clementine comic #twdg #notmyclementine #mine is still an alcoholic #fight me #long essay #twdg 4 #twdg 3 #twdg 2 #this essay is dated with the second comic out but oh well #reposted from last account #if this looks familiar it's because i yoinked it from my last (dead) account #tldr fanfiction exists for a reason #and that canon vs fandom is kinda weird #so skybound cant do anything about their canon #they cant do anything about my alcoholic clementine either #they ainT TAKING HER OUT OF MY GRIMEY GRIMEY COLD HANDS

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voltstone · 10 months ago

Text

…about the clementine comic (again): why is she illiterate?

I've already written an exhaustive essay about the Clementine comics written by Tillie Walden, and that was before the first book was out. It was more of a discussion of what was already seen from the teaser, Walden being an…interesting choice to write this, but more than that, it was to preemptively stake the claim that no, it isn't canon. Not in the way that's just "ew I hate this I refuse," but more so, "the games (and character) by design and functionality do not allow for single interpretations to adequately continue the story."

These comics can be…a canon. But not the canon.

In the same way as The Walking Dead Game's (TWDG) fanfiction, like my own where I'm writing only my canon interpretation, the others who do the same, and so on.

(This right here is the essay, by the by.)

It has been a couple years since then. I have read both comics, and there is a lot I can say about them. I may one day, but not right now.

Instead, I want to direct attention to how…weirdly anti-apocalyptic it is?? Because it bothers me. A lot. That I'm watching a Clementine as a character get reduced to a kid who doesn't know how to read or write, doesn't know how to dress and care after a wound...

All things necessary for survival—the reading especially within an apocalyptic setting. Which. No. I'm not kidding. I do mean that.

Before I really indulge in my grievances, however, I will start by outlining the world that TWDG has established, and what it actually takes to survive within it.

(And yes, this is another lengthy post.)

[Surviving the Apocalypse]

Throughout the games, we ultimately see the apocalypse under two overarching eras. The initial stage is calamity. The walkers swiftly overrun what people upheld as a stable, and very secure way of life. And the fact that it only takes one factor to destroy the "we're untouchable" notion, it's terrifying. (Which, on that note, though the undead is an extreme, we did maybe learn this post-COVID. Ergo, stories like these may resonate a little bit better than they had before.)

What's different about The Walking Dead (TWD) as a universe is that…, the true calamity arguably doesn't hit until later, because the dead themselves aren't what really destroys the untouchable mindset as before. In most universes, such as The Last of Us, it's something contagious that you don't want. However, it is also something to overcome and fix. Though the dead in TWDG's cousin is far more brutal, if you isolate them, or find a way to vaccinate…, there could feasibly be a future where the fungus is more akin to rabies or the black plague rather than a devastating change in society.

Because that's how diseases like these work. They will never go away, especially if humanity mishandled their responses to them. Rabies is still out there, because it is a violent disease (am also under the impression that walkers is very synonymous with rabies, but I digress). The Black Plague? That whole thing? Yeah, the plague itself is also still out there. The problem was solved by nature, where a fire torched all of London.

But since then, we have vaccines. We know better (…I hope) in how to appropriately respond. And…that's the best we can do. Pathogens will always dictate life.

Of course, this isn't to undermind what outbreaks as seen in those other stories do to the world. They evidently are a turning point, if not the end, of humanity's way of life. The reason why, however, falls more in-line with a society being greatly unprepared, and a virus, fungus, whatever being the perfect amalgamation that spreads rapidly. It's what we as humans have gone through, will go through, to an absolutely extreme. Complete annihilation. That kind of deal.

Here's the thing about TWD, and I honestly could go on and on with this (and why it's my favorite apocalypse I've seen in fiction):

The bite is not what does it. Everyone is infected.

And the longer you think about it, that in itself will not end. I'm in the camp that it would be maternally passed-down given how blood circulation works within pregnancy, so. You know.

The point here is TWD as an apocalypse is very unique in this one change. It fundamentally breaks how people approached these kinds of stories. The walkers are not particularly fast because they don't have to be. They are a looming presence. As they deteriorate, because they're so slow-moving (as apposed to clickers), they manage to tell their own stories in how they died. You can see if they were bit, or starved, or shot… List goes on.

They are representative of nature reclaiming the world, and on top of that, a dangling threat to anyone who has the gall to think they're above it.

Because they're not. So either make sure your head is shot, or deal with walking around like a mangy pile of rot.

It changed how people approached this because rather than a devastating outbreak, this feels like a sort of damnation. There is a very bleak sense of finality to this universe—to the point where… Yeah. They could live on, try to find a cure, but this is it.

This is the true calamity of this world—not the walkers themselves, but the fact that they are there to stay, there is no going back. At least, for a long, long, long time. You can't just isolate them. If someone dies the wrong way, there could be one in the room right with you. Hence…making sure your head is shot.

And as with in the games, it is such a bleak reality that it forces people to just move on.

Which they do. The way to survive this initial era is, amongst a wide scope of things, to accept the fact and carry forth.

The characters that don't, and are simply too rooted in the past, like Katjaa… Well, they don't make it, do they? There's a reason why we don't see that many unable to let go after the first season, because they don't last. If they do, like with Tenn, it's because they got lucky and had a community to fall back on. Regardless, given what we see with Katjaa, Season One (S1) is this time.

The second era of the apocalypse is seeding. Both in the literal sense, and symbolic.

I'm not talking established communities, no. The closest we get to that is the boarding school, given they do have established practices. But, with how many things need to be done, the schoolkids are still within this second era.

Season Three (S3) is arguably the first season of the four solidly within the second era. Sure, there are still scavengers, but there are also several communities at once—enough so that the conflicts between end up being why they fail, not purely the dead. This leaves Season Two (S2) to be the fitting chaos that ensues between the eras, where much of the world is scavenging, they're reminded of how cruel winter is actually, but there are already solid efforts in building communities; then, Season 4 (S4) as well within the second era, with clear signs that there is the gradual chance of establishment.

The second era requires not only what the first proposes—moving on—, but also a sense of ingenuity. They're left with the scraps of the past world, but that past world also grew out of the earth, so they can cobble those scraps and earth together and make something out of it. We have Prescott on the airstrip; that is the epitome of cobbling things together. There's Richmond, and Howe's Hardware as well, where it's making use of the scraps left behind to establish proper farms. Then Ericson's as a meld of both—the kids have their structure, but they needed to feed off the land. (Not quite at the farm stage like the others were.)

All of what I've discussed thus far, however, is on an overarching scale (and isn't exactly exhaustive either). It can be extrapolated and used in reference to an individual's survival, but there are ways to better articulate an individual's survival than just…get the fuck over it, and build a farm.

And what's interesting is there is a vast difference in requirements depending on how they choose to survive.

With a community. Or. Alone.

The benefits to a community is you yourself don't have to encompass the three traits to survive. (Oh, yeah, this essay will have three primary traits of surviving on an individual scale; obviously there will forever be more nuance, but…shush. I'm typing.) Within a community, you can rely upon others that do encompass the three traits—and it doesn't have to be all in one person. The people within a community can specialize in skills.

And the schoolkids best emulate this.

Tenn and Willy, though they have their own skillsets, are example of those who need to rely on others. Both have the school, though they are closest to Violet and Mitch respectively—those, if asked, would likely be considered the closest thing to caretakers that either boys have.

And right alongside them, Louis, because my man…would like to say he's allergic to work, but really, it's the self-doubt. Now, if not a person who is reliant, he is good for raising spirits. He knows games to play. He brings entertainment.

There's Marlon, who's the well-spoken leader. Ruby, who plays nurse. Aasim, who…writes? Writing's important and stuff in the apocalypse, right?

(Yes. It is. Again, we will get to that, so, hush-up.)

Rosie. Dog. (This is also very important. You can pet her!)

Mitch was likely the muscle, or something along those lines. Omar, the cook.

I would say Brody sits near the "needs to rely" camp, given her anxiety, though, she does actually pull her weight, ergo, support. You can task her with anything. She'll likely be able to do it, such as with fishing and hunting.

Violet was also probably another support, though it is difficult to really tell at the beginning because she's withdrawn from the rest of her people. (I've always felt the Violet we meet at the start isn't who she was before the twins left. Of course, Violet is Violet, but… Depression, and stuff. Probably BPD stuff.) Here's the thing though: come to find, Violet is also another thing.

That being deputy. She can step-up and play leader when need be, but will step down because that isn't quite what she is—hence why the leadership ultimately goes from Marlon to Clementine by the end. This has Violet be the ultimate support. She can do whatever, fill in the leadership role, so on and so forth.

As the community develops, the others will find more nuances in themselves like these. Beyond what I've outlined, and the present nuances already in S4.

The thing with this line-up to understand is there's huge variety here. Not only in the nature of each role, but also their complexity. Because…, turns out, there's a lot to living.

Which. I mean. All of that is no shit, Sherlock. Because yeah.

When I go on about, say, Violet, it's to explain a very specific concept that one word is not going to do. There's a specific reason why I say deputy, and not second-hand; there is a thing where roles will and do change depending on circumstance, and time. (As with Willy (and Tenn) when he grows up, and when Louis becomes more confident.) But this doesn't mean it's more important. When I say "Omar, the cook," or "Ruby, who plays nurse," neither are to designate either as lesser roles.

They're actually crucial. Because no fucking shit. You need to eat. You need to learn how to mend yourself.

It's why those roles are so…simple. Because title alone says everything.

Certain roles, like Violet's (which…may or may not be ironic), are very community-centric. Others, like Omar and Ruby's, are fundamental to just life. And what you see is within communities, those fundamentals go from just skillsets to an art or to a science. When you have people who specialize in each, they are given the time and space to truly understand the ins and outs of what they're doing.

Cut to alone.

Those like Clementine.

Surviving alone is difficult because not only are all of these crucial roles in the community on one set of shoulders, there has to be great sacrifice. Of course, a leader or deputy isn't needed because there's just one. The social aspect of a community is not present.

With that social aspect follows specialization of the core fundamentals.

You need to eat. You need to learn how to mend yourself. And defend...

When you are on your own, without the security of a home, you are not given the time nor the space to truly know those ins and outs. So, when you look at those like Clementine, yes. She's not going to know little tricks, or the sciences, in what she does. The stitching for example:

Clean it. Sew the fucking body part shut. Wrap if you can. There you go, you just did stitching.

Which she does. However, S2, part of why the dog bite (oh, and yes, comic people? yeah, there's supposed to be a deep, concerning scar down her left forearm) scarred the way it did is because 1) …um, she was in a shed, dunking-back apple juice in between sutures in my case, getting jumped by a dead dude, and 2) the stitch-work was very rudimentary. Enough to close the wound and have it heal, sure. Then, S3, the same with Javi; Kate upon inspection does mention that she sees it bleeding through, indicating that again, it's very rudimentary. But, we have Eleanor examine it, and she notes that it is satisfactory, so long as it's looked after.

Had someone like Ruby, or better yet Eleanor (who Dr. Lingard complimented this exact skill) done it, they would have known different stitch techniques that not only closes the wound tight, but also leaves minimal scarring. And the other things, like how to adapt the techniques to different parts of the body, because…no, you really can't just stitch a knee like you would a back.

But again, Clementine didn't have the time to really learn the specifics. She's busy learning how to cook, and hunt, and defend, and scavenge supplies, drive, shoot, car maintenance, feeding a child, taking care of the child, protecting the child, prioritizing necessities…

Essentially, in terms of community vs solo, it's an argument between the specialized, and the jack of all trades.

Stay with me now. I'm not exactly done going over what is needed to survive, because there are more. There's the three traits I mentioned. But as I babble on, once the discussion over the comic begins, I do hope it's clear as to why I am going through these things as meticulously as I am.

Now we get to why Clementine of all girls would be able to live in this kind of environment. She's a kid, but like…young adult given the context. (I'm sure the medieval ages wouldn't argue.) She's like…stupid, or something. She only went to so much school, and we all know that only smart people graduate from school. I never met a dumbfuck at college ever! No!

…got a little side-tracked.

Genuinely though, what is it about Clementine?

I'll start this with a curveball:

What is the dumbest thing that she has ever done within the games?

There's room for debate, but the majority will probably point to S1, where she goes on to trust the voice at the other end of her radio—the voice being the Stranger's.

It's the decision that we, as an audience, thought Clementine was above doing even at that age. It's also what ultimately kills Lee.

Here's the thing, though:

Clementine putting faith into the Stranger wasn't just a child being stupid. For one, she is…eight/nine. So. A child. But, two, it was an exercise of her greatest flaw:

"She's a puzzle."

Something that is brought up, time and time again. To my mind, it's most notably done by Katjaa, whenever they're beside the train, and Duck is of ailing health. Clementine sits on her own log. Doesn't respond much to Lee, not until Chuck (as a breath of fresh air) comes to join the party.

See, she heard a voice from the other end of this radio—one of two (including the hat) mementos she has of her family—, and the one thing that she had in way of sanctuary. The Stranger said the right things, so she kept to herself with that radio, and let her desperation flourish.

Finding her parents was the one thing she wanted. So yes, through a child's gullibility, and a man's manipulation, she believed the wrong person.

We see this sort of flaw propagate time and time again. Granted, it does depend on the player's interpretation of her for S2 and S4, given we play as her, but in S3 where she's (quite literally, for the most part) out of our hands, what does she do? She keeps to herself. What happened to A.J? was a question on our minds, largely because of her reluctance to open up. Clementine lies to Javi about the New Frontier, then she turns around and explains her lie…, reveals her branding…, purely for survival's sake, not because she wholeheartedly trusts him.

Of course, in S3 it's understandable that she doesn't just open up to Javi. That game covers only a handful of days—short of a week by the end—, with the exception of the flashback sequences. (As opposed to S1, across several months, S2, a few weeks to a month, give or take, and S4, which sits about the same.)

Still, however. This is absolutely a part of Clementine's character: she's reserved. Without the player, her first inkling is to keep herself from the topic of conversation.

The thing to understand about this flaw, and how it bleeds into the comics, is that…I think(?) Walden acknowledged this part of her character. But…half of it.

The reason why comic Clementine pulled away from the boarding school is because she…, as she does…, kept to herself after her leg, got into her own head, and thusly ran off. I will say, I do agree that Clementine would be an absolute fucking mess with her leg gone because she has to rely on people again. (Which is devastating because of her specific trauma: à la parentification.)

Now…, run away…? Um…

(…it's also this specific trauma that… Um. Yeah no, she would not leave A.J.)

Whatever. Not the point of this essay.

The other half of this flaw, the half that the comics blatantly miss, speaks to quite an…insightful aspect of Clementine:

She is a very, very perceptive individual. Because the thing we see in S1 is that she's not just quiet. She's watching. She's observant. Clementine is quiet, not only because she gets into her own head, but because she's taking in the world, and so she notices things that other people don't pick up on.

Throughout S1, there will be moments where Lee can try to sugarcoat things, particularly after Duck's bite, only for Clementine to say it plainly:

"You don't know that."

Those moments speak to a kid who knows the difference between reality and not, and telling Clementine that she won't get snatched or bit is…not reality. It will likely happen, and it does.

Other moments, she'll notice details in the environment. She can point them out. Help Lee, as with getting into the train station. Make a comment, like in Hershel's barn with the "dookie"/shit/manure.

Or, back in the drugstore, where Carley (…not too subtly) outs Lee as a murderer in front of Clementine. …which, of course, Clementine picks up on. (The trigger for this is to pick up the photo of Lee with his family, hence why it can be before or after moving the desk.) To which, upon leaving the drugstore's office, she'll ask about it, and you'll have the option of being open and honest, sugarcoating it, or just flat out lie.

Staying in the drugstore! Lee asks for something to bar the entrance. Walkers are scratching to get a nibble. And? Immediately, she goes to his dad's cane (cuz that man ain't using anymore!).

S2. Same spiel. Because…, oh boy, incompetence is rampant as it turns out, and as I've stepped into adulthood for myself, I've come to appreciate that season as essentially "Clementine learns why the motel family fell apart, adults are grown ass children, she has to babysit them— KENNY, DOWN! STOP IT! STOP BITING THE RUSSIAN!— throughout a winter."

Because. Newsflash. Adults? About as stable of a concept as a table with a missing leg, then another one of mangled-together cutlery. And I will forever adore stories from a kid's perspective slowly realizing this fact.

(…also, parentification's a knocking. It wants in.)

Then, S3, where she gave up being the hero, but still…, somehow…, rattles off exactly what the player needs to do and where to get the tools when stealing a truck because she just can't help herself.

…okay, I think I've done enough. S4 also speaks for itself.

Point being, Clementine is a very perceptive, very resilient, and very adaptive person. It's why she out of all the kids she comes across is the one to survive.

Sarah immediately comes to mind as someone who really struggled with adapting. She can, but the tragedy of it is that it's not in time. Too little, too late. (Circumstances also don't help.)

With Gabe (if he dies), same kind of thing. He always struck me as someone painfully unaware of how good he had it, and how bad everything else was. And he needed to grow up. Fast. But again, that alone isn't what saves him—his uncle, and/or Clementine do(es). If he's saved at all, anyway.

Duck? Same fucking thing. And it was his death, through Chuck, that spurred Lee to start teaching Clementine the basics.

To which she adapts, and she adapts well. Their first outing doesn't go…all that great. Clementine freezes. But, throughout S1, she does shoot her first walker (with Omid, or in Crawford). If Lee cannot fight off the Stranger, she will be the one to kill him. And then, of course, the whole Lee death scene thing.

The second season starts off with Omid dropping because of a neglected gun. (Clementine freezes again.) Change is always on rocky road—despite the season prior, she still had a lot to learn, and she did throughout said season.

Perceptive, and resilient, and adaptive. To be those is the ticket to survival. Those are the three.

So why…does it seem like the comics don't know?

[VANCOMYCIN]

To anyone unaware, vancomycin is not a random string of letters for Clementine to work her mouth through. In fact, she knows how to read it. Had to, in order to inject this medicine into A.J within S3—whether or not she goes through with it is dependent on player choice.

Vancomycin, to give a better idea of the sheer desperation she was in, is not something to treat the common cold or flu. It's to treat Gram-positive bacterial infections—hence why it wouldn't necessarily work for colds or flu, given most are virus-borne—, and is generally synonymous with more serious infections.

Meaning. A.J was genuinely sick.

(My hunch is bacteria-borne pneumonia.)

I don't know what most of the fandom assumed, but it was not just a little bug. It was…bad. And a legit miracle that he survived (whether it be without the injection, or…with the injection where Clementine poked the syringe through his shirt? Game? Graphics?).

What likely happened was, somewhere down the line, he either just caught something on an off chance (the world hasn't been sanitized), or he got too close to danger and got himself sick that way off of one of the walkers/animals around. (If it was pneumonia, he likely inhaled something.) Regardless, Clementine was at a point where she…just did not have the resources to help him, would not know where to look, wouldn't feasibly be able to scavenge for it, and so she joined the New Frontier (whether or not you had her agree initially) because it was just that bad.

It is a heavy drug. Not only does it give insight as to why Clementine chose to join regardless of your choice for her, it also explains why the group threw her out for even handling it. It's not like aspirin that's easy to come by.

And, of course, there's the pronunciation of it. As with every medical term like this, it looks and sounds convoluted, but as you break it down, it's pretty straightforward.

Keep this in mind as I rattle on further. I find the vancomycin to be a very succinct contrast to what I take issue with in the comics.

Speaking of, the comics.

Hello there.

…Clementine.

The Clementine Comics, by Tillie Walden, read as a hard reset on the series, from S1 onward. Which yes, is the core issue. There was no effort in even trying to continue off from S4, it was just a way to have Clementine still run around, while avoiding the whole Telltale-RPG implications of a continuation.

So, if you're somehow out of the fandom and you're reading this, hi? Welcome. This is why people are upset about the comic, and for once, no, it's not just because this fanbase is being…unhinged. (In a bad way.)

On top of the plot decisions, however, there are things that just prove Walden was not the artist for this project. The artstyle is an interesting(?) fit for TWDG, but ultimately is an aside. There's the focus on romance. There's the dull characters.

And then there's Clementine herself. Very out of character, and that's coming from someone whose Clementine has…made decisions in her life.

What this essay will focus on, however, is the choices made to have Clementine incompetent.

Medically so.

In the first book, Clementine is taught how to clean and dress her amputated leg. I can get behind learning how to wrap the thing properly, because it is a different part of the body, and it's a different angle—on herself, not someone else.

But she asks…why she needs to clean it. Like she doesn't know. Clementine has to be taught that.

This kind of ignorance then follows her into the second book, because she fell ill (and slipped into a month-long coma??), largely due to her not cleaning the wound. Her leg had an infection. And it spread.

…okay. Um.

That's very interesting considering Clementine:

(S2) Got bit by a dog, felt like she needed to take care of it herself due to circumstances, cleaned it, sutured the wound with fishing wire, and then went to bandage it (before getting attacked). (By the way, the scar is not on comic Clementine. So.)

(S2; optional) Can sit beside Rebecca during her pregnancy to help, but then does have to assist with the walker/lurker problem.

(S2) Tended to Kenny's lost eye because he was beaten by a walkie-talkie by cleaning it.

(S2) Probably had to deal with that whole wound in her shoulder, you know, from the FUCKING RIFLE SHOT, either with Kenny, Jane, those at Wellington, or on her own (feat A.J). (No, they did not patch it up because time, and it went clean through. When Jane and Kenny fought, Clementine just had an open bullet hole.)

(S2/S3) Had to take care of a baby. With Jane or Kenny or in Wellington, and/or on her own.

(S3; alone S2 ending) Broke her finger on a car door to the point where she (presumably) had to amputate and cauterize the finger herself.

(S3) THE WHOLE VANCOMYCIN THING. I WILL GET BACK TO THAT.

(S3) Cleaned and sutured Javi's arm after he got shanked (cuz Gabe… never mind).

(S4) Twas a great start. Car accident—boo boo head.

(S4) Had to patch-up A.J cuz he got shot by a shotgun. And was in recovery for two weeks.

(S4; optional) Louis/Violet gets their finger chopped off. Probably helped deal with that.

(S4) Um. Her leg? You know. The one she lost, and the schoolkids managed to get her stable. Willing to bet Ruby would lose her fucking shit if it wasn't cleaned properly.

And that's just what we do see, in regards to Clementine personally.

Do I…have to go on and explain why it's fucking stupid that she doesn't know the basic information she had to learn in the comics? No?

Okay. Good.

I will get back to it, because I think this choice is indicative of a larger issue. We'll get to that weird…bias the comics have with Clementine being negligent and ignorant to all things medical.

Because now, we're here.

Not only is Clementine ignorant medically, she struggles to read her way through a dictionary. There's scenes of her sounding out words like she's in preschool.

For what reason?! Because in a world where people don't have higher education, they just don't read and write?! What?!

Okay, so, no, I didn't outline precisely why reading and writing (more so reading) is crucial of a skillset to have within an apocalyptic setting. I will do so now.

Because it's the crux of this essay. Hence why I've given it its own section. (…that's what this is, by the way.)

Why is it, exactly, "so" important Volt? Society's gone!! You don't need to read!

Listen up, ✨ dipshit ✨ This is an apocalypse. Not a nomadic setting.

Okay, that was a little mean. If you're asking this, you're not a dipshit.

Anyway, I am being genuine here. To the point where even implying that nomads by nature are illiterate is also…wrong. Because that's not necessarily true either, but assuming so falls into such an ignorant bias that people in 1st world countries have. (The same that the comics have.)

And this bias is the reason why I really, really want to have this discussion because the comics really rubbed me the wrong way with this, and, I'm kinda sick and tired of reading other people implying the same thing.

So let's start here:

What distinguishes us from the rest of the animal kingdom? Why is it we consider ourselves more intelligent?

The answer boils down to one thing:

Our mouths.

We can talk. And in doing so, we can communicate to each other very complex and nuanced concepts that require articulation beyond body language and emotion.

It's why we're able to distinguish things like envy versus just being irritated by someone. Because frankly? They physically feel the same because they are the same emotion. The context is what differentiates envy vs irritability. The why.

"I feel [this] because I want what they have." vs "I feel [this] because they're being stupid right now."

The [this] is the same. The body only has so many ways it can tell you what you're feeling, so it ends up boiling down to very basic emotions, where they can be felt at different extremes, or in unison. So. You know. Think Inside Out. What makes envy special is…you have to take context into consideration. Yes, it is also irritability, but it goes beyond that. And it requires language to communicate such a thing.

When you look at animals, that's why they're "unintelligent." They respond to what they feel the way they do because they don't have a way to articulate it. So they just react. Rather blindly in our eyes. Same thing with babies. They haven't gone through language acquisition just yet—they're in the same boat. It's also why a lot of dog breeds are said to "have the same intelligence as a 3 year old." It's related to language. They feel the same emotions, or whatever equivalent (can't claim I know how their bodies process emotions). However, they physically cannot exercise language verbally. Ergo, they're more or less stunted in the acquisition.

And then you have that we are wired to speak. Our mouths by design are made to verbalize complex sounds. A lot of our brain power is in being able to talk, or at least comprehend patterns in speech if the individual is mute. I for one was a child who rarely spoke for my first ~4/5 years, but I knew what people were saying. (Funnily enough, I was a lot like A.J.)

Beyond emotions, it's also to communicate things rather than [follow me, are you following, I'm looking at you, follow me,] it's "okay, I'm going over here, meet me by this tree." There's immediate clarification. There's a passage of thought between two brains. We don't have to interpret body language as much, we have to comprehend words.

To the rest of the animal kingdom, that makes us already mind-readers. Given that people are honest, and can articulate well, we literally are.

…it's also this emphasis on verbal language that has people be real fucking shit a reading body language, but whatever.

The point here is language is so fucking important. And there's a reason why we started writing things down. Some of the first records of written language, hundreds upon hundreds of years ago, were to keep track of agriculture. We also forget things, so we wrote those down. Heard of the Iliad? The Odyssey? Those were orally passed down for generations, but Homer decided to scribe them so they weren't forgotten. (From what I remember, he wrote those during the Hellenistic era of the mythos. …I want to say the stories come from the Mycenaean times?)

And above all.

Long distance communication. Or. Leaving behind knowledge.

So there would be couriers. There would be scholars who learned from scrolls of scribes decades before them.

(In modern times…, labels on products so that you know what it is, how to use it… Just a thought.)

Language is what makes us different. And by proxy, writing helps us retain that.

It is never something people are just going to abandon when the world goes to shit. If anything, it's going to be the one thing people will grapple onto by the skin of their teeth.

Out of the two, yes, language would come first. There are many cultures that lived (even thrived) without having a true writing system, and did just fine because the culture had such an emphasis on oral tradition, or other ways in cementing their culture to the test of time. A lot of the Native American cultures come to mind. Nowadays, however, there's been an effort to have them written so they aren't lost because…colonialism. I don't really need to explain that, but I do think the history is important to understand (the linguist in me is also morbidly fascinated). In summary, however, the way in which these cultures were torn apart rattled people, and people saw their way of life was evaporating with every person lost. They couldn't leave anything physical behind.

I do bring this contrast to light, however, because there is a detail to understand about an apocalyptic setting, and its relationship with written word: it's reflective of what society fell. If the society before was like a lot of the Native cultures, where their culture was recorded through oral traditions and other practices, then sure, I would expect the people left behind to be "illiterate". …at least, in terms of writing. They're literate in those oral traditions and practices.

But, that's not TWDG. What we have is a society that is reliant on writing. So much of our world is articulated through an alphabet printed onto a surface.

In any case, back to the apocalyptic setting.

Another thing is, yes, we do see language come before writing. In survival, it does land people in situations where it's "I don't have time, I've been starving, I'm going to grab all the food in this place before the books." Of course. Then you have that books are heavy. You're not going to realistically carry a library around. You're going to choose other things that would help immediately.

Like a knife. Or a gun.

Those do better bashing heads in than a book (but a tome wouldn't do that bad).

Here's the thing though. To step back to how reliant our society is on writing, I don't think people realize just how much they read. (Hint: you're reading right now. You had to read in order to navigate this page.) So here's the follow images of things that, in an apocalypse, are pivotal for survival, and requires of you reading comprehension:

Signs. Food labels. First Aid labels. Maps. Manuals. Guidebooks.

You need to know where you're at. You need to understand what it is you're eating, how to cook it, and quality (ex: expiration). You need to understand first aid, what you're working with and how to apply it. You need to know where you're going. If you have equipment (like, say, a car) that you're not privy to, but need it, you need to learn basic maintenance. If you're not familiar with how to do certain activities (how to make jerky, how and where to put your urine/fecal matter), you can learn in a guidebook.

Literacy is about self-sufficiency. And each of these represent different aspects of how to live off of the scraps of a failed society.

Signs are pretty straightforward. They're articulated landmarks, and given how streets are, they're good to follow for navigation. If they're signs for complexes, they're a good way to know where you should scavenge should you be looking for a specific thing. Ex: hardware supplies; you're trying to build a camp. Either it's get lucky, or go over to someone's garage, or go over to a hardware store.

Food and First Aid labels are different things—the way they're organized is very different—, however, they serve the same purpose: those are there to inform consumers how to eat/utilize. Even though each have a very specific language, they are designed so that people not specialized in food or medicine can use them. This also applies to a lot of agriculture. Things like seed packets. Or anything that can be planted. If it has a consumer-base, there's a label on it. If it doesn't have instructions, it will most likely inform what it is.

Maps is where we start to get into more "optional" territory. Do you necessarily need a map to survive? No. It would be a life-saver to know where you are, even away from where the society was established. It would also tell you where the next town vs city is (which, to someone like Clementine who may be inclined to avoid cities, she would know which roads to take).

Manuals and guidebooks, again, are the same. They also fall into the kind of thing where weight now has to be considered.

But. Here's the thing: how many people know how to go camping? How many people were ever in boy/girl scouts? And how many more people didn't have to learn any of that because society promised security and the fact that…we don't need to focus on survival?

Okay sure, go on and on and on about how people who knew those skills already and prepped for the apocalypse would be the ones to survive. Because, uh, don't know about you, that's not necessarily how that works (luck is always a thing, and people surprise you), but also, within TWDG, I can only come up with so many people who would fall into that camp: Lilly, Mark, maybe Larry (military experience), Christa (got the vibe), Pete. Um… …Carver? He talked about, like, sheep and stuff. In reference to people, sure, but like… Uh. Hm. Well shit.

You know all the people who didn't have the experience before the apocalypse? Everyone. Fucking. Else. Including Clementine.

This is the reason why manuals and guidebooks are invaluable. They speak to a luxury because you do have the space and capacity to carry them around, so that you can gather what knowledge they have. And people just don't know this shit. Community helps, because you may meet someone who does, or has read up on it, so you don't have to. But when you're alone? …kinda a really, really good thing to have.

And none of that is going into how important books are in just passing the time. People get bored. Books are nice if you got a bum leg.

Regardless, my point should be quite clear. Sure, reading and writing will not be important in the same immediate regard, and neither will be as prolifically done as it was before. Within an apocalypse, it's not about texting, or emails, or news reports, or essays… None of that. Ergo, they're designated as an investment that weighs heavy (quite literally). It takes time to read. It takes strength and space to lug them around. You may not have any.

However. With all of what I raised, it goes back why it is, actually, so fucking important to be literate to some capacity. And to build upon that literacy. Because these people are not just living in caves. They're not in a place where humans have never gone before—quite the opposite.

Which makes it an apocalypse.

In order to navigate within the carcass of a fallen society, you need to be able to comprehend the very scraps that you're taking from said society. It left behind food, and medicine, and tools, and machinery, and knowledge. To just put that all to waste because you can't read?! Really?!

And what about a life-and-death situation where it entirely depends upon your skills in being able to read and comprehend information given to you?

I'm going to go back to the vancomycin now.

It's not something the game harps upon, but it is significant enough to Clementine's arc in S3. This medicine, regardless of injection, is why she could not see A.J, and why she had such a resentment for the New Frontier. They said they could help. In her eyes, they instead left him to die.

It is also a significant point of interest as far as this essay is concerned. Because this scene alone encapsulates all of what I'm rattling on about:

The medicine itself is a scrap of her past society. They're not making these anymore, and while I can…question how good that medicine would be by this point in time after the apocalypse (shots do have an expiration date; they also need to be stored appropriately, like in refrigerators or freezers), the vancomycin represents a limited, valuable resource.

Clementine's comprehension of what this medicine is, and why she needs it, speaks to something far from an ignorance medically. She is competent. She even knows to ensure there aren't air bubbles trapped in the syringe (hence why she lets some of the drug out before injecting; air bubbles can lead to…really nasty ways to die).

How she actually knows which drug to use, well… Either someone wrote it down for her, or she wrote it down herself. Maybe Dr. Lingard told her, or she found a resource somewhere and realized that's what she needed. It speaks to literacy, despite the challenge medical terms often have—even for medical professionals themselves.

This…is what it takes to live in an apocalypse. You have to be perceptive, and resilient, and adaptive.

Part of that adaptation is being perceptive of your environment. This environment asks you to read it—because it says everything, wears its heart on its sleeve. Ergo, you have to adapt by learning how to read.

Maybe not novels, or scriptures, but specific things. Like signs, or labels. Maps.

But this comic, it falls into a bias that a lot of people have.

And that bias bothers me. A lot.

[Why Does This Hurt Me So?]

There are three reason why this just does not work for me.

First of which, Clementine's characterization. The continuity of it. I really don't have to go on about this, since if I do, I'd just regurgitate all of what I've established before. For the sake of this section, it's just that Clementine is medically competent, just not in a specialized sense, and she knows how to read to get by. (She even starts to teach A.J how to both read and write.)

Now we'll get to the larger points of discussion.

Secondly...

How the fuck did Tillie Walden get this project?

Say what you want about the artstyle, or the characterizations, or the narrative. None of that is really what this essay is on, but are all viable criticisms down this same line of thought. You have the artstyle being very whimsical…, but…since when has TWDG been about whimsy? Or the characterizations? Which…, by now, we know about that—again, I don't need to regurgitate. Then, the narrative too? Why does it read like a romance by the time the second book comes around, rather than a story of survival?

Actually, that last one may be relevant to this after all.

Walden does not write apocalyptic works. Of course, there is no correct way in writing an apocalypse, but I'd argue this is one of the wrong ways. Not only do these comics misinterpret the bulk of Clementine's character, and precisely why she's been able to survive as long as she has—to the point where her playing the games at all is put into question—, these comics also have a strange notion on basic intelligence, and does the thing where people without school are just…stupid, almost, if not plainly illiterate.

It goes against what I've outlined as a mark of an apocalyptic setting—the survival both within nature, and within the rotting shell of the society it once was.

And, it feeds into this bias that I keep bringing up.

That bias is the third reason, and it's not a comment on Walden herself, because she's far from the only person I've seen/heard make the same assumption(s).

The bias I refer to is what I'd like to call the Modern Intelligence Fallacy. I'm confident that I and this essay are far from the first to comment on this…thing people do.

Essentially, it's whenever people judge the past and/or present group of people for being "dumber" than the current society they're based on, solely because "we're modern; we have technology, and medicine, and schools. And we know how to read and write too." It's when people undermine other cultures and/or time periods because they themselves are ignorant to what intelligence actually means.

Going back to Native Americans, and any cultures alike that didn't have a written structure. I've heard people make comments and assumptions, rather ignorant ones. But the fact is, no. The lack of a writing system is not indicative of intelligence, it's indicative of what the culture valued, and how they wanted to express that.

Part of why writing is such a core element in many European cultures, for example, is because…colonization. Look at English, and why it's such a patchwork language. They had to find ways to communicate long distance, because have of them were separated be countries between. Ergo, they wrote. Nowadays, there's telephone, or video. Then, there are other contexts which beckoned for writing, but I digress.

With a lot of these Native cultures, they valued community. That's why so many of their traditions fall within that, and that's how they communicated and passed down their history. Essentially, they just found other ways to do what the other cultures around the world were doing, and it worked for them, so what of it?

The attitudes behind this fallacy doesn't care, however. This bias does put value on the presence of language in written word in regards to intelligence, and an overall sense of superiority.

Yes, I've gone through and maintained that I do not believe, for a second, that Clementine is illiterate, and I've been defending that tooth and nail. I also do put value in language—I'm a writer, and I love linguistics. Of course I do.

And that's the awkward bent in this essay.

So, I must say, the thing to understand is…it's not really about the language itself. It's the attitudes behind the bias.

You here to argue that Clementine isn't as competent reader/writer like a girl her age would be now? (…present issues with the school system aside,) yeah. Probably.

But then why…does the comic have her be negligent with medicine? To the point where it comes across as, "Yeah, Clementine! Clean your wound! Everybody should know that! And that's just the basics!

"Silly kid in an apocalypse! She needed a grown adult to carefully explain it to her!! Oh boy, we would be so lost without our society now!"

This is why I've also taken note on the medical throughout all this. Because the medical practices aren't really related to literacy. You can be told, like Clementine was in the games, and go from there.

In the comics, however, the moments where she's told about how to take care of her leg, and the moments where she is learning how to read… They read the same. Because they are the same. They're commenting on this weird idea that humans would be stupid without our current advances, which is ridiculous because in order to have said advances…, we needed to be learning this shit before in order to create them.

These moments come from this Modern Intelligence Fallacy, and it bothers me because, let's face it, we're just as smart as we've always been.We have more knowledge. Whether it's we pass them down through specific traditions, or we've written them down to share beyond time and distance. But in terms of intelligence… No.

Do you know how many stupidass people there are out there?

There's tons of them. If anything, there's more of them now because they can rely on their communities to do the heavy lifting. And they saddle themselves right beside the people who need to rely on others, and not by choice.

I'm talking as though I'm not one of them. I don't know. I might be.

I did accidentally melt two plates in microwaves on two separate occasions so. If you want to take my words with a grain of salt, fine.

With that, though, hopefully my point(s) came across well enough.

[Conclusion]

And now I am left here. With…this.

I'm not as resigned as I was of TWDG since the comics came out, because quite frankly, there's so much to these comics where…it just feels like I'm not watching Clementine. Whether it be I'm on a couch silently judging someone else play the games, but nodding along to play nice, or just…this isn't the character at all… Yeah, I'm still stewing on it. But, I have my fanfiction, and I have the games. It is easy to ignore the comics.

The reason why I've decided to write this is 1) I find it interesting, 2) the bias people have is SUCH a pet peeve of mine, and 3) I am BAFFLED by Skybound. I honestly don't know what qualified Tillie Walden to write this, to the point where I'm frankly impressed.

It's one thing to hire someone who's unfamiliar with the franchise in hopes of an objective and new perspective, or an artstyle to try something new and unique...

And entirely another to hire someone who either isn't interested in writing, or doesn't know how to write, the genre. There are so many ways to go about writing in an apocalypse, but at its core, it will always be "no matter what, humans are going to human." This is how you can have stories of hope in an apocalypse. Or have them be bleak. And so on. With TWD, it's always been a meld of both.

Because it's human are going to human, this…bias towards any scenario where people are not traditionally educated gets in the way. Because "traditional education" is not traditional, actually. It's societal. What is traditional is people learning an array of skills to survive, much of which is medicinal, and with writing… That's dependent on the environment. Way back when, in times where the world didn't rely on literacy, absolutely not many people would be literate. But in eras where so much hinges on at least being able to navigate?

Or or, in times where you are relying on a recent past that did write and read as much as it did for survival? Um. Yeah. You do need to be able to at least read, if not write as well, for communication's sake. Which I didn't go much into, but oh well.

And this right here is what TWD is set in. This universe isn't a hard reset. You're effectively just going back a couple hundred years. All the infrastructures and scraps left behind are still there, just not maintained.

So… Yeah. I don't get it. The most I can fault Walden for is being negligent, but this is just…Skybound, not caring enough about this story to the point where they'll hire anybody for some reason.

I also don't get the bias people have about intelligence, and stuff, but I really…, really don't want to go on a spiel again. It incites violence within me. I've already gone and done a mini spiral over the comics themselves, and they were kinda but not even the point.

Ah well. I'll just crawl back to my hovel now. The links to some of the linguistic concepts I raised are below, if you want to do any additional research. The specific articles are more generalized to give a broad picture, but can be used as a jumping off point should they pique an interest.

I'm just gonna continue to write about my alcoholic Clementine.

Hope you enjoyed.

Linguistic Articles:

History of Writing Systems (1), (2) ; Language Acquisition (1)

Native American Language History (1), (2), (3)

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