Guillermo del Toro’s ‘Frankenstein’ Movie Review : A Monstrous Adaptation

The story of Frankenstein and his monster is one of the classics that has been remade countless times and I’m sure this won’t be the last time. It doesn’t always get a treatment from an iconic director carrying a fanbase and buzz like del Toro though. Those who might normally skip just-another-monster-movie may well be drawn in by interest in this artist’s take. Basically that was me on this one. The only other recent Frankenstein movie I have seen was the one with Daniel Radcliffe in it, and I only watched it because I had a role as a background extra – else I’d have skipped that too.

So, what did I think of the film? I’m going to do this review a bit differently to usual. I’ll start with a brief overview, then go into spoilers to discuss my problems with it.

So let’s start with the good stuff. The visuals are what you would expect from del Toro. The fantastic and fantastical gothic and steampunk, incredible detail in darkness, creating an unmistakable atmosphere. It is a good looking movie, with great effects, even in the grotesque. This fantasy horror mixed with science fiction has been the budget and art direction it deserves.

Del Toro has made the story his own. The film admits to being based on the book rather than a faithful adaptation, giving it leeway to play with the source material. Gone are the metal bolts on the monster’s neck, but a big menacing tower for a mad scientist are absolutely welcome in del Toro’s space.

The story is structured through the sandwich method of beginning near the end with the events leading up to it being narrated in flashbacks. Throughout the thrust of the film the viewer is waiting to learn how things got to the situation presented in the opening. It gives a mystery that keeps you hooked in. At least it should if you aren’t loosely familiar with the classic story, although in this adaptation based on the book, there is still the aspect of the original twist to wait for. So it works.

3/5
– Spoilers Abound Below

As the point of this article is to look more at the issues I had with it, I will leave the overview there and move into spoilers about what spoiled the film for me.

Small niggles

I am going to start with these because putting them at the end seems anticlimactic.

When Frankenstein decides that the monster was a mistake, he chooses to destroy him along with the entire lab and all of his work. This might be a crazy decision in itself, but that’s what Victor does. He immediately changes his mind when he hears the monster screaming for help, and ends up seriously injuring himself trying to save him. However, the monster remembers that he has super strength and breaks the chains containing him in the basement, allowing him to escape. Which essentially means he could have broken the chains at any time. He definitely wanted to and didn’t understand why he was being locked up. It makes little sense that he would politely wait for an emergency and permission from Victor.

Skipping ahead, later in the film, the monster returns to discover his roots. In the wreckage of the burned down building, he finds a notebook containing all of the information that he needs.

He found a book, made of paper, in a tower burned to the ground using gallons of fuel. The exact book that contained all of the answers that he needed. Crazy convenient. It’s one of those things that needed to happen for the story to progress, but… there must have been a better way.

Later, the creature kills Victor’s brother. Dying in Victor’s arms, he tells him “You are the monster”. This felt very on the nose. We all know by now that Victor was the real monster.

Finally, as I mentioned, the story is told through flashbacks as it is regaled to a sea Captain. The captain was understandably curious about why Victor was laid wounded in the snow, but I don’t know why he didn’t question why the story was starting in his childhood. I guess he had nothing better to do for two hours.

Victor’s Inconsistency

So now onto a bigger problem with the film: the characters.

I mentioned before Victor flip-flopping on his decision to kill the monster. This feels like a theme throughout.

The beginning of the film sets up his obsession with beating death, and creating immortality. After a demonstration to leaders of the scientific community where his ideas a shot down as abomination, a man named Henrich Harlander offers to provide him all the funding that he needs. Victor doesn’t jump at the chance despite that being all he wanted. It turns out that Harlander’s niece Elizabeth is engaged to Victor’s brother William. He later accepts Harlander’s offer after getting to know him a little better.

We learn that Victor is not averse to manipulation, stretching and bending truths, and being quite single minded in his goals. The loss of his mother led to him wanting to find a way to beat death.

Eventually Victor builds the lab of his dream, has all the corpses he needs, and figures out exactly how to create his creature. The night has come for him to complete his work and Harlander reveals the true reason that he has given unlimited funding.
Harlander is terminally ill and wants to be put into a new body. Victor refuses him. I don’t know why. Victor says that Harlander is contaminated and it won’t work, which could well be true, but seems to fly in the face of the character. He was someone who wanted his work to save lives, but he refused his friend and benefactor asking him to save him. He also forgot his manipulative ways when he didn’t just appease Harlander by telling him that they could discuss it later after the experiment. This felt very much like an example of a character making a stupid decision only for the reason that the story couldn’t carry on if they didn’t.
There were all sorts of things he could have said and done instead of ending up in a physical fight, damaging equipment, and Harlander dead.

So the experiment is a success, the creature is born, and Victor immediately chains him up in the basement despite it showing no threat. He goes on to study him, try to teach him, but in the process abuses him physically and mentally. He insists on referring to him as ‘it’, even after Elizabeth meets the creature and describes him as pure. He is frustrated that the only word the creature says is ‘Victor’, but she points out that it could be that he is the most important thing in the creature’s whole world.

Eventually, Victor gets fed up that the creature doesn’t seem to be learning and decides to kill him. No consideration for him being a major success in his work, and possibly a stepping stone to further improvements. He just decides to destroy it all, rather than build on his achievement.
Which is jarring considering this was his life’s work and obsession, and he had a moment of wondering what to do next after finishing what he set out to do. He had not beaten death yet. He had lots of work to do and the perfect lab to do it in.

Victor offers the creature one last chance to show he can say another word. The creature succeeds. So Victor tries and fails to kill the creature anyway. Then immediately tries and fails to save the creature. He goes on with his life assuming that the creature died, but he had actually made an enemy of it.

The creature catches up with him and asks him to make him a companion. The creature could not die, so he wanted someone to share eternity with. Victor refuses, and from there makes attempts to kill the invincible man. The creature gives him the choice of making a companion or ending his life, him perhaps being the only one who could do it after having created him.

Strangely, the creature then tries to run away from the man that he wants to kill him. The creature purposely hurts Victor every time he fails to kill him, making his task all the more difficult.

This brings the story back to the beginning, where they finally find each other again. These two who have only wished each other harm make peace, and forgive one another. The creature even calls him ‘father’ though that relationship had never been mentioned before.

It is hard to understand Victor’s motivations throughout the film, when they keep seeming to change. Maybe after hearing the monster’s story, his mind was changed, and he understood a different perspective.

Elizabeth

William’s fiance, Henrich’s niece is introduced as an odd character. She is sat with three men of business and science. Henrich and William excuse themselves when they sense she is about to rant about her silly ideas. She then described how she hates war, senseless death, and how leaders sit in ivory towers while they treat their people like pawns. All very sensible ideas.

She is framed as a pure woman, fresh from a convent, who cares about goodness and doing the right thing. She is engaged to William, but Victor tries to seduce her from him. She is briefly tempted, but the good woman chooses William. However, when she finds the creature, she seems strangely attracted to him. Zombies features seem to not bother her. She sees him as pure, and perhaps even a new creation that is better than sinful humans. When the monster crashes her wedding, she asks him to take her away with him. To be fair to her, despite his patched up grey skin, he is strangely good looking for a monster.

She is a strange character, but my complaint is more with the performance. Mia Goth, who, as an aside, looks like the exact halfway point between Sydney Sweeney and Shelley Duvall, makes me wonder how bad actors get jobs in Hollywood, one of the most competitive job markets in the world. She delivers her lines as if she has learned the script but hasn’t understood that they should contain emotions. She doesn’t give much of an impression of purity, more of blandness and compliance. The rest of the cast are so strong, that this just about passable performance really stands out.

Angry Monster

I have been tossing up between referring to the character as the creature and the monster throughout this article. This is again down to inconsistency.

The film seems to want to set up the creature as pure and good. He would be misconceived as a monster and misunderstood.

However, the monster lives up to his reputation in many scenes. The opening sequence has him brutally kill six men as he hunts for Victor. Scenes like this take a place a few times.

My memory of the creature, and why Victor is famously known as ‘the real monster’, is that any harm he does is by mistake, not knowing his own strength, or self-defence. He can maintain his status as innocent. That is not possible in this film. He purposely tortures Victor, he kills men in his way when he knows full well that he is indestructible and unstoppable. He fails to speak to people and explain things when he is completely capable of speech and reason. He breaks a man’s face in half for simply thinking that the creature has murdered his father. Yes, the man attacked him, but the attack was not effective and had no chance of being.

It became very difficult to root for the creature when he became a violent monster intent on revenge. Especially after he killed William on his wedding day. You might just about excuse the monster killing people who were shooting at him, but throwing a man across the room because he thought you were killing or kidnapping his wife crosses a line.

The final reconciliation of the characters at the end rang hollow when both characters were just awful.

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Spyro : A Hero’s Tail – PS2 Review : All the ingredients in the wrong order

Why am I reviewing a PS2 game in 2025? Because I only just got around to playing it. What do you want from me?
I loved the Spyro trilogy as a kid, playing the originals on PS1, and going on to ‘Enter the Dragonfly’ on PS2. EtD was a definite drop in quality, and might have been the reason I didn’t bother with any more titles that followed, though I do remember thinking it was ok. I do have a memory of trying one of the ‘Legend of Spyro’ titles that changed Spyro into a brawler and tried to have a kind of high fantasy feel about it, and I really didn’t like it. It tried to take something fun and make it too serious. Somehow ‘A Hero’s Tail’ slipped by me. I must have assumed it was more like the Legend style, with its dark box art and everyone looking gritty… as gritty as a cute cartoon penguin can be anyway.
It’s only recently I realised that this game was a continuation of the type of gameplay the trilogy and EtD had, so I thought it was worth a try.

With the ReIgnited trilogy being a solid and enjoyable remaster of the original trilogy, I was up for revisiting Spyro’s world and continuing adventures. This does exclude Legends and Skylanders, as they are definitely reboots or alternate universe type things. I replayed EtD, and though I might give it a more in depth coverage at some point, the short of it was that it was an ambitious attempt to carry on the Spyro tradition that was put into stores before it was finished. 

But I’m covering AHT here as this is my first time with it. So after that lengthy preamble, let’s get into it.

3/5

The game opens with Gnasty Gnorc and his troops up to something, apparently attacking the Dragon Realms again. A badass red dragon swoops in and traps him in a cave. 

So that’s the story set up. 

But it isn’t actually. There I was thinking that it was going to be another dragons vs gnorcs conflict like in the original, but it is explained to us that the dragon we just saw lock up Gnasty is actually a rogue elder named Red. Gnasty and his minions actually work for him. I’m glad they told us that, because it wasn’t clear from the cutscene.

Anyway, that is pretty much all the story we get. Red wants to take over the Dragon Realms I guess, and Gnasty is his right hand man. I’m not sure why locking him up helps the cause, but that’s what we are presented with.

The Professor and Moneybags now live in the Dragon Realms too for some reason, but that’s fine. Except that Moneybags is some strange eastern European bazaar owner instead of an uppity, miserly snob. Who knows why. 

He isn’t the only character who is a departure from the ones we know and love, but he is probably the most obvious and jarring. Sparx can speak clear English now, in between buzzes, and somehow comes off as a bit whiny “Maybe you’ll appreciate me more now”. Maybe it’s just me, but Sparx in previous games seemed to be the kind of sidekick that was more clued up than the hero. But here, it’s like he is desperate for approval. 

Spyro himself seems to have regressed to his Spyro 1 persona. In ‘Gateway to Glimmer’ (or ‘Ripto’s Rage’) and ‘Year of the Dragon’, he was cocky and sarcastic, but he had heart about him. He was young, eager, and a bit naive in the original, and it felt like he had grown up a bit in the sequels. He had a bit of edge, but was still a hero. AHT Spyro tries to be sarcastic but seems to lack the heart that the previous games had. A lot of his comments seem to indicate a complete indifference to his mission and the lore of the world. His attitude can rub off on you as a player, and you wonder why you should care too. He doesn’t feel like a progression of the character, or even quite the same character at all, unless like I said, he is as he was in Spyro 1. 

But these characters are the tip of the iceberg. In playing the game my feeling is very much that ‘A Hero’s Tail’ has all the ingredients of a Spyro game, but everything is not-quite-right.

The first thing players will notice is the controls. Spyro does not handle as well as he used to. I often found myself falling from ledges when trying to make minor adjustments to line up a jump. The active camera mode is useless, so I have had to leave it on passive and manually adjust it to see where I am going. Spyro’s charge feels slower and less powerful, though in practice it hits just as hard. However, for an inexplicable and inexcusable reason, the buttons for charge and flame have been swapped. Luckily, playing on an emulator means I was able to swap them back (as I believe every player wishes they could), but there is little to be done about the rest of the control issues.

Spyro also does not know how to glide at the beginning of the game. In fact, he has forgotten a lot of his abilities from other games. You do learn do glide and headbash quite quickly though, but their controls are unnecessarily changed to be more awkward too.

Rather than any jump being able to turn into a glide by holding X, Spyro must now double jump, then hold X and a direction to glide. If you don’t hold the direction, he will drop. This is more clunky than it needs to be. Why change something that isn’t broken?

The headbash, which used to be jump followed by triangle, is now double jump then square. You can’t headbash from a single jump, and sometimes the combination of the double jump with Spyro’s strange floatiness makes it tricky to land your bashes where you meant them.

With the mix-up of how jumps and the charge button work, Spyro can no longer do satisfying jump and charge combos while maintaining momentum. I often like to go into a charge straight from a glide but sometimes was instead headslamming into oblivion.

The game would be remarkably improved if it is just had Spyro handle the way he always had been prior to this title. Even down to small odd details like Spyro not automatically gliding from the top of whirlwinds, the game just does not behave like you would expect it to.

The game also attempts to dispense with the classic portals to other worlds, with one world as a main hub. Rather it seemed to have an idea of making all the worlds connect in one map, but then probably gave up on that for hardware restraint reasons, and snuck portals and teleporters in anyway. There’s even a bizarre travel method involving a giant hamster ball. Though at first this seems fun, it ends up requiring lots of backtracking. The game then ends up having a similar set up of multiple main hub areas that branch off to the other levels, marked by a Moneybags depot. 

So we begin with a nerfed Spyro in an undercooked story instructed to vaguely stop Red by destroying the dark gems that are littering the world. The previous Spyro games were collectathons, with a clear goal of e.g. free the frozen dragons, collect orbs/eggs/dragonflies. In AHT, there are collectibles, but they don’t seem as important as before.
Dragon eggs have been stolen by thieves – which seems to be an entirely separate problem to Red’s invasion – so Spyro has to get them back. Completing coloured sets rewards the player with things like concept art and alternate playable characters/skins. Nanny tells you that you get a reward for every ten eggs you find, but that is slightly misleading. You get nothing for numbers, just full sets of colours.

Gems, the Dragon Realms currency, return but this time there is not a set amount in each area, so no counting the totals towards completion. Gems are apparently infinite, and every respawning enemy drops them. Because of this, it doesn’t feel necessary to break every chest and collect them all (because it isn’t). It makes you less inclined to explore every corner to make sure you got everything. Moneybags has a shop where you can buy upgrades for Spyro using the gems. He also has a number of remote shops that charge extra for delivery fees. The remote shops also function as teleporters, allowing Spyro to visit any previously unlocked shop. This costs 100 gems a go though. If you intend to spend big, it might be cheaper to teleport to the main shop, buy everything you want at the non-inflated rate, then either run or teleport back to where you came from.
The final collectible, and most valuable, are light gems. You are introduced to them through a cringeworthy cutscene where the game seems to mock the cliche of collecting things to progress and just throws out some random ideas of what you could gather until settling on these. They are used to power the Professor’s inventions so that you can open up new areas to explore.
Dark gems are not a collectible, but instead are sprouting up around the world corrupting the landscape. Destroying them all is necessary to allow Spyro to confront bosses, but also opens up passages that either let him progress through an area or find secrets.
Most of the eggs and light gems are found laying about in the levels, but some are given as rewards for challenges.

The previous games gave Spyro all sorts of interesting and varied tasks to complete to earn orbs or dragonflies etc, whether it be winning a hockey match, smashing targets, protecting crops, or piloting UFOs. In AHT, the challenges are generally a turret mini game, or a short spell playing as another character. These challenges frustratingly must be completed twice. First for the egg, and second in a more challenging version, for the actually useful light gem.

The first players are likely to encounter are those of Blink the Mole, a new character that Spyro befriends. He goes underground to hunt for treasure using his different abilities and gadgets. These segments would be fine if it weren’t for the repetition. There is no reason for making players do the same mission twice, when the prizes could have both been present in the level. I also felt that despite having more abilities, Blink was a poor man’s Agent 9. Wielding a lazer gun and bombs, Blink deals with dark gems in mines and caves. He can cling to and bounce off some surfaces, and dig certain walls to open new rooms. He would be a fine addition to add something different to the play, but he isn’t particularly endearing, and as it is with all of the challenges, repeating the levels feels like a forced way to add extra playtime to a fairly short game.

Sparx’ playable sections are worse. His stages in Spyro 3 were a highlight, and his challenges in AHT play off of his ability to shoot I-don’t-know-what from his face. This time though it is an on-rails shooter with Sparx flying into the screen and the camera directly behind him. This angle makes it quite difficult to see what you are shooting at as Sparx blocks the view. It also suffers from an issue where Sparx can be quite easily defeated when swarmed, or when boulders fall from the cieling. The boulders are particularly troublesome as there is no warning of where they are coming from, and being hit by one often bounces you into another.
While he is Spyro’s companion and protector in the normal levels, he still is less useful than in the original trilogy. He is slow to eat butterflies, and sometimes seems to ignore them when he definitely needs them, and there is no bonus for eating more than necessary. He can however be upgraded to take an extra hit.

Hunter is a breath of fresh air. He is a lot more like his old self from the other games, though maybe a bit less bumbling. He is a better rendition than the one in ReIgnited, both visually and in behaviour. He carries a bow and arrow, and has the agility you’d expect from a non-winged character who teaches Spyro how to glide in other games. I’m not sure why the reason for taking control of him was that he insisted that Spyro would not fit in a gap that he could though. Firstly, Hunter is a lot bigger, and secondly, there was no small gap.

Another oddity is that Speedways are now taken on by Sgt. Byrd. I don’t mind this at all, and it adds the feature of using his rocket launchers to blast targets while flying through obstacles.

There is a cameo from Bentley, though he is not playable, and actually behaves very out of character. And aside from not having an angry face, he is barely indistinguishable from the yeti enemies that appear in some levels.

Characters you might expect or hope to return like Elora and Bianca are nowhere to be seen. The characters that we do see break the fourth wall too often, and break immersion by reminding you this is a video game with tired tropes, not a fantasy journey to get lost in.

With any of the playable characters, make sure that you check their ‘Help’ guides in game. It is very useful to know that Sparx can speed up and slow down, and that Byrd can drop bombs for example.

But as previously mentioned Gnasty Gnorc returns as a villain. His appearance is a mixed bag. He seems like a different character somewhat. In Spyro 1 he was the powerful threat who defeated every dragon except Spyro. In this one he is a henchman, who has an overinflated idea of himself and is played as a whiny buffoon. He does however actually put up a half decent fight rather than be mainly a chase scene. The boss battle isn’t difficult by any means, but it is more fitting to the character than in Spyro 1. A very strange, and again inexplicable, inclusion is that bosses will complain about being defeated after every few hits, but then continue fighting until they really are defeated.
Difficulty ramps up once you get to the second home hub. Perhaps it is due to getting used to the controls at this stage, or maybe that you feel that the tutorial missions are over, but after the first boss, the game improves.

Overall, like I said, this has all of the ingredients of a Spyro game, but they just haven’t been mixed right. Somehow it doesn’t have the same charm as the originals, whether that is the clunky revamped controls, the characters not having the same heart, the collectathon aspect being all but removed, the lack of friendly locals in every world, the repetitive challenges that dare to ask if you want to play them a third time for fun, the lack of urgency in the plot, or the unbaked villain. I know it is a game for kids, but it feels too childish. The others felt more ‘for the family’.
It is a strange beast. Perhaps the final entry in the original Spyro’s story before reboots, fizzling out instead of ending on a high. I would absolutely believe a Spyro Reignited 2 could take the potential of ‘Enter the Dragonfly’ and ‘A Hero’s Tail’ and make them into something wonderful, but as they stand, they are hard to recommend, unless you really need another fix of the little purple dragon and have played the trilogy to death.

So in summary:
Pros:
Follows on from the classic Spyro games continuity.
Visually looks like it fits the series with a soundtrack that works.
Has a place as a part of the series, not any attempt at a reboot.
More polished and full than ‘Enter the Dragonfly’
Good for Spyro fans who need an extra hit after the originals.
Great idea to have a dragon as the main enemy.
No lives system, which makes up for the con of dying to bad controls too often.
Attempts to include more challenging platforming to the series.
Open world maps are an interesting experiment.
Inclusion of different breath for variation in puzzles.
Spyro can now grab ledges that he just misses and pull himself up.
Love the creepy atmospheric sound of the dark gems.

Cons:
The revised controls are terrible.
Some of the challenging platforming has more to do with the awkward controls and camera than the actual level design.
No dodge roll, which could be useful with the numerous ranged weapon enemies.
Some characters feel off.
The story is somehow both next to non-existent and also nonsensical. (Though Spyro stories have never been much deeper than ‘Stop the villain’)
Repeating challenges is monotonous.
Unsatisfying collectathon.
Sparx challenges are terrible.
Should use more interesting and varied tasks as to win eggs or light gems instead of repeating the same ones twice. Chest keys should also be challenge prizes too instead of paid for, so there can be a set specific amount of gems in the game.
Putting gems in the locked chests feels like a waste of a key that was paid for with gems.
Some one-hit kill swamps look like normal walkable mud. Instead of allowing Sparx’ protection you drown immediately.
Too many insta-kill lava pools that should just knock off a Sparx hit point.
Too much backtracking replaces the well designed looped worlds with portals from older games.
Doesn’t often offer shortcuts after tricky platforming sections have been beaten. An area in Red’s HQ seems to be impossible to backtrack through without spending gems on teleportation.
The maps don’t show exits.
I prefer the games that have no enemies in the hub, though that may not really work with this attempt at a more open world.
The 100% completion reward was not worth it.
Feels like the developers only played the original Spyro game and saw pictures of characters from the other games without any information about them, before creating a cynical cash grab while the character was still popular.

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What did the ‘Crash Bandicoot N. Sane Trilogy’ get right and wrong?

The ‘Crash Bandicoot N. Sane Trilogy’ was released in 2017 around the time that this site shut down, so I didn’t get the chance to share my thoughts on it. Which I am going to do now, because I don’t care whether it’s old news or not. I want to talk about it and maybe somebody wants to read about it some more.

What they got right

I’m going to start with the positives as there are plenty of them and it deserves praise, but the negatives are actually quite a big deal, so I’ll save them for last.

Graphics

I won’t spend long on this, you can use your eyes. Quite often when animated characters are updated, they can lose their charm or simply not look like original version of the character. Examples I can think of are Hunter in ‘Spyro Re-ingnited’ and Largo LaGrande in ‘Monkey Island 2: LeChuck’s Revenge – Special Edition‘.

But the Crash cast look great. I don’t think there are any to complain about. The same goes for the level designs. They have been given new vibrant life while maintaining the feel of the originals. Less PS1 blockiness for the cartoony softness that was more like the original vision.

Save Files

This wasn’t a problem in Crash 2 and 3, but the original PS1 Crash Bandicoot had one of the worst save systems ever devised. The remake has solved this by letting players save whenever they leave a level. It uses an autosave system rather than the save screen set up in the warp rooms, but functions in much the same way. The Warp Room Save screens in Crash 2 and Warped were absolutely fine, but the first game was a nightmare. You could only save your game when collecting a gem, a key, or completing a bonus level. You also only got one chance to beat the bonus levels. So if you complete several levels without ever doing any of those things, you could not save your game. But it was even worse than that! Gems and keys would only save the fact that you collected those items. They did not save level progress. So you could have a save file with gems from levels that were not unlocked. But even worse than that! Some levels had no bonus stage, and many levels had gems which could not be collected without first getting a coloured gem from a later level. Gems could only be collected by breaking every crate without losing a life, which is not an easy task, and the coloured gems were on the toughest levels! They did give players level passwords so that you could unlock them if you had the code, but that is much less convenient than simply having the file ready to go. Apparently this decision was made as Crash was one of the earliest games on the PS1 console and at the time developers were working on the assumption that not many users would bother buying memory cards.

Tawna’s Bonus Stages

In the PS1 version, in Tawna’s appearances in her bonus stages, she stood by the exit and posed seductively to celebrate Crash’s success. But this was always odd as the story of the game was that Crash was on an adventure to rescue her. Why was she freely stood around in random tree branches? Was this another Elaine Marley situation where the bumbling hero need not have bothered because the ‘damsel in distress’ was fully capable of saving herself? The original Crash Bandicoot has been praised for telling a story using visuals rather than cutscenes and dialogue. E.g. The way his journey begins in nature and gradually his surroundings becomes more industrial as he approaches Cortex Castle. Perhaps the whole time Crash was jumping, spinning, fighting, running, and collecting treasure, he could have been laid on the beach while Tawna had long since escaped. Maybe that was a subtle joke.

But the N. Sane version makes it clearer. Tawna is there to tease Crash, and Cortex wickedly snatches her away from him as he thinks he might have reunited with his love.

But now I’ve thought it through a bit, I think I might actually like my theory better and maybe this wasn’t the best change after all…

Crash 1 Bonuses and Collectibles

Following on somewhat from the previous points, other improvements were made for the collectathon.

As well as allowing players to save progress outside of the bonus levels, they also made the bonus levels replayable. In the PS1 version Crash would immediately teleport to the bonus stage as soon as he collected three matching character tokens, either of Tawna, Brio, or Cortex. In the remake, the third token instead unlocks a bonus platform that functions exactly like those seen in ‘Cortex Strike Back’ and ‘Warped’. It allows the player to choose when they enter the stage and to retry it if they fail.

The bonus level boxes now count towards level completion as they do in Crash 2 and 3, keeping things uniform. This perhaps adds an extra challenge to collecting gems, but it is more than balanced out by another important difference. Again, keeping the rules uniform across the trilogy, Crash 1 changed how gems are obtained. In the PS1 version gems were earned by completing levels while collecting every box and not losing any lives. This rule was scrapped for all except the coloured gems, which tend to be on the more challenging stages.

Little Tweaks

I could have made this into several subsections, but because they are all quite brief notes I’m bundling them together. Even though they take a moment to mention, they very much deserve to be mentioned.

Gem platforms are unlocked in the game by collecting appropriate gems. In the PS1 original, the gem platforms looked just like the gems. The N. Sane remaster revamps them as actual platforms so they look more like something that is safe to jump onto and not another collectible.

During the boss fight against Nitrus Brio, he releases blob monsters to attack Crash. In the PS1 version, beating the blobs knocks points off of Brio’s health bar. The updated version makes this make sense as the blobs spray him with goo when jumped onto.

The original Crash on PS1 included bounce boxes, just as every game since, however Crash was able to bounce on them 10 times each. This was reduced to 5 in later games, as the higher number slows the flow far too much. The N. Sane trilogy has all three games uniformly use 5 bounces.

What they got wrong

This is rough, as in many ways I think the remaster is the best way to play the game. However, there are a number of issues with it that almost spoil the experience. I know many have 100% completed the set and there is a sizeable speedrunning community, so some of my issues probably are minor to many, but I do think they are worth commenting on.

Remastered control system

This may be the biggest issue fans have with the game, particularly those who came to the remaster after playing the originals.

In the positive section I mentioned a few places where the developers ensured all three games worked in a uniform way. As a package, it made sense for all three to have the same rules. This led to several great changes, but the worst one may be the biggest.

In the PS1 games, Crash handled slightly differently in all three titles, so the makers of N. Sane trilogy had to decide how to balance that. The original Crash game had something of a symettrical jump, while ‘Cortex Strikes Back’ gave him more height and a faster fall. Crash Warped tried to balance both, and so this system was retained and applied to the N. Sane Trilogy.

The handling becomes an issue as you play a faithful recreation of Crash 1 and 2 using the physics of Crash 3. Some jumps and obstacles became more challenging as a result.

This was not helped as the stylised platforms are sometimes more slippery than their blocky PS1 counterparts. Slippery scenery, odd hitboxes, and crowbarred in physics changed the feel of the games and made some of the platforming more difficult.

This was particularly notable in the broken bridge levels where Crash must bounce from turtles to clear large gaps. Careful placement and precise jumps are more necessary than they ever were in the original.

Oddly however, in other places, the hitboxes do Crash great favours, for example the incredibly generous vultures outside Cortex Castle.

Perhaps it is harsh to count this a failure. Considering they needed to make the game physics match across the trilogy, there was probably no better way of doing it.

Required Familiarity with the PS1 originals

The trilogy should be completely accessible to a new player. However, there are a few issues with the game that seem to assume everyone already has played the releases from decades before. Granted, a vast number of fans would be returning for nostalgic reasons, but they could well want to introduce their children to the new improved game from their childhood.

A standout example is that Uka Uka appears as the Game Over screen in all three games. Yet, the character is not introduced until the 3rd instalment. New players will have no idea who this evil mask is until they reach Warped. Worse, Uka Uka was imprisoned until he was accidentally freed in that game, so he should not even be free to taunt Crash in the earlier games.

Another similar problem with Coco overlaps with my next issue with the game, so I will cover it there.

Playable Coco

Coco should not have been playable in Crash 1 and 2. Or at the very least, it should have been done very differently. Hear me out.

Crash’s origin was that he was being genetically modified to become the general of Cortex’ army. He was a failed experiment. They had given him physical abilities but when they tried to brainwash him, it didn’t take and he escaped… perhaps because he was too crazy to control.

Coco first appears in Crash 2 and is shown to be highly intelligent and good with tech. She isn’t playable until Crash 3 in which she is always in a vehicle or riding on Pura the tiger. The only time we play her on foot is just before she mounts Pura. She moves at a walking pace, but seems to jump higher than Crash’s base jump. We get a sense that her strengths are very different to Crash’s spins and physical abilities. This carries through to the original Crash Bandicoot 4, ‘Wrath of Cortex’, where Coco is playable in some platforming levels. She has a less lethal attack and does not inherit Crash’s special moves. So her genetic alterations gave her some physical strength, but not as much as Crash. So all through this, we see that Crash and Coco make a great team. He is brawn, she is brain. They have very different personalities and skills. They complement each other.

But N. Sane Trilogy essentially made her a skin swap for Crash. She is no longer unique. Yet, the story demands she is still the smart one.
So then why was she not chosen to be Cortex’ general? She has all of Crash’s skills and is super smart. She is overall BETTER than Crash. And she must have been modified before him as she probably would have been rescued from Cortex Castle at the end of Crash 1, if she was not free before then. Her intellect might not have broken the Cortex Vortex and she would have become a powerful villain.

The other issue is that Coco popping up as playable in Crash 1 and 2 is explained by Crash 3. This assumes players are familiar with the trilogy already. It would be confusing to expect someone new to the series to understand a plot point from the third instalment! Especially one about time travel. So her being playable should at least be unlocked by the player beginning Crash 3. You could even just play the opening cutscene and that would unlock her. All would be clear.

But I still maintain playable Coco should control as she does in Wrath of Cortex, making her a different experience for the player. Now, if players want a female equivalent to Crash with the same moveset, there is one ready to go! Tawna was set up as the backup plan if Crash failed the Cortex experiment. In the very first cutscene Cortex orders his assistants to prepare her for the Vortex. On completing Crash 1, Tawna could have become playable and had the same moves as Crash and that would have been totally on theme. The N. Sane Trilogy cutscene even has her defend herself, while the original simply had her being held captive. Her fighting back makes sense if she is intended to be a warlord and not just a pretty face. She fits the role far better than intelligent little sister Coco.

So ideally players should complete Crash 1 as Crash. They only need to defeat Cortex and that would make Tawna playable. Alternatively and/or in addition, playing the opening cutscene to ‘Warped’ would unlock playable Coco who can be summoned in exactly the same way as she is, just with a different moveset, better suited to her character.

Crash Warped Opening Cutscene

On the topic of the beginning of Warped, there was another huge character problem. Go and watch the original PS1 version and then the N. Sane version of the scene where Uka Uka gives Cortex his orders. In the PS1 version you will see a tense, dramatic, even frightening introduction to a new enemy that has the magical powers of the mask that protects you but dedicated to evil. You learn that the big bad you have been up against for two games actually has a boss who is far worse than him. It is a marvellous introduction to a looming and mysterious foe who will haunt your journey, topped off by the dramatic introduction to another scientist who is at least Cortex’ equal if not superior.

The remaster makes Uka Uka far too cartoony, removes the fear factor, and N. Tropy’s introduction from the shadow is completely dropped. It is just objectively worse.

Though it is particularly bad in this scene, and essentially ruining a character, many have said that similar can be said in general for the remakes versus the PS1 originals. The dark, edgy atmosphere has been replaced with soft goofiness. Yes, the games take a lot of inspiration from Looney Tunes, but they are still allowed to have moments of tension.

Cortex Strikes Back Cutscenes

If any scenes needed changing it would be the holographic appearances of Cortex in Crash 2. The ones we have are fine, but many fans missed what was going on in the plot. Most players probably enjoyed the game too much to actually care, but some clarity may have helped.

The confusion stems from the boss battles. Cortex has Crash working for him to collect power crystals and deliver them to him. But every so often you fight a boss. Why would Cortex send minions to kill Crash when he was working for him? It doesn’t make sense and the explanation is not that clear.

Ripper Roo, Tiny Tiger, and the Komodo Brothers were sent by Brio. The original instruction manual explained that Cortex had double crossed him and replaced him with N. Gin, so he now wanted to stop him as revenge. N. Gin however is just a mix up between Crash and Gin. Crash was meant to give the crystals to N.Gin to pass on to Cortex. However Gin decided to take them by force. Or perhaps Crash had figured out that Cortex was still evil at this point.

Anyway, some clarity on what was going on, particularly as details were lost in the non-existent instruction book, would be helpful.

Relics in Crash 1 and 2

I’m putting this here as a criticism, but I should note that many players love them, and seeing as they are entirely optional, I actually don’t have a problem with them. They serve as an extra challenge for those who enjoy them, but do not count towards completion for casual players or purists.

My issues with relics in Crash 1 and 2 are a combination of two previous points. They are introduced in Crash 3: a game themed around time and time travel. They fit and make sense. But for them to appear in the earlier games is odd like seeing Uka Uka and the Time Twister. It’s not quite as bad to be fair because it’s not a plot point.

Really, the biggest problem is that Crash 3 was originally made with the time trials in mind. Crash 1 and 2 were not. There are places in those games that reward patience and finding your moment. The time trials they have crowbarred in place seem to be more forgiving and keep this in mind, so again, they have done the best they can with it.

Tweaks they should have made

I am in two minds about this first one. I think if they had made this change, it would upset a lot of players for not being faithful to the original. However it is another idea introduced in Crash 1 that was tweaked for later games and made better.
There are two levels that take place in the dark. Crash must summon Aku Aku to light his way. If he gets hit, Aku Aku vanishes just as he would in any other stage in which he protects Crash.
In Crash 2, Aku Aku was replaced by fireflies in darkness levels. They stay for a limited time so Crash has to move with some urgency, but if he loses a protective Aku Aku, he can still see his way.
So I wonder if either some similar system should have been inserted into Crash 1, or if Aku Aku should still be able to light up in the other games.
Like I said, this may be best left alone as it is a big gameplay change.

Something that should have definitely been done though is to add attack animations to certain enemies. Some have them, like the pirahna plants and two headed giants. But it has always been odd that simply bumping into a skunk or seal means death. They should have some kind of bite or swipe, just so it looks like they did something. Functionally they would work exactly the same way, but visually it would be more satisfying.

I have note that simply says “Ice packs delivery”. Clearly this is something in the game that annoyed me, but I cannot work out what it refers to. I’ll leave it here in case it means something to anyone.

The wizards in Crash Warped medieval levels. If you played the PS1 PAL versions, you probably share my complaint. The N.Sane trilogy works the same way as other versions of the game, but the PAL version was best. As they are, the wizards are another lab assistant that die in one hit. But in the PAL version they had two hit points. Your first spin attack would knock their robes off for hilarious results. The second would finish them off. You could body slam them to defeat them in one hit, which added a layer of tactics. I don’t know why they chose to use the worse option.

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I’m back baby

that is all

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Batman: The Telltale Series – I Got Burned Again

So hot off the back of Telltale’s ‘Game of Thrones: Season One‘, I’m straight into their take on the Batman.

WARNING: SPOILERS FOR ‘BATMAN: THE TELLTALE SERIES’ AND MINOR SPOILERS FOR TELLTALE’S ‘WALKING DEAD SEASON 1′ AND GAME OF THRONES SEASON 1’

So it might be clear that I have a bit of a love/hate relationship with these games. The storytelling is fantastic, and as I play them my emotions are on highs and lows as I role play the characters. I do feel that an important part of these games is that you really get into the roles. Of course you make decisions as you would if you were in that situation, but you have to keep in mind the role and abilities of the character too.
In ‘The Walking Dead’, you played an ex-con who had nothing to lose. His only priority was to protect the little girl he had sort of adopted. He was a tough guy, who could take no nonsense, hold his own, and had a single goal. Even his own well being was second to that of Clementine, and perhaps even other members of the survivor group.
In ‘Game of Thrones’ though, you had a mixture of characters whose family had been devastated in the opening act, and they were constantly playing defence ever after. They rarely had the upper hand, and were hardly ever in a position where they had the power to stand up for themselves. It was demoralising, but made for a great story.
Now in ‘Batman’, you are Batman – a name synonymous with “Don’t mess with me”. Even as Bruce Wayne you’re a billionaire playboy. No matter what situation you get into, you are the top dog. So it makes a great change of pace after the beating I got in ‘GoT’.

Telltale games are about the story and the ride. They are also sold on how the story will change according to the decisions you make.
The second part is where I think the games have issues. In the first ‘Walking Dead’ there was a part where you had to ask the survivors to join you on a rescue, and depending on the relationships you had built over the course of the game, certain individuals would agree or disagree to come. This type of thing really made the in-game choices seem to matter a lot more than they have in other titles. Yes, overall the game ends pretty much the same way, but at least your run through had a whole lot more potential of being unique to you.
In ‘GoT’ that did not happen. All the choices led down the same path in a no-win situation. I had enjoyed the game until I found out what happens at the end, and that nothing you did throughout could change it. To me the game had been to get the best result for your family, but the game only allowed one result.
So going into ‘Batman’ I tried to keep in mind that it was about the ride and not the destination. Perhaps I would enjoy it more that way.

This was working up until the end of Episode 2. A choice had to be made to save Harvey Dent or Selina Kyle from attackers. I chose to save Harvey. My reasons were:
1. I didn’t know if this was a life or death thing, but it seemed that Dent as mayor was more important for Gotham than a thief that I wasn’t entirely sure I could even trust myself.
2. In the situation Dent looked utterly helpless against Penguin, while I was certain Catwoman could hold her own against a few thugs.
3. We were both there to save Dent. That was the mission, and we both knew the risks involved.

So I made that choice and rescued Harvey. Seeing as I had a habit in previous games of checking walkthroughs to find out what would have happened had I chosen otherwise, I did the same at this point, although I hadn’t bothered in Episode 1 (just trying to enjoy the ride).
Turns out that if I saved Selina, then Penguin would have smashed Harvey’s face with a stage light, leaving him with the iconic Two-Face look. Commenters were asking questions like “How do I stop Harvey from becoming Two-Face?”. I didn’t want to spoil future episodes by seeing answers, but that put the idea in my head that Dent might become Two-Face, but he also might not. Saving him from Penguin at that point seemed like a pivotal moment in that transition which I had successfully avoided.

But from that point on, I had it in mind that the point of the ‘game’ was to save Harvey Dent from becoming Two-Face. I also thought that might carry over to other characters. Perhaps I could redeem Oswald Cobblepot, and turn Selina from a cat-burglar into a vigilante. So now I was playing through the story with goals again.

And as I should have expected, the story roughly plays out the same no matter what you do. Despite having saved Dent from the scarring, he eventually did become Two-Face in our final confrontation at Wayne Manor. With his gun to Jack Ryder’s head, I told him to kill me instead. At that point the comments in the corner stopped reading “Harvey will remember that”, and started reading “Two-Face will remember that”.
At first, I thought that I had failed my goal, but going back to the walkthroughs and wikis, it seems that no matter what you do, Dent will always turn bad at some point. I had just managed to put it off until probably the last possible moment that you could. So success I guess…

I was particularly irritated as I was under the impression that Dent’s changing personality was down to the mind altering drug he had been dosed with. Batman had cured himself quite easily by using a DNA sample to create an antidote. Would it have been that hard to get a sample from Dent and fix him up a cure too?

However, ‘Batman: Season 2’ is happening. Given my ending in which Dent still had one actual face, and was being sent away for help and treatment, perhaps there is still hope for him? Maybe he can be brought back to normal in a future instalment. Perhaps those who let him get burned and let him turn early missed their chance to save him, but for those of us who did our best for him, maybe we can get our reward in later episodes?
I’m not holding out much hope, given the pattern for Telltale game stories, but it would be great if they could make this thing work the way we players were going for.

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Telltale’s Game of Thrones Season One : Where Your Choices Don’t Matter

got telltale
I’ve just finished my playthrough of ‘Telltale’s Game of Thrones’ (yes a latecomer I know) after thoroughly enjoying my adventures in the ‘Walking Dead‘ seasons.

MAJOR SPOILERS FOR THE ENTIRE GAME FOLLOW

I’m a big fan of the ‘Game of Thrones’ tv series, so this Telltale tie-in seemed a safe bet. Now I was aware from ‘TWD’ that a fair few of the choices you made during gameplay actually played out the same no matter what you did, but ‘GoT’ seemed to have taken that to a new level. It also seemed a whole lot less obvious in ‘TWD’ too. There was at one point a choice to take your sword with you when speaking to Ramsey Snow, or leave it behind. You could at this point place your sword on the table, or choose to take it. If you chose to take it, Ramsey would take the sword from you and put it on the table. So either way, your sword stays behind. This glaring example of how meaningless your player choices were was a pattern that ran throughout the game.

Whenever I finished a chapter, I had a little peek at walkthroughs and wikis to see how other options may have turned out, avoiding spoilers as best I could. I wasn’t looking to get the best outcome by cheating the game, I was only curious about what different options would have given me. I would live with mistakes.

The information seemed to say that in most cases, there would be either no consequences or minor consequences in the chapter. But I already knew that having finished the chapter. So, because I wasn’t checking chapters I was yet to play, I assumed that my choices would ripple into those more dramatically.

Well, I was wrong.

The game is sold on the concept that the story moulds around your choices. To an extent this happens, but in the grand scheme, very little changes. My conclusion is that there are less than a handful of actually meaningful choices that you can make.

1. In Chapter 5, who dies? Asher or Rodrik?
2. In Chapter 6 does Mira marry Morgryn or go to her death?
3. In Chapter 6 do you kill Gryff or Ludd?
4. Possibly…possibly… in Chapter 6, does Rodrik let Eleana stay at Ironrath or tell her to join her family?

As you can see, all of these choices only happen in the last two chapters. I almost included Gared’s choice to stay at or leave the North Grove, but we won’t know what happens regarding that until Season 2 comes out, if it ever does. The same goes for the fourth point about Eleana. If she stayed she gets dragged off by Whitehill guards. It could be that in Season 2, no matter what you chose to do, she is simply in their custody. So this might be another pointless option.

Now there’s a problem with both points 1 and 3 relating to what will happen next in Season 2. Telltale doesn’t like having too many branches in these episodic games. Here now they have a situation in which either Asher or Rodrik has killed either Ludd or Gryff. You could add to that that either of the potential Sentinels Duncan or Royland are alive too. So there’s a number of combinations of who is alive or dead here. Are the survivors Rodrik, Duncan, and Ludd as it was at the end of my game? Or the opposite with Asher, Royland, and Gryff? Or any other combination? Telltale won’t like these options, so it is almost guaranteed that in Episode 1 of Season 2, each of the three survivors will have a small part to play before being written out of the story (probably killed).
This means that Season 2 will probably make Ryon and Talia our new playable characters, while Gared Tuttle remains the only original to continue through.

Point 2 obviously also has this problem. Either Mira is dead, or she will be short lived in Season 2. She simply can’t have a large role in the next game, because at least 50% of players lost her in Season 1, which will cut their playtime down dramatically, alter the story too much for Telltale to bother with, and cause various other complaints.

Given that Season 2 can’t carry the weight of the options that mattered in Season 1, it’s very likely that those choices will end up being inconsequential too.

But that’s not the worst of it. My original point was that these 3 (or 5) choices are the only ones that mattered in a roughly 12 hour game built on choices. Throughout the game your goal was to fight, bargain, betray, convince, and do anything else you could in order to protect your home and family. That was your goal.

Once you learn the ending that you will always fail, and that a large percentage of your family will be slaughtered NO MATTER WHAT YOU DO, it makes the whole thing an exercise in futility.
If this was just a movie and I was passively watching it, as I do with the show, this would be fine. This would be the story, and it’s totally in keeping with the type of stories we see in ‘Game of Thrones’. But it’s not a movie. It’s a game, and it’s one we play with the intention of winning.
I’m not saying that we have to win for it to be a good game, but my issue is that in this game that revolves entirely around player choices on a quest to save your family, that there should be a range of endings that reflect your performance throughout.

Mira’s story has particularly bothered me. She had this fascinating role, very different to anyone elses, where she had to use cunning that would rival Littlefinger to get her way or save her skin. She had to try and find a way to get money or soldiers or support for her family, and got involved in various deals to make that happen. While doing all that she had to balance duties, loyalties, and friendships between Margaery, Cersei, Tyrion, her fellow handmaiden Sera, a coal boy named Tom and others. There was so much going on and so much at stake for her. She had several options that asked whether she should betray a certain person, or support them. All the while as you played, you assumed loyalty would be rewarded, while treachery would cost you an ally. It needn’t have been that black and white for story purposes, but that’s at least what was going through your mind. Should you betray Margaery or would having the future queen on your side pay off one day? This is what you ask yourself.

But when you finish the game, you learn that it didn’t matter. None of it did. If you secured Tyrion’s financial support, if you betrayed Margaery, if you did or did not murder a Lannister guard. None of it mattered at all. Mira’s fate lay solely on the decision to marry or reject Morgryn.

As I played, I felt I had Margaery on my side, and I definitely had Tom on my side. I thought there was no need to get into bed (literally) with that scheming snake. I thought perhaps one of my friendships would pay off. At the very least I thought there was actually going to be a trial where I could attempt a defence of myself! I ditched that knife! They had nothing on me!
But no. If you reject the marriage proposal, that seals Mira’s fate. And after 12 hours of trying as hard as you could to help your family and strengthen bonds, you realise everything you did was pointless.

In the same way, whether Mira gets money for her family (although they probably never actually receive it), or she foils Andros’ scheme and costs Ludd some of his army, the battle at Ironrath also plays out the same.
It does seem that Episode 6 gets a very different playthrough depending on whether Rodrik or Asher survived Episode 5, but the end point remains very similar.

So the game we got was one that simply gave the illusion of choice, while always driving the story into bottlenecks where things reset, all the threads converged, and options you had taken up to that point no longer mattered in any major way.

The one choice that seemed to have a constant presence was who Ethan had chosen as his Sentinel in Episode 1. The Sentinel would from then on always be at the side of their Lord and offering their own brand of advice. Quite often the other one would also be there anyway and so scenes probably didn’t need to change much because of that. This choice also affected who would turn out to be the traitor within the court.
This was another thing I did not like about the game. When I first learned there was a traitor, and that we knew it was someone in the council, I assumed it could only be the Maester. There was no possible way it could be Duncan or Royland, they both seemed loyal to the core. There was a very short while I suspected Rodrik’s mother, but that thought passed. Duncan was Lord Gregor’s confidant, the only one who knew about the North Grove, and was very level headed. Royland, although he had a temper, was like a loyal hound. His rage was because he cared about the family, and nothing to do with his own skin. They were both like family, and the idea that either was a traitor made no sense at all. On the same note, it made no sense for the Maester to be traitor either for similar reasons. It would have been better if the Council had one or two more characters, one of which was always traitor, and the other to be red herring for the player. That way you could have actually done a little detective work and possibly accused the wrong man, as opposed to simply waiting for Talia to find out for you. That could have been something with a real consequence!

And this really is what drives my disappointment with the game. It was your choices, and your attempts to strengthen the house that drove the game. But your choices did not matter, and your house ended up the same no matter what.
I was playing a game that just led me down a winding path.
I thought I was playing a game that if I did well, I would have an army consisting of Glenmore elites, some Second Sons, and the pit fighters, armed with Ironwood weaponry and backed by Lannister gold. If I messed up along the way, I’d lose some of these things and maybe more. I thought I was playing a game in which the goal was to save as many Forresters as possible and I would see a checklist of who made it and who I lost at the end.

The game could have been so much more interesting if you could have through successes built a formidable stronghold to rival the Whitehills in the final battle and perhaps drive them off and win the day, while on the other end of the spectrum have an ending like the one we got, or worse.
I was expecting an ending something like ‘Fallout: New Vegas’ where in your dealings with the various Wasteland tribes, you get an army together who have an effect in the final battle.

It wouldn’t even have been so bad if the game always had the Whitehill’s take Ironrath, but depending on your actions, and the strength of your defence, you could save more of the family. That way the bottleneck that leads to Season 2 would be that the Forresters need to get their home back.

You can add all this to my usual list of complaints about these types of games. Such as how sometimes I can think of an extra option that is unavailable in game, but I would rather do it. Or that in many conversations I don’t see a reason why I can only ask one question and have to forfeit all of the others.
Also, although I said after checking walkthroughs I would live with my mistakes, there were two times that I decided to rewind and change a choice I made. The first was the choice to keep or ditch the knife used to kill the Lannister. The second was to kill or spare the traitor. When I first made both of these decisions I thought “Now is not the time. I will do it later.” So I kept the knife and spared the traitor. But on learning that you don’t get a second opportunity to do either, I had to replay so I could make sure the thing I wanted to do was done at the only time you could do it. So I ditched the knife a few feet away from the crime scene instead of in a river or something, and skewered Royland in the Great Hall instead of on an execution block. (Actually I would have liked the option to send the traitor to the Wall, but no choice there).

I realise a lot of this is due to the smaller teams and budgets that Telltale has to work with, but still even within that framework, this game seems like a huge missed opportunity.
If you are going to make games that are all about choice, let the choices mean something. Otherwise, go back to the standard linear stories with actual interesting and fun puzzles like the ‘Monkey Island’s and the ‘Sam and Max’s.

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What We’d Like To See In a Crash Team Racing (CTR) Remaster

crashtrcrashinkartVicarious Visions were responsible for the era of Crash that was sort of OK, but nowhere near as quality as the original Naughty Dog productions. However they have recently pulled it out of the bag with their remastered versions of Crashes 1 to 3 in the N.Sane Trilogy.

Although any talk of remastering the best racing game of all time does not seem to currently be on the table, considering the success of the N.Sane remaster, and the high demand for a CTR comeback, it doesn’t seem unreasonable to think it might happen.

With that in mind, here is a list of things and features that I, as someone who counts CTR as one of my favourite games ever, would like to see in a remake.

More Playable Characters

If there was one thing that ever bothered me about the original game, and I think there may have only been one thing, it was that despite the impressive cast of playable characters, they left out a mere handful that had appeared in the previous games!
It seemed so strange to me that having included Penta Penguin and Fake Crash, and putting Pura the tiger into a kart, that they would leave out Nitrus Brio, Koala Kong, Komodo Moe, and Tawna.
That was all that was missing! Except for the obvious, the villain of the game himself, Nitros Oxide.

So the first step would be to instate those guys. Without question.

But, the Crash family and rogue’s gallery has grown since the Naughty Dog days, and we wouldn’t mind seeing some of VV’s and others introduced to the karts.

Most particularly Crash’s ally Crunch Bandicoot would be a good guy version of Tiny.

Some other characters that probably should be included might be:
N. Trance
Zam, Zem, and Velo from ‘Crash Nitro Kart’
Nina Cortex
Victor and Moritz, the Evil Twins from ‘Crash: Twinsanity’
Pasadena O’Possum
Ebenezer Von Clutch
Yaya Panda

As well as the characters from the Crash series, fans would likely welcome cameos from a few other games that often crossover into the universe:

Spyro
Hunter
Ratchet
Clank
Jak
Daxter

crash-bash-playstation-screenshot-character-selectionsFor me, there is one more character who I would absolutely want to see in a CTR remaster. And I know he is likely to be an unpopular choice, but, that is precisely why I want him here.
In games like these, quite often you might have a certain character that you see as your nemesis. No matter how well you do, you want to at least beat that one. Nothing else matters.
For me, while playing the mixed bag that was ‘Crash Bash’, that nemesis was Rilla Roo. He had no business taking a spot in a game that only had eight playable characters, when there was a great lineup of others that anyone would have rather seen. So whenever I played, he was always my target.
I would like to take that rivalry to CTR if I can.

Extra Race Tracks

Considering that the N.Sane Trilogy takes three games and puts them on one disk for PS4, a CTR remaster probably has some room for extra tracks.
They could borrow tracks from the other Crash racing games. Although the games themselves were not as good as CTR by an means, some of the tracks weren’t bad. They could pick a few favourites.
crash-bandicoot-3 -warped-screenshot
What might be better though is to keep to the themes of the first three Crash games and invent some more tracks based on famous levels. There could be a time travel element, so the players can race through various locations from Warped, like the Medieval world, Ancient Egypt, Pirate ships and coves, and of course the Great Wall of China.

They could reinvent classic platform stages from the other games to make interesting tracks. Imagine racing down the Great Gate or along the High Road from Crash 1.

And one that I feel is a must is to have a Hog Ride level from Crash 3, complete with cop cars hurtling down the highway in the wrong direction.

Updated Animations

VV did a great job in the N.Sane Trilogy of updating the graphics but still letting the characters look like they originally meant to. Obviously the same would apply here.

But they could also take a cue from the Mario Kart games (inferior racing titles) and let the characters look around and react rather than sit like solid blocks the way that they do in the PS1 game.

Same Control Physics

This is an absolute must. A massive part of what made CTR so incredible is the control system. Everything feels right. Things respond as they should.
Every other Crash racer since feels more like the Mario Kart games, where the controls just don’t feel tight at all. A lot of the time, it feels like races are won through luck rather than skill.
CTR controls were easy to learn, but took some skill to master. They were perfect.

Multiplayer

Four way split screen is a must again. We all loved CTR, and we loved playing it together in one room. It wouldn’t be the same playing online.

However, we should also have online play as well. Best of both worlds.

When it comes to organising multiplayer matches though, I think it would be vital to have a toggle option to play CTR original experience only, or include all the new stuff too. Sometimes you just want to be a purist and have it the way it always was.

Team Racing

This would be the other thing that bothered me about CTR. It’s called ‘Crash TEAM Racing’, but there’s no team aspect to it. Crash Nitro Kart introduced teams, so it would be great to implement them into CTR finally. There could be ready made teams (like Team Bandicoot: Crash, Coco, Crunch), but you could also invent your own for multiplayer.

Two Games in One

As the N.Sane Trilogy was three games in one, would it hurt for CTR Remaster to be two?

Now, I’m not saying they should pull in Nitro Kart or any of the other racers. No.
This should be a direct sequel to CTR.

The idea here is that the original CTR story mode allows players to unlock various things, playable characters and tracks etc. However, if VV add extra characters and tracks to the game, there won’t be any room for them to be unlocked through play.
So rather than shoehorn them in where they don’t belong, they should create CTR 2. I’d leave it to them to come up with a story, but seeing as Oxide is not playable or unlockable in CTR, he is free to be the villain again, and can be unlocked somehow through playing that.

This second game can introduce new features like Team racing, and the extra race tracks. And the unused characters like Koala Kong and Rilla Roo could be the new bosses unlocked in Cup races.

While the original CTR story mode only has 8 playable characters, CTR 2 could allow you to play as any original game character that you have unlocked.

Alternate Vehicles

Some people would call for kart customisation. I personally quite like that each character has its own coloured kart that they have chosen, so I’m not that into changing things here. I wouldn’t be against including paint jobs and wheel swaps etc, but I’m not fussed about bringing it in.

What might be fun though is to have alternative vehicle choices for some characters. Crash Bandicoot being the hero of the game has a kart that gives average all around performance. But it would be fun to unlock his motorbike which has more acceleration than his regular kart. Or he could unlock his actual warthog for more speed, or even his dinosaur for better handling.
Not every character has iconic things to draw out, but it would be a bit of fun for the few that do. Just a few ideas:

Cortex floating platform
N. Gin Spacecraft
Coco Spaceship
Pura Spaceship
Komodo Bros Tanks
Tiny Tiger on a roman lion

Track Designer

This is another thing I’m actually not fussed about seeing. But, I do see the benefit of a large online community building tracks and increasing the shelf life of the game. As long as we don’t have to download every track to our systems and can stream them, although I’m not sure how possible that might be.

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Fallout 4 With DLC Review Rundown

Still playing this one. Although considering all the things I don’t like about it, it might be a wonder why! I’ve even got all the bonus DLC! I loved Fallout 3, and although Vegas was strange with its Romans and native American-like tribes and such, that was incredible too. Maybe Fallout 4 is just riding on the back of the good stuff. Maybe it’s nostalgia keeping me stuck in. I don’t know. It’s a pretty good game, but let’s take a look at it.the-molecular-level

The Main Game

One decorated soldier survives when the population of a Vault are wiped out. His wife is killed by unknown mercs and his son is kidnapped. Obviously his mission is to go after them and rescue Shaun.
There are a few twists in the tale, the one about Shaun being very very predictable, but in these massive open world games, a simple premise is easier to work with.
You explore the Commonwealth, rebuild settlements, and can either help or destroy certain groups of people you meet.

So let’s look at these three things that make up the bulk of the game.
Exploration. In Fallout 3, and in Vegas, muck like in Skyrim, I loved exploring. There were so many amazing places to discover that just blew away all expectations from things you’d seen before, but there was plenty enough of the standard so that you could really feel the contrast when you did stumble across a new wild location – like the cave full of kids, or the slaver camp, or Oasis! Then there were the Vaults. There were always a fair few, and each one had its own crazy story about a mad experiment that more often than not went horribly wrong.

Not so much in Fallout 4. Yeah, there’s that galleon with the robots, and (struggles to think of second example…) of course the Institute, but they are so few and far between, meanwhile each building, school, barracks, factory, and office block you go into just seems like it’s exactly the same. No character, the terminals and diaries that fill in backstories are usually really dull, and the loot is usually the same randomly generated junk you get anywhere else. Oh that weird parking lot maze was cool.
They made such a big deal about the Glowing Sea. A highly irradiated desert where you needed your best protective clothing to survive. You get there, and yeah, that’s it. It’s a desert. Basically empty. But your body is getting heavily pumped with rads the whole time. There are a few points of interest, but the interest is minimal.
And the worst thing about how mind numbingly repetitive these locations are, is that even when you’ve been through one, you’ll most likely be sent back there again later on some radiant quest to pick up some rubbish you don’t care about, and instead of being able to nip in and out again with ease, all of the nuisance enemies will have re-spawned, making you feel as though all the time you spent clearing it out before was wasted – and you were about to waste a whole lot more time and ammo doing it again for the sake of a weapon you could easily build at your workbench.
It was always a great sense of accomplishment to clear a settlement of enemies in 3 and Vegas. You knew you’d defeated them and made a difference. Especially when in Vegas there was a war going on, and so wiping out one of the Legion’s strongholds felt like you’d really struck a blow to the enemy.

This isn’t one of the three points, but as it came up – radiant quests suck. Go to a place, kill everyone, pick up or install a thing, come back, I’ll give you another identical radiant quest. One of the bad things about them in this game is that the people who give you the quests make you think you’re building up to something. So you always do a handful for them before realising this is just going to be carrying on into infinity, and is basically meaningless. And again, every time you’re given a radiant quest, whatever place they send you to will have re-spawned all its annoying enemies.

So settlement building. You may be aware that I love the settlement building. I haven’t gone quite as elaborate as some other incredible players, but I have built a tower at Abernathy Farm that reaches the maximum height and a fortress on Spectacle Island. Most of my settlements have had a decent amount of work done to them.
But even one of my favourite parts of the game has its nuisances.
The first and most obvious is the scarcity of resources. It is a game about an apocalypse, with people struggling to survive and make their way, so I think it makes sense for things to be hard to come by in the early game. But, when you get rolling, you should be able to bring in the goods a lot easier. Especially considering you can have around 20 settlers in each settlement who should be working to help you.
You can build scavenging stations and assign workers to bring in extra junk, but they are next to useless. They bring in so little, it’s like they might as well not be there. If you have traders, you can buy shipments of stuff and other bits and pieces which are usually better value for caps, but it’s really expensive to do often. My method has been to have several settlements with a huge abundance of water, so that the workshop gets filled with bottles of purified water, and I use those for trade instead. But they run out quick too and take a while to build up.
There really needs to be a more efficient way for settlers to gather junk for you to use and save you the hassle of doing it manually yourself. I’ve loaded up on all the strong back perks and modded my armour with deep pockets just so I can handle the load of bringing a decent amount of usable stuff, but I still have to empty my pockets after every building I visit.
The other, possibly even more annoying problem with settlements, is the type of radiant quest that is attached to them: Settlement defence. Every so often you’ll get a pip-boy notification telling you one of your settlements is under attack. You think, no need to worry, you put up a massive barricade and lined it with turrets and booby traps. They aren’t getting in. A little while later, you get another notification saying the settlement took damage. So you go there and find the crops burned down and the turrets broken. Which costs you in valuable resources to repair.
Of course the alternative is to respond when the first notification pops up and go to the settlement to help them. So next time you do that. It’s just a handful of raiders or super mutants. Your well armed and heavily armoured settlers handle them without breaking a sweat. You just sit by and watch it play out. You didn’t need to be there because you’d prepared them for it.
But if you weren’t there to supervise, the settlement would have been destroyed! So your choice when the pop-up appears is to a: stop what you’re doing, drop everything, and rush to watch your settlement defend itself without you needing to do anything, or b: ignore it and allow the settlement to take damage which will cost you resources. It’s so annoying.
The other annoying thing about going to help is that usually enemies will spawn right in the middle of your settlement, but obviously, being a person who expects things to work in a logical way, you’ve put walls and turrets all around the edges of the settlement, to stop anyone getting in or even close. Useless when they teleport past it all. They should spawn just a little way off so your well-prepared defences can do what they were meant for.

Finally, the choices to help or destroy the factions. This goes for major and minor factions. Fallout 3 and Vegas did such a great job of allowing for you to play as someone who always helps, always destroys, or to find your own middle ground. Fallout 4 seems to leave out the middle ground.
The Railroad and the Brotherhood have an uneasy relationship. One wants to help synths, the other destroy them. So it comes to a head when you’re asked to side with one and destroy the other. But so far you’ve been getting along fine with them both. So you think, “Hey, why don’t we sit down and discuss this?”. That’s not an option. You have to start cracking heads. You have to start killing the people you’d just been working with. Actually, that’s not entirely true, because it’s not what I did. You can just ignore the missions to destroy the other factions, (although one of them means you have to avoid going near one of the Brotherhood commanders because he will force it on you if you get too close), but ignoring the fact that they want each other dead doesn’t actually solve the problem. Pretty much every choice comes down to ‘us or them’, or maybe ‘them or them’. No middle ground, no peaceful resolutions. I got through New Vegas with minimal bloodshed and had many previously rival factions make allegiances. So much more satisfying!
The biggest problem with many of these decisions is that you just don’t have enough information to make them. Every faction has a few nice people and a few buggers. There isn’t one that you feel is clearly the ‘bad guy’ of the game, although the Institute probably is the closest thing to that. You want to keep asking questions and finding out why you should side with one over the other, but the option isn’t there. It’s just “Kill us or kill them, choose now!”.
When it came to the Institute, there were a number of people who seemed decent. As I knew I wanted to destroy the place, I wished there was a way to smuggle out some of the people first under some excuse that didn’t give my plans away. Hopefully the evacuation during the attack was enough.

Far Harbor

In my previous review of this one, I praised it for improving on some of the things that were wrong with the main game. I stand by that, but after continuing to play, it seemed to revert to the same problems.
Fallout 4’s selling point seems to be quantity. Look! It’s the biggest open world we’ve ever made! Now Far Harbour is the biggest world in a DLC pack!
Great, except it’s mostly empty, and pretty dull. Far Harbour is almost always under a fog, meaning everything is dark and grey. There’s a lot of it, but it’s all dark and grey. It may as well have been smaller, because we don’t need to trudge through miles of dark greyness just for the sake of being able to say it’s the biggest map.

Highlights were definitely the murder mystery, and hacking DiMa’s memories with that very short minigame section. And you get a bunch of really great stuff for your settlements like entire barns!

When it came to dealing with the problems between factions, I think I was happy with my outcome, but it definitely again suffered from not giving enough information to make decisions, or allowing for your character to have more effect beyond ‘choose these or these to support’.

Automatron

The previous weapon and armour workbenches suffered from a problem of basically giving you a list of mods, where obviously the only one worth building was the one at the bottom of the list.
The robot workbench almost has the same issue, with stronger mods being close to the bottom and requiring more perks to build, but there is a much better job at giving you options so you don’t end up churning out the same design over and over again. You could have a melee build, a heavy guns build, a stealth build, a quick attack build, or some mixture. Or you could make a bot that’s got slightly weaker armour, but looks scarier and adds poison or bleeding damage.

The attached quest is nothing too interesting, but completing it unlocks all of the mods for the robot workbench and rewards you with a new settlement.
Since then I’ve built a handful of unique droids which are incredibly helpful for defending settlements, and make great companions with their improved carrying capabilities.

Overall, a thumbs up! This DLC is all about the workbench, so the basic quest that comes with it is no real issue. Taking the Robotics expert perk makes the quest a breeze as you can simply set all your enemies to self destruct.

Vault-Tec Workshop

Great fun! That is if, like me, you enjoy settlement building. Dig out a massive underground space and build an unfinished vault with the help of a ghoul overseer who has been trapped down there since the bombs fell.

A nice addition to the process is the inclusion of classic Vault-Tec style experiments. Unfortunately there’s only a handful, and you can only do them once each, but it’s great to be faced with the task of choosing scientific advancement or the well-being of your vault dwellers.

The workshop adds a ton of stuff to your build menu, most of which can be used in any settlement on the map. (Finally you can put sinks in your bathrooms!)

The frustrating thing about the vault is that despite the enormous space you are given, your build size meter doesn’t match it. You may have plans to run corridors through all of the tunnels and make an incredible maze, but unless you use the exploit, which runs the risk of causing glitches, you’re going to be stuck with something that doesn’t stretch much further than the main chamber.

Wasteland Workshop

Essentially a bonus to your settlement build menu, you do get some awesome things in this pack.

Concrete structures are often much more preferable to design that your standard wood or metal.
The decontamination arch is really handy for a quick rad clean, saving you from wasting your RadAway.
There are some brilliant decorations, including creature heads, and useful resources like the powered water pump, and a garden plot so you can have food grown indoors.

The main attraction to this DLC though is probably the cages and arena. You can trap monsters and raiders and have them battle to the death. You can even send in your own settlers if you like! I’ve had a little fiddle with this, but not quite figured it out due to the limited tutorials. Having an emitter that prevents your settlers attacking the captured enemies seems vital if you want to enjoy your arena of death. Though to build it, you need to get two perks that you might otherwise have completely ignored.

Contraptions Workshop

Another DLC pack that expands the settlement build menu.
Again there’s some great stuff here, but again, I haven’t really figured out the main attraction!

You can build elevators, which I would have found handy if I had had them while I was constructing Abernathy Tower, and you can create display racks to show off your best armour and weapons.

As a fun decoration, you can build a ball track that works like a marble maze.

The bulk of the pack is a contruction line of machines and conveyor belts that you can use to make weapons, armour, and food among other things. Again, without any tutorial its a little tricky to figure out how to do it, and when it comes down to it, you probably don’t want much of the stuff you can make anyway. Enemy drops usually provide all the weapons and armour you need to kit out your settlers.

Nuka World

Still to come…

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Clinton and Trump Burn

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Telltale’s The Walking Dead – Making The Tough Choices: Season 2

Continuing on from Season 1, let’s go through the incredible jourwalking dead season 2 artney in Telltale’s The Walking Dead.

This article will be a huge spoiler as I go through the game describing the decisions I made and why. So really, this is for those who have already been through their own journey and are curious about what others may have done. As I played, I had not read any walkthroughs or spoilers, so I had no idea what my choices would mean. After playing I checked some guides and now knowing the consequences I may have made different moves in some places, but as mentioned before, this was my story, and part of that is living with the mistakes. I’ve replaced ‘I’s and ‘me’s with the name of the playable character.
Enjoy!

Episode 1: All That Remains

Eight months after the death of Lee, Clementine is still travelling with Omid and Christa. Omid talks about how he wants to name their baby after himself, but Clem asks what if it’s a girl. They stop at a public restroom next to Gil’s Pitstop to clean up. After heading into the female restroom, Clementine puts her gun down and begins to wash but accidentally drops her bottle of water and heads into a stall to retrieve it. After retrieving it, she hears someone coming in. Having left her gun by the sink, Clementine stays in the stall as the stranger, another young girl, retrieves the weapon. The girl realises that Clem is there and calls her out. She demands all of her things, but Clem insists that she has nothing to give. Omid enters and sees what is happening. He tries to sneak up on the girl, but when the door behind him closes loudly, the girl instinctively shoots him dead. Christa rushes in, and the girl drops the gun and tries to apologise, but the distraught Christa shoots her without a second thought.

Sixteen months later Clem and Christa are alone, noticeably without a baby. Christa is clearly still in mourning. They plan to head to Wellington where Christa has heard it will be safer. Christa goes to find more firewood and leaves Clem to tend their fire. Searching through her backpack she is reminded of the old days when she sees Lee’s photo, and her drawing of Kenny and his family. She takes the lighter from her bag, and uses a log she finds to build the fire up. She hears a noise nearby.

She cautiously goes to investigate and sees Christa being held at gunpoint by men, demanding to know if anyone is with her. Christa tries to hide any information, but Clem decides to reveal herself and try to help. She throws a rock to distract the men, and Christa breaks loose. One of the men goes after Clem, and several walkers are attracted by the commotion. Clem manages to get the man caught by a walker, but in her own attempt to escape she falls into a river.

The next day, she wakes up on the banks of the river, and meets a dog named Sam. She finds an abandoned campsite which had once belonged to Sam’s owners. She looks around the camp and manages to find a can of beans, but is unable to open it. Sam leads her to a walker tied to a tree with a red pocket knife sticking out of its arm. Remembering Lee’s advice, she beats it with a large branch and retrieves the knife. walking dead season 2 ep 1 part 2

After using the pocket knife to pry open the can, Sam begins to beg. Clem offers to share some of the food with her new companion, but he isn’t satisfied with what she gives him and turns on her. He bites her arm and refuses to let go. She takes the can and tries to hit him off, but is only able to get free when she kicks him away. Sam is knocked quite a way and is impaled on some old tent posts. Clem sad about how her new friendship has ended, uses the knife to end his life quickly, rather than letting him bleed out painfully.

Clementine heads off and eventually collapses from exhaustion in the woods, only to find that she’s surrounded by several walkers. She tries to escape, but is almost overwhelmed when two men come to her rescue. Luke carries her away and Pete watches his back.

It’s not long before they notice the bite on her arm, and Luke assumes that it’s from a walker. Clem insists that it was a dog, and explains that there’s a camp not far off where it happened. The dog’s body would still be there if they wanted to check, but she couldn’t suggest that. Pete decides to give her a chance, and they take her back to their cabin, where she can be seen by a doctor. Clem passes out.

When she wakes, she is met by several people arguing about what to do with her. A man tells his young daughter to go inside. One pregnant woman is not happy about Clem being there at all. Pete suggests amputating her arm to be done with it. As she wakes, she startles a younger man named Nick, who fires his rifle and almost kills her. Carlos the doctor takes a look at her, while the group argues. She thinks about trying to appeal to one of them to support her case. Obviously not the woman. Not the trigger happy idiot. Not Luke as he thinks she is bitten. Maybe Pete, but she isn’t keen on his amputation suggestion. The doctor seems the best bet, seeing as he might actually recognise that the bite is not human.

The group decides to keep her in a shed overnight. They’ll be able to tell if she had been bitten by a walker in the morning as the fever would have set in. But they also refuse to treat her wound, as if she had been infected, the supplies would be wasted on her.

Locked in the shed, Clem is concerned that she will die from her wound if it goes untreated and tries to find a way to patch herself up. There is precious little of use in the shed, but she is able to escape through a boarded up hole in the back.

She finds a way into the house through a gap under the patio that leads to a trap door into the house. She can hear the group still arguing, but decides to move quickly to avoid being caught. She goes upstairs, and her first stop is the bathroom. She finds a needle, but when she hears footsteps, she hides in the shower. The pregnant woman (Rebecca) enters and worriedly mumbles to herself about her baby, revealing that she is not certain who the father is.

Clem then sneaks into the bedroom opposite and meets Sarah, a girl roughly her age. Clem asks for her help, and Sarah agrees. She asks Clem if that makes them friends, and Clem tells her it does. Sarah gives her some peroxide. In the last bedroom, Clem finds some rags to use as bandage. She then sneaks out the way she came in.

Back in the shed, Clem sutures her arm as best she can. Her cries of pain attract a walker who managed to squeeze in through the hole she had made in the wall. It’s a bit of a panicked struggle, but Clem manages to kill the walker. All the noise of the scuffle attracts the group from the cabin. Clem tells them that she’s still not bit.

They bring her back to the cabin, and Carlos finishes treating her. He confirms that her wound is a dog bite. Knowing that she had spoken to Sarah earlier, he then warns Clem to stay away from his daughter as he doesn’t want her corrupted. Clem agrees, not wanting an argument at this stage, but knows that in this walker infested world, that is much easier said than done.

Luke offers Clem some food and sits with her. He seems much more open to her than he did when he thought she was bitten. She mentions how she knew someone who lost an arm before. Luke asks her what she will do next, and she mentions that she needs to find her lost friend. Luke says she can stay with them until she’s healed up.

Nick comes in and apologises for almost shooting her. Clem isn’t too satisfied with the apology, but tries to stay cool about it.

Luke curiously asks what had happened to her parents. She tells him that they died on vacation, and she had survived because of Lee.

Pete comes in and tells them they’ll go check the fish traps together in the morning, so Luke decides to go to bed, leaving Clem alone to finish eating. Rebecca then comes in and is unimpressed that she is being fed. She tells her to not get too comfortable. Clem asks her who the father is, and Rebecca decides to leave her alone.

The following day, Clementine, Pete, and Nick are out heading to the river. Pete talks about Nick’s childhood, and Nick is embarrassed by the story he chooses.

At the river, they find several dead bodies scattered across the banks, implying a recent battle. Pete mentions that an individual named Carver may have been responsible and they should investigate. After a short time searching, Clementine finds her backpack next to one of the bodies and suddenly realises that the man is still alive. It was one of the bandits who had separated her from Christa. Injured and weak, the man begs for water, but Clem walks away from him. Whoever he is, he’s not worth her pity.

Suddenly, a large number of walkers descend on the river. Clem sees Pete get bitten on the ankle. Clem on an island in the middle of the river, sees Pete being swarmed on the bank to her right, while Nick is fighting walkers off on the bank to the left. Recalling how Lee had faced similar situations, she realised that if she helps one, the other might be killed. Pete calls for Clem and Nick to come to him, but Nick says he is pinned although he has ammo to hold his ground.

Time is so short, and she has to decide fast. The decision seems obvious. Pete is bitten, he’s already a lost cause. She runs to Nick, dodging walkers as she goes. Pete is cornered by two walkers and killed. Nick opens fire on the walkers, but is too late. Clementine tells him that they have to go, but he angrily demands to know why she didn’t help Pete. They quickly flee into the woods. ep1 20160611185453_1

Episode 2: A House Divided

Nick and Clem find a shed to hide in and barricade the door with a crate. Nick sits silently, not wanting to talk or help after the death of his father.

Clem finds some jars, which Nick tells her are full of whiskey. They realise that all they can do for now is stay put, so Clem goes to sleep.

She is woken by an angered Nick lobbing jars at the wall. Clem talks to him, and he tells her about his mother. He offers her a drink, and she accepts, but doesn’t like it. All the while Clem wonders if she should have helped Pete. Nick might have been ok, and Pete would probably have even suggested that he amputate his foot. Maybe he would have survived too. Nick is convinced that they should try and get back to the cabin. As they try to escape though, walkers come for them, and so Nick keeps their attention so Clem can get away.

Clem finds Carlos and Rebecca at the cabin, and they tell her that Luke and Alvin (Rebecca’s husband) are out looking for her and the others. Clem tells them that Pete is dead. Carlos and Rebecca decide to go and get everyone back to the cabin. Carlos asks Clem to take care of Sarah and not let anyone apart from them into the cabin.

Clem goes up to Sarah’s room and is surprised by her snapping a photo. Sarah then asks Clem to take one of her. As her ‘friend’ she agrees to it. She tells Clem that she found a gun under the cabin. Clem decides to ignore Carlos’ warnings and show Sarah how to use the gun, believing that she needs to know how to defend herself. She gives Sarah the same advice that Lee gave her when she was being taught.

After the lesson, Sarah spots someone outside and assumes that it’s Luke. When she sees who it is, she becomes panicked. Clem takes the lead. She opens the door to speak to the stranger, and asks who he is. He is very shady with giving any information, and seems to try to present a friendly demeanour, calling himself George. Clem does not want to let him in, or tell him anything, and says she is alone in the house. The man comes into the house, despite Clem not inviting him to. He seems to be snooping, and Clem wants to find out who he is and what is happening. He goes into the kitchen to nose around a bit. Clem notices a knife on the table that she could use, but holds back, thinking she’ll grab it if he tries anything or doesn’t leave. The man says he is looking for a group of people, and accurately describes the people who live in the cabin. Clem continues to fake ignorance. When he finds the photo of Sarah from earlier, he asks who she is. Clem lies and tells him that she is her sister, and that she is dead. As he leaves, he warns Clem not to trust the cabin group, and that they are not what they seem.

The group return and Clem tells them what happened and tries to describe the intruder. Sarah mentions that he had seen her photo, and Clem admits to taking it. The group believe that it was Carver. Luke and Carlos decide that the group needs to leave and head north.

As they travel, Rebecca approaches Clem and apologises for her attitude before. The group reaches the shed where Clem and Nick spent the night. Gladly they find him safe and alive. They all go on together, but Nick still has not completely recovered from his trauma.

Five days later, they come to a canyon, with a river running through it. Across the other side is a lodge, and there is a bridge allowing them a way to cross. Clem and Luke choose to scout ahead to see if it’s safe for them all. Nick is frustrated to be left behind.

On the bridge Clem and Luke save each other’s lives from a walker attack, and once across the bridge, they are stopped by a man with a rifle. They explain who they are and that they are only passing through, and so the man lowers his gun, willing to offer help and food. Suddenly, Nick appears holding his gun in their direction, threatening the stranger. Clem and Nick call out to him to stop, but he shoots and the man is killed. His body drops to the river below. Clem and Luke are not impressed with Nick’s deadly mistake.

The rest of the group catches up, and stop at the small building where the man had been staying. Clem searches while the others rest up and finds a hunting knife and some canned food. Alvin enters the hut and asks if his pregnant wife can have the can. Clem agrees, and Alvin says he will keep it quiet. The group is forced to move on when they notice a herd of walkers crossing the bridge, so they head toward the lodge.

The group approach the ski resort, while Clem climbs a cable tower to see if she can spot anyone following them. She sees lights near the forest on the opposite side of the bridge, but before she can report it, she hears arguing. Her group have been confronted by the group already living at the lodge. Clem rushes to the ground to join the groups and see if she can help.kenny season 2

To her amazement, she finds that among the ski lodgers is Kenny. The bond between the two, allows the two groups to come together in mutual trust.

She learns that Kenny has a new girlfriend named Sarita and has been living here with an older man named Walter.

Walter asks that they leave their weapons at the door, and they agree as a show of faith. The group settles in to the lodge, and Sarah helps Sarita put up Christmas ornaments. She mentions how she always used to have an angel on her tree, and Clem is able to find one for her. Clem also speaks to Walter some more, who seems like a truly good person, which is a rare find in the apocalypse.

When dinner is served, Kenny saves a seat by him for Clem, which she takes. Luke seems disappointed by this. Clem simply wants to catch up and find out what happened since she last saw him. After a while, Luke and Nick move and join Kenny and Clem, which makes her feel better. It’s not long before they all begin arguing though. The argument comes to an end when Kenny accidentally refers to Clem as Duck. Clem informs Luke that Duck was his son.

Walter asks Clementine if she could help him outside. He tells her how he still has hope for the world, and speaks proudly about his partner Matthew. Clem is convinced that this ‘Matthew’ was the man they met on the bridge, but says nothing. Shortly afterwards, Kenny joins them, and they find a woman (Bonnie from 400 Days) checking out the lodge. She says she is friendly, just looking for supplies for her family, and doesn’t want any trouble. Clem tells Walter to check her for weapons. Walter gives her a big box of food and let’s her go on her way.

Back inside, Luke tells Clementine that the man on the bridge was Walter’s partner, Matthew, and it would be best for her to not tell Nick or Walter. He doesn’t want to ruin the good thing they have here. Nick walks up and wants to know what they are talking about in private, leaving him out again. Although, Clem thinks trying to hide the truth from Walter is a good idea, she is not sure she can be dishonest with Nick after he saved her life. She shows him the photo of Walter and Matthew together. Clementine realises that she has Matthew’s knife in her bag, and if Walter finds it, that will give the game away. She quietly goes to get it and dispose of it.

When she goes to her bag, Clementine finds it is missing. She sees Walter outside, holding it in his hands. Clementine approaches him and he asks her how Matthew died. She admits that Nick had made a bad decision and killed him, thinking that at this stage, honesty was the only course of action. Walter then asks her if Nick is a good man or not. She tells him that he saved her life. Nick comes out to them, and Walter turns to him, emotions running high, asking for Nick to tell him what happened. Nick can only apologise. Walter throws the knife away. Then the rising storm causes the windmill to spin rapidly, making a loud sound.

Kenny, Luke, Carlos, Walter, Sarita, Nick, and Clementine go to stop the windmill in case the noise attracts walkers. Kenny and Luke go to check on the transformer, which had just blown, as Clementine fixes the windmill with the others covering her.

It was too late though, walkers had found them and dozens were coming from all angles. After fighting through several, Clem sees Nick struggling with a walker. To her surprise, Walter shoots the zombie off him, saving his life.

Clementine runs inside, and hears machine-gun fire as a small group walks out from the woods and finishes off the walkers with assault rifles. She finds Alvin and Rebecca taking cover on the balcony.

The machine-gun group consists of the man who entered the cabin, Bonnie, and two other men. Clem’s group recognises the intruder as Carver, before he takes Carlos and begins to beat him. Sarah runs to try and protect her father, but Carver orders his people to round up the cabin and lodge group and line them up inside. They are all knelt down as though ready for execution. Somehow Luke and Kenny avoid capture. Carver wants Rebecca to show herself, believing that she is carrying his son. He threatens to kill Carlos if she doesn’t.

Alvin, Clementine and Rebecca decide what they should do. Fearing for Carlos imminent fate, Clem insists they surrender and try to reason their way out of this. They reveal themselves, and given a moment of distraction, Kenny is able to snipe one of Carver’s men. In retaliation Carver throws Walter to the ground and shoots him in the head. He then takes hold of Alvin, and reminds him of the man he had killed called George. He calls to Kenny to give himself up or he will kill Alvin too. Clem runs to help Alvin, but seeing her in danger causes Kenny to comply with Carver’s demand.

Afterwards, Luke is still not present and Carver assumes he ran to save himself. He then orders his remaining people to take the survivors “home”.

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Episode 3: In Harm’s Way

Clementine stares at a moth on a tree, while she waits for Sarah to finish using a tree as a bathroom. Sarah then thanks her friend for watching her back. One of Carver’s guards, Troy, calls them back. Carver meanwhile is talking to an unknown individual back at his camp over his walkie-talkie, telling them to prepare for the arrival of both the old and new prisoners, and that tensions may run high. Mentioning that they should be back within 30 minutes, Carver commands Troy to restrain Clementine and Sarah’s hands and get them back on the truck.

In the back of the truck, the survivors remain silent, glancing worryingly at one another. Eventually, Kenny speaks up, saying that they have to do something in order to get out. He then asks Clementine to help him find something sharp to cut the bindings off. Kenny starts to become agitated at their current situation, and Carlos attempts to calm Kenny down, telling him to keep a level head and to not cause unnecessary trouble. Kenny will continue to insist on attempting to escape, while the rest of the cabin survivors continue to warn Kenny of Carver’s dangerous nature, stating that he has no idea what kind of man he is dealing with. Kenny will remark that he has a “pretty good idea” of who Carver is, stating that he is only trying to help before something similar happens to the rest of them. Carlos will scold Kenny for his impulsive behaviour, stating that there are consequences to rash actions, and that Kenny mistakes their surrendering to Carver in order to avoid further conflict as them giving up.

Kenny will notice a sharp piece of metal jutting out of the truck, which he uses to cut the bindings off. Kenny asks Clem if she will support him. She asks what his plan is, and he says he will knock out the first guard he sees, take their gun and shoot his way out through the rest. Clem knows that this is a terrible plan, but assures him that she has his back. The rest of the group hold out hope that Luke is coming for them. Kenny thinks Luke is either long gone, or dead.

Eventually, the truck begins to come to a stop at Howe’s Hardware store. Kenny prepares himself for action. He walks towards the door, waiting for it to open, but when the truck makes a hard brake, Kenny is thrown into the door and falls down unconscious. Sarita rushes in to make sure he is okay, while Carlos remarks that it was “probably for the best” that Kenny was knocked out.

The truck is opened by Troy, Tavia, and Bonnie, who appears regretful regarding the events at the ski lodge. The group is then escorted into the hardware store. Carver is seen talking through a PA system in a second floor office, telling his people that they are welcoming both new and old guests. He states that regardless of their actions, they must attempt to forgive them, and come to terms with their reintegration into the group. As Carver continues to speak of the status of a nearby herd of walkers, and of his hopes to continue the expansion of the camp, Troy asks Carlos to follow him, as they need some of their people to be looked at. Carlos asks if it can wait, as they are all exhausted, but Troy forcefully makes him come along with him. Troy escorts Carlos away from the rest of the group, as Sarah expresses concern over her father, saying that she needs him, as he looks after her. Clem assures her that he will be back for her.

The group are taken to a segregated garden area, dubbed “the pen” by Carver, a holding area where those who break Carver’s rules, or are new to the group, are sent to prove their worth and value, and ultimately earn their way into Carver’s main group and community. Carver will finish his speech over the PA system, stating that it is no longer an obligation to simply survive, but to make the community a beacon of hope for other survivors in the area.

The group are untied by Troy and the rest, and are greeted by Reggie, an old friend and member of Carver’s community, who helped the cabin survivors escape the compound previously, but was unable to escape along with them. The others are in shock to find out that he had lost his arm since they had last seen him. Nick feels responsible for the loss of Reggie’s arm, but he assures Nick and the group that the loss of his arm was not their fault, and happened on his own accord once they had escaped. Reggie tells them that he lost his arm due to being bitten by a walker while he was distracted, but that they were able to immediately amputate his arm, thus saving his life. Tavia enters the pen asking for Alvin, telling him that Carver wants to speak to him in his office. Rebecca pleads for him to stay, but Alvin reassures her that he will be fine, as Carver would have already done something if he intended to hurt him. Rebecca then introduces her new friends to Reggie: Sarita, Kenny, and Clementine. Reggie asks about Carlos’ whereabouts, and they tell him that Carlos is looking at some of the people from the community. Reggie then asks about Pete, but upon seeing the saddened faces of the group, infers that he has died. Another survivor grunts irritated as he lies in his sleeping bag. Reggie will apologise to him, and goes on the tell the group that the man, whose name is Mike, is the one who amputated his arm and saved his life, and that he has a tendency to be cranky when he is tired.

Reggie tries to tell them that the community is not that bad and they are working towards building a real community. He hopes to convince the survivors to take part in the process. The group strongly disagrees and Clementine tells him that Carver killed her friend Walter. Reggie insists that Carver gave him a second chance after their escape, instead of simply killing him, and that he is sure he would do the same for the rest of the group. He tells them that he is close to being let back into the main group, and doesn’t want any trouble to ruin his chances now. Clem agrees to not get Reggie in trouble, but she is not happy to sit back and take what Carver is serving them.

Clementine will notices a woman watching them as they talk, and asks who she is. Reggie says that the woman is “weird”, and that Carver’s men found her outside the compound sneaking around covered in what is presumed to be walker guts. Rebecca has a small contraction, and needs to sit down. While Sarita and Sarah help Rebecca to relax, Reggie and the rest of the survivors continue to chat among themselves.

Kenny tells Clementine that he does not trust Reggie, and asks her to investigate the area, while he distracts him. Her tells her to look around for anything that they could use to escape. Clementine tries to talk to Mike and the woman, but neither are interested in conversation. The woman tries to scare her away. She talks to Nick, who tells her that he can’t imagine that Luke has abandoned them. Clem tries to stay optimistic. She speaks to Rebecca, who is upset that she can’t remember that last time she told Alvin she loved him. Clementine reassures her that Alvin knows it, which Rebecca appreciates.

After a short while, Clem had found little of use and, Troy brought back Carlos. He ordered the group to go to sleep, threatening to shoot them if they wander around during the night. Rebecca will ask him where Alvin is, receiving no answer as Troy shuts the gate. Before the group goes to sleep, Kenny asks Clementine if she is both ready and willing to help. She, of course, is.

In the morning, Troy kicks a sleeping Clementine to wake her up. He tells her that Carver is going to debrief the group. She already didn’t much like this guy, but now it was personal. She was going to see him dead.

Carver arrives, with Troy, Tavia, and another guard standing watch. He explains the herd situation, giving a status update and a heads-up to be mindful when outside the walls. Carver will mention that while the group may be sore over the previous night’s events, it is in the past and that they must move forward. He will go on to state that whether the survivors are new to the community, or members who have went astray, they can all find redemption through hard labour, proving their worth once more. He tells Reggie that he is nearly back into the group, and will be welcomed back with open arms if he continues to keep up the good work. Carver then begins to give each survivor their assignments for the day.

As he speaks, Sarah tries to chat with Clementine, who tells her to be quiet. She continues speaking, and a visibly irritated Carver shouts at Carlos, telling him that his daughter is being disrespectful. Carlos tells Sarah to apologise to Carver, but he is unsatisfied with a simple apology; he demands that Carlos ‘discipline’ her. Carlos asks what he means, and Carver proposes that he slaps Sarah as punishment. Initially hesitant, Carlos attempts to avoid having to hit his own daughter, but Carver threatens him by saying if Carlos doesn’t do it, he’ll have Troy hit her instead, implying his treatment to be much worse in comparison. With no other option, Carlos regretfully turns to Sarah, who is desperately apologising to him. He tells her that it will only hurt for a moment, and pauses for a brief moment before Carver tells him to do it. After smacking Sarah, Carlos tearfully states in a soft voice that he is sorry, but Carver refuses to let him continue to coddle Sarah, and let her understand the consequences of her actions.

Afterwards, the group is ordered by Carver to get to work. Tavia tells Clementine that she will be working in the armoury with Bonnie.

Clementine is walked to the armoury, and is greeted by Bonnie, who gestures for her to sit down with her. Bonnie tells her that she is loading weapon magazines. Clementine quickly and instinctively begins loading the bullets along with Bonnie. Bonnie attempts to apologise about lying to Clementine, Kenny, and Walter when she was caught back at the lodge. She says she never thought strangers would be so kind to her, and that she didn’t realise what would happen when Carver went back. She also mentions that she had planned to leave with Luke and the rest of the cabin survivors when they escape the compound. She ultimately decided to stay, justifying that it would be easier to stay in the community and try to fix it’s problems, rather than escape to begin all over again, as she claims Carver used to be a different person, and that she was sure that he would be able to come around. She tells of how Luke tried to convince her that Carver’s community, and his true motives, are not what they seem, and considers that he might have been right to leave after all. Bonnie hopes that Luke is still alive and safe outside, subtly implying that she had shared a relationship with him at one point. Tavia then calls on the walkie-talkie, asking if Clementine is still with her, as she has another job for her to do. Bonnie then gives Clementine a jacket which she found back at the lodge as a small present. Tavia eventually makes her way over, and Bonnie sees Clementine off.

Tavia escorts Clementine to the roof of the hardware store, intending to have her work in the greenhouse. Clementine hears weeping within the greenhouse, and discovers Sarah cowering in a corner, still recovering from the earlier incident. Clementine attempts to comfort her, as Sarah states that her dad had never hit her before. Clementine tells her that Carlos did not want to do it, and that Carver is the one who forced him to. She tries to convince her that really Carver was the one who hit her.

Reggie enters the greenhouse with Tavia, who tells him to be careful to not mess up this time. Tavia puts Reggie in charge of the girls and leaves them to their tasks. Reggie teaches the two girls how to cut the blueberry branches and shear off any dead leaves for composting. Clementine immediately understands, but both her and Reggie notice Sarah, shaken and hesitant. Reggie asks Clementine if Sarah is alright, as he understands that what happened to her was hard for her, but doesn’t want her to get anyone, including himself, in trouble. Clementine assures him that Sarah will be okay, and Reggie leaves the two girls to get on with their work. Clem goes to her table to start her work, but notices Sarah, still standing nervously frozen with the shears in hand. Clementine goes over to calm Sarah down and helps her do her chores.

After a while, Carver visits the greenhouse to check on the girls, only to see Clementine’s batch undone. Carver becomes frustrated at Reggie, stating that he has given him multiple chances and claims that he does not understand what is at stake. Carver sends Clementine and Sarah outside of the greenhouse so he can have a private conversation with Reggie. Clementine and Sarah will walk out of the greenhouse, and Sarah will anxiously continue to walk towards the edge of the roof, seemingly contemplating the idea of jumping off. As Clementine approaches Sarah and asks if she is okay, they are interrupted as Carver shoves Reggie out of the greenhouse. Carver angrily exclaims he has given him far too many chances, as Reggie desperately apologises. Carver grabs Reggie and throws him off the roof to his death. Carver states that weakness and incompetence will not be tolerated within the community. Clementine is then told by Carver to go back inside to Bonnie, who has more work for her to do, while he stays behind to speak to Sarah, who is visibly shaken by the incident.

Clementine proceeds downstairs and finds Bonnie. Bonnie asks Clementine to take a bucket of nails out to the people working on the expansion. Noticing that Clementine seems upset, she asks what’s wrong, and Clementine, having gained a small amount of faith in Bonnie although not able to trust her entirely, tells her that Carver killed Reggie. Bonnie doesn’t believer her, thinking it must have been an accident. She tells Clementine to quickly take the nails to the expansion and to be careful as to not draw more attention to herself, while she goes to ask Carver what happened. Bonnie lets Clementine outside, telling Troy, who is standing watch upon the rooftop, that she is going to take the expansion workers some nails. After reaching the end of the expansion, and noticing the walls being pushed upon by a group of walkers, she enters an annexed shoe store that is in the process of being fortified.

Once inside, Kenny is seen arguing with Mike about doing forced labour. Kenny, not intent on working, pins Mike against a boarded-up window, with Mike angrily telling him to let go. Clementine tries to defuse the argument, which eventually results in Kenny letting go of Mike, but causes the weakened boards covering the window to fall down, allowing a small cluster of walkers to break through the glass and enter the store. As the three are split up, a walker gives chase to Clementine. With no suitable weapon to kill the walker with, Clementine backs up into a wall, and goes behind an overturned display rack, attempting to escape. The walker follows suit as Clementine scurries away, managing to get the walker to crush itself against the shelf. After noticing more walkers closing in on her, she retreats into a storage room, only to fall over and get tangled in a wire. Clementine gets tackled by a walker, and is saved just in time by Troy, who kills the walker with a crossbow. Troy will then yell at Clementine to go back inside, and proceeds to chastise Kenny and Mike for managing to ruin a simple patch-up job, disappointed that he now has to babysit them to ensure that it gets done properly.

On her way back inside, Clementine is ambushed and pulled into a comic shop by an unknown person. The person reveals themself as Luke, and explains that he had followed them since they were captured, managing to sneak into the compound unseen. He goes on to say that he hasn’t slept or eaten since they were taken, and is visibly pale and fatigued. He states that there are guards stationed all over the compound, watching all possible exits and holes they could use to escape. He then continues to mention the large herd of walkers nearby, and insists that they will eventually swarm the community, explaining that it’s bigger than any other herd Carver has had to face before. Luke then asks Clementine to get him a walkie-talkie and meet him in the comic shop at about the same time the next day, intending to figure out the guard patrol schedules in order to pick the right opportunity to escape. She is unsure how she will manage to get a walkie, as the security is so tight, but agrees to try. He makes a clear point that they will not be able to simply shoot their way out of the compound, and that they’ll have to plan the escape out thoroughly.

Upon leaving the comic shop, Troy stops Clementine, demanding to know what she was doing inside. She tells him she was hiding from walkers, and he tells her never to go in there again before informing Clementine that Carver wishes to speak with her.

Clementine arrives at the office as Rebecca is leaving in tears. Carver says that she is a strong woman, but is surrounded by weak men, something he won’t let his child be raised around. In the office, Alvin is handcuffed to a chair in the corner of the room, badly beaten and unconscious. Carver warns Clementine that she shouldn’t be concerned over Alvin’s well-being, as she is already close to trouble herself. Carver then invites her to a chair and starts to explain his reasoning behind killing Reggie. He tells her that he liked Reggie, claiming that optimistic and light-hearted people like him are needed for morale, but that he was weak of both will and character. He states that Reggie has had a string of “screw-ups” recently, which have almost put the community in jeopardy multiple times. Carver explains that with the high risks involved with keeping a large group of people alive, incompetence and failure cannot be tolerated, as it has the potential to put everyone in danger. He goes on to state that killing one person in order to save many is one of the basic components of survival. Clementine disagrees with this ruthless type of thinking. Carver claims that it is a decision that weak people are not able to make, and so it falls to the strong people- people like himself– to make these hard decisions in order to lead the weak to safety. He explains that he and Clementine are much alike, noting Clementine’s extraordinary resilience, courage and willpower, which he had noticed back at the cabin. Clementine denies that she is anything like him, but Carver seems to think that Clem just doesn’t see it yet. He proposes that Clementine already realises the similarities, but isn’t comfortable with them yet, believing that there is no way she would have lasted this long otherwise. He refers to Clementine as a kid raised “the right way,” the way his child will be raised. He expresses that he has had worries about who he would hand off his legacy to, but now that Clementine is around, he no longer has anything to worry about. Clementine tells Carver that the child Rebecca is carrying is Alvin’s. Carver will state that even if it was Alvin’s, it’s his now.

Carver is then interrupted by a call from Tavia. She tells Carver that Troy backed into the loading bay door when they brought the group in, and that it is damaged so that it won’t close all the way. She states that it isn’t anything to be overly worried about, and advises Carver to have someone take a look at the door in order to repair it. In the middle of the conversation, Clementine eyes the microphone and PA system in his office, making note of it. Carver, annoyed over Troy’s recklessness, tells Clementine to head back out to the pen, as it is almost time for supper.

Clementine returns to the group as they are discussing how they can escape. She returns in the middle of the conversation, as Mike criticises Kenny’s plan, which consists of drawing the herd to the compound, and escaping in the middle of the ensuing chaos. While Rebecca and Mike are in opposition to Kenny’s plan, Clem stays silent waiting to hear an alternative. Rebecca will say that Luke’s plan is the one she votes for, as its the safer and smarter alternative, revealing that Luke had been able to contact a few more of them. Kenny argues against it, noting the amount of time that it could potentially take. Kenny stubbornly refers back to his plan once more, stating that all they need is something that can make enough noise to draw the attention of the approaching herd. Mike will make mention of the various speakers around the building, specifically the ones pointed towards the parking lot. Rebecca says that it is all controlled within Carver’s office, as she used to make most of the announcements when she was previously part of the community. She notes that the outside speakers are turned off by default, but if someone could sneak into the office, they could enable them in order to draw the herd towards the store. Kenny thinks that it’s perfect for his needs, and questions why Rebecca didn’t bring this information up sooner. She says it’s because it doesn’t change anything; the safe and sensible option is still to get Luke the radio. Clementine seems to be in the middle of the argument again, but suggests that they can put both plans together. The group agrees that a distraction would help them sneak out with Luke’s using the radio to monitor both the movement of the herd and the guards, using the information to pick the right time to escape, and to pick the safest route through the herd.

The next problem with plan is that they need a way to get through the herd once they are out. The mysterious woman finally speaks up; Jane says that she passes through herds regularly by covering herself in the walker guts in order to camouflage herself and hide her scent. Rebecca and Mike dismiss the idea as crazy, refusing to believe that it would work. However, Clementine tells the group that she and Lee had used the same trick to escape Marsh House. With the plan in place, the group tries to figure out how to acquire a walkie-talkie. Jane says that she also has a plan for that, saying that they can use the winch in the yard to hoist Clementine up to the roof, where she can drop down into the stock-room from the skylights in order to grab a radio. Clementine agrees, and Kenny asks Mike to help pull her up.

Mike begins to lift Clementine up to the roof, but is interrupted by the guards returning to check on the survivors. He has to let go of the rope so that they are not seen, forcing Clementine to grab onto a nearby ladder and climb the rest of the way herself. As she climbs the ladder, she notices the gigantic herd beginning to manifest in the distance. Reaching the roof, Clementine spots a guard overlooking the parking lot, talking to Tavia over his walkie-talkie. He mentions the herd, which he estimates to number in the thousands. After sneaking across the roof, Clementine opens the skylight window over the stock-room, and climbs down. Tavia is seen pacing around the room, talking to Hank, the guard seen on the roof. As they discuss various topics, Clementine manages to evade Tavia’s line of sight, and takes two radios from the charging station. Clementine begins to scale the stock-room shelves back up to the roof as Tavia reaches for a pack of cigarettes, oblivious to Clementine’s presence. Clementine’s escape is made easier when Vince enters the room and talks to Tavia, warning her that she’s not allowed to do that there.

Clementine sneaks back to the group with the walkie-talkies, and lays in her bunk. Kenny reminisces about Duck, saying how he misses him and how he always remembers the dumb things he used to do, and how it gets harder each day to remember that he was a good boy. Kenny then tells the rest to get some rest, as they have a long day tomorrow.

The next morning, the group tries to decide who should deliver the walkie-talkie to Luke, but are interrupted by the arrival of Tavia. She takes Rebecca, Nick, Sarah, and Jane out to work, leaving Kenny, Mike, and Clementine alone in the pen. Tavia says that Troy will be coming for the rest of them. After Tavia leaves, Mike and Kenny continue to discuss who should take the radio. Kenny insists on Clementine taking it, as he trusts her and believes that her size and stature ensure the best chances of not getting caught, while Mike argues that he should take it, as Clementine is only a kid and shouldn’t be pressured into something so dangerous. Clem insists that she can do it. The bickering is cut short by the arrival of Troy, who makes a clear point that today will not be like yesterday; he will be keeping a clear eye on them the entire time to ensure nothing happens again, inadvertently complicating the plan. As Troy turns and commands the rest to follow, Kenny swiftly and stealthily places the radio in Clementine’s pocket.

On their way to work, Bonnie comes across them, telling Troy that Clementine is meant to be with her. Now separated from Kenny and Mike, Clementine walks with Bonnie, who says that she didn’t believe Clementine earlier regarding Reggie’s death. She went to talk to Carver after she told her, and he coldly assured her that Reggie’s death was necessary, much to Bonnie’s shock. Clementine is visibly anxious about having the radio in her pocket, and Bonnie asks if she is alright. Clementine doens’t feel that she can trust Bonnie, even though she was apologetic before, and looks for an excuse to get back to Kenny and Mike. She tells Bonnie that she needs to talk to them. Bonnie says that she understands that Clementine is uncomfortable around her, and won’t force her to stay around if she doesn’t want to.

Clementine enters the comic store to meet Luke, but he is nowhere to be found. Clementine shouts and looks for Luke, but after searching for a small amount of time, Troy enters the store, enraged, and slaps Clementine telling her she is not allowed to be in here.

Troy takes Clem, Kenny, and Mike back to the pen, where it is revealed that Luke has been captured by Carver. Carver expresses his disbelief over the deception, and how the group has repaid his trust and kindness with betrayal. He holds up the the walkie-talkie confiscated from the rest of the group, and tells them that whatever plan they had is over. After giving a brief speech about how they can’t simply run away from their problems and hardships, he demands to know where the other walkie-talkie is, asking for the thief to come forward. He begins to count to three, threatening further violence if the radio is not returned by then. Clementine steps forward to say that she found it, hoping to stop anyone coming to harm, but Kenny grabs it from her and takes the blame himself for stealing the walkie-talkie. Carver extends his hand, gesturing for Kenny to give it to him. Kenny cautiously approaches Carver, and drops the radio in his hand. Carver then continues his count to three, before beginning to viciously beat Kenny with the radio. Carver will repeatedly bash Kenny over the side of his head with the walkie-talkie, as Sarita and Nick desperately plead for him to stop. Sarita starts screaming and runs to defend Kenny, but Carlos restrains her, not wanting her to get hurt as well. Carlos calls out for Clementine to help him restrain Sarita, as Carver continues to brutally beat Kenny. Instead Clementine runs towards Kenny, only to be stopped by Troy, who hits her in the face with his rifle, knocking her to the floor and giving her a gash along her face. Carlos keeps Sarita from the same fate.

Bonnie arrives pleading for Carver to stop. She continues to tell him that there’s a breach, which gets Carver to immediately stop. He punches Kenny one last time, leaving him battered, bloody, and unconscious on the floor. Carver then moves out with the rest of his guards, telling Bonnie to stay behind and make sure the rest of the group doesn’t get in any more trouble while he’s gone. Carver also refuses to give the survivors supper as punishment for their attempted betrayal, before leaving the scene. Bonnie crouches down to check Clementine before telling Carlos to stabilise Kenny and get him able to move, as she plans to leave tonight.

After a few hours, Clementine wakes up to the aftermath of the beating; Sarita is seen crying over Kenny as Rebecca comforts her, while Luke and Mike speak with Bonnie at the gate. Rejoining the group by the fire, Luke and Mike report that Bonnie will unlock the gate and free them from the pen as soon as they can get the PA system running. Rebecca is elated by the news, but Luke is less optimistic. Luke goes on to argue that leaving tonight is too much of a risk, as Kenny is beaten to near death, Luke himself is still suffering from an earlier beating from Carver, and Rebecca is almost in labour. Mike and Rebecca argue against the prospect of staying, believing that the best course of action is to leave before Carver can do something worse to them. Nick sides with Luke.

Carlos comes back over to the group, shaking his head. Clementine asks if Kenny is okay, and Carlos goes on to state that Kenny’s orbital has been fractured, and that there is very little hope that he will be able to use his left eye again. While he cleaned the wound, got the swelling down, and did his best to bandage it, he cannot be sure of the extent of the damage until Kenny wakes up, but proposes that there is a very high chance that Kenny has suffered brain damage. Luke, playing the devil’s advocate, regretfully suggests that if the group really wants to leave tonight, they may have to consider leaving Kenny behind. Sarita immediately refuses, but Luke insists that there is no other way; if Kenny does not wake up on his own, they won’t be able to carry him out of the compound. Clementine does not wish to leave Kenny behind. Suddenly, Kenny wakes up on his own, and manages to stand up and stagger over to the group. Seemingly unfazed by his wound, Kenny states that the plan doesn’t change; they still leave tonight.

Kenny proposes that they should decide on a meeting spot, in case they get split up during the escape. They agree to meet up at a nearby Civil War site called Parker’s Run, which the cabin survivors had previously used when they first escaped from the compound. Luke says that all they need now is someone to go and set off the PA system to set the escape plan in motion. Realising that she is once again the best choice to get into the office, the survivors send Clementine up to the roof once more. As she ascends the winch, Rebecca gives her instructions on how to turn on the PA system and the outdoor speakers, then tells her to meet the rest of them in the stock-room. She also asks Clementine to make sure to bring Alvin with her.

Reaching the roof, Clementine drops down the skylight into Carver’s office. Alvin is sitting in the chair, still lying unconscious and covered in his own blood. Clementine attempts to wake him but he doesn’t stir. Afterwards, Clementine turns on the microphone and the outdoor speakers. She looks down from the office to see Bonnie, having heard the signal, heading towards the pen to free the group.

Alvin approaches the desk quietly, much to Clementine’s surprise. He opens a drawer on Carver’s desk, seemingly searching for something. He pulls out a small, single-shot derringer. He muses about the irony that a man like Carver would have such a little gun. Clementine looks back out the window to see Carver and a few armed guards splitting up to defend the building and to shut down the PA system. Clementine tries to convince Alvin to leave, but he says that he is in no condition to move, volunteering to stay back and buy Clementine and the group time to get away. Clementine initially refuses to leave him, but eventually agrees to, seeing as he won’t as in no state to move. She thanks him for his sacrifice as she leaves, and Alvin tells her to “look after my girls”, saying that he had a feeling that his baby would be a girl. After saying his final words, Hank will enter the room, and shoots Alvin in the chest. Alvin, using his last ounce of energy, manages to shoot the surprised Hank, killing him. Alvin then slumps over in the chair.

Clementine leaves the office and emerges on the roof. As she heads to the stock-room, she looks out in the distance as the large herd of walkers begin to enter the parking lot. Tavia comes running outside, and begins shooting into the herd as Clementine slips away unnoticed. Reaching the stock-room, Clementine drops down the skylight, only to find that Carver has located and caught the group once more, holding them at gunpoint. He berates them over their decisions, claiming that he will not hesitate to shoot Rebecca and the baby should they attempt to leave again. Clementine gets into position and jumps onto Carver. As he attempts to regain his footing, Kenny punches him in the face, while Luke moves in from his side to disarm him, and holds him at gunpoint. The tables now turned, Carver holds his hands up in surrender as the group contemplates what to do with him. Rebecca notices Alvin’s absence and asks Clementine what happened to him. Clementine stays silent, and Rebecca realises he has died. Luke attempts to comfort her, only for Rebecca to coldly tell him to kill Carver, much to Luke’s surprise. Clementine then says the same, urging Luke to shoot Carver and get this over with. One_Eyed_Kenny

The hesitant Luke is abruptly cut off as Kenny shoots Carver in both of his kneecaps. Collapsing to the floor, Carver looks up at Kenny and the group in surprise. Kenny then lowers his gun before walking past Carver towards a work-bench. He grabs a crowbar, and tells everyone in a menacing tone to wait outside. Sarita attempts to convince him to leave instead of killing Carver, but Kenny refuses, stating that he only needs a minute. Luke, disgusted, will angrily criticise everyone’s morality for letting Kenny do this, claiming that although there is not one part of Carver he doesn’t hate, that doesn’t make this right. Luke will leave the room, stating that he wants nothing to do with what’s about to happen. Carver continues to taunt the rest of the group, calling them ingrates, unaware of how good they have it inside the community. He calls the group “lambs to the slaughter, with no shepherd to guide them once outside the walls”. He then weakly attempts to convince Clementine to stay and watch, while Sarita will approach Clementine, not wanting her to watch the horror.

Sarita attempts to bring Clementine with her outside, not wanting her to watch, but Clementine throws Sarita’s grip off of her, claiming that it isn’t her decision to make.

Clem wants to watch. She wants to make sure this man who caused so much pain is dealt with. She’s not the young girl who needs her innocence protected any more. She’s not Sarah. She’s Lee. She gets things done, and faces the consequences.

Carver praises Clementine’s decision to watch, confirming his earlier beliefs. Carver tells Clementine to go with the feeling she has right now, as that it is what makes her stronger than everyone else. Carver then continues to mock Kenny and Rebecca. Kenny stands over Carver, presumably contemplating his decision. Carver continues taunting the two as Kenny cuts him off, delivering a severe blow to his face with the crowbar, breaking his nose and knocking him onto his back. Kenny continues to savagely beat him to death with the crowbar, mutilating his entire face in the process. Satisfied, Kenny solemnly leaves the room, covered in blood. Clementine watches Carver’s death, initially appearing shocked and disgusted, but as the beating continues, her expression slowly changes to a cold, unemotional gaze. Rebecca collects Carver’s gun from his corpse, and leaves the room along with Kenny and Clementine.

Outside, the herd has arrived. Luke passes Clem a hatchet, and they kill some walkers. The group then sets about smearing themselves with gore. Much like how Lee once applied it to her, she now helped Sarah in the same way. Carlos also aided his daughter. Ready to move out, the group are surprised by the appearance of Troy behind them. He is equally shocked to see them covering themselves in guts. Luke goes for a gun, but Troy stops him threatening to shoot him down. Jane calmly approaches Troy, offering him a place in their group, saying they can run away together and start again, implying they may have had a romantic past of some kind. Troy agrees, but Jane shoots him in the groin, takes his assault rifle, and leaves him screaming as bait for the walkers while she and the rest made their escape.

 

Jane instructs the others to walk slow, and mimic the walkers. A new danger presents itself as they notice members of Carver’s group on the roof firing on the herd. They could be mistaken for walkers. Sarah begins to panic, and Carlos prompts Clem to calm her. At that moment, a bullet hits him, and he falls. Sarah looks on in absolute terror as walkers devour her father. She screams, and becomes a target for other walkers.

Sarita and Jane begin fighting to protect the two young girls. Clem ready with her hatchet, stays close to Sarah so she can fight too. Realising that Sarah is no use here, and that she is probably a liability, she shouts at her to run, thinking they could both get away from the herd. Sarah rushes off, but Clem is surrounded. She fights her way through a number of walkers, hoping to find a way back to Sarah, when she hears Sarita calling out.

She sees Kenny’s girlfriend struggling with a walker who has his teeth embedded in her wrist. In a snap decision, hoping to save her life, Clem hacks her arm clean off, leaving Sarita staring in horror at her stump.

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Episode 4: Amid The Ruins

Sarita’s severed hand falls to the floor. Staggering in pain as her arm continues to bleed out, Sarita screams in agony, as a group of walkers, drawn to both the sound and the blood, begin to attack her. Hearing her screams, Kenny spots Sarita in the distance being attacked, and rushes to her aid. Kenny dispatches the attacking walkers as Sarita falls to the ground, bleeding and dying from multiple wounds. Mike who follows Kenny over, looks on in shock at the battered Sarita lying on the ground, exclaiming that there are too many walkers, urging Kenny to leave. Kenny, emotionally distraught, refuses to leave Sarita’s side, angrily yelling at Mike to leave them alone. Clementine attempts to convince Kenny to leave, but Kenny angrily lashes out at her, blaming her for Sarita’s fate. Mike, fighting off various walkers, continues to yell out for Kenny to leave, telling him that Sarita is already dead. Still heavily in denial, Kenny continues to mourn over Sarita’s body. Clementine feels a definite sense of urgency to the situation and chooses to put a swift end to it, bringing her hatchet down on Sarita’s head and killing her, much to Kenny’s grief. Kenny, unable to cope with the loss, snaps once more at Clementine, calling her a “stupid fucking kid” as Mike grabs him by the arm and forces him to move. Kenny curses out Clementine as he begins to flee with Mike, telling her that Sarita’s death is on her head. The three begin running towards the woods, eventually getting separated from one another within the herd.

Clementine gets separated from Kenny, and is forced to fight through a couple of walkers that begin to notice her, as she sees Luke and Nick chasing after Sarah, who fail to notice Clementine. As they continue running, Nick takes a stray bullet to the shoulder, as Carver’s people continue to fire into the herd. After killing more walkers, Clem is able to coat herself in blood again and go on camouflaged. She remains silent, knowing that calling for anyone might draw walkers on her.

As she continues to walk, she is grabbed by Rebecca, who has also been separated from the rest of the group. Rebecca is glad to see that Clementine is okay, and the two attempt to escape from the herd together. Clementine scouts ahead for an opening, only for more walkers to box them in, forcing them to retreat back. To their relief, they manage to also find Jane. She tells Clementine and Rebecca to stay calm and continue to walk slowly, but Rebecca begins to panic, and pleads for Jane to help them. Jane suggests they spread out in order to avoid being noticed, but Clementine chooses to stay by Rebecca’s side, seeing as she’s already getting into a state. Jane begins to walk away from the two, but quickly has a change of heart, going back to help them. Jane notes that they need to push through a tight cluster of walkers in order to reach the woods, and asks Clementine to draw a nearby walker’s attention for her. Clementine successfully draws the attention of the nearby walker, as Jane sneaks up behind it and removes its jaw, preventing it from biting them. Jane uses the walker as a ‘cow-catcher,’ pushing through the herd and knocking various walkers out of the way as Rebecca and Clementine follow behind her. The three manage to successfully escape into the forest undetected.

Hours later, the three are seen walking through the forest, heading towards Parker’s Run, the civil war site they previously agreed upon as their meeting spot. As they continue walking, Rebecca begins to lag behind. Clementine, concerned for her well-being, asks Rebecca how she is doing, and she tells her that the pregnancy is beginning to increasingly drain her energy. Rebecca thanks Jane for saving them back at Howe’s Hardware, but begins to voice second thoughts regarding the escape plan, citing the death of Carlos and the separation of the group, claiming that they should have come up with a better plan. Jane adamantly tells her that the plan worked, to Rebecca’s dismay. The two decide to drop the argument, and Jane persists for them to keep moving forward. Rebecca suffers yet another contraction, and Jane allows Rebecca a moment to stop and rest. A conversation about Rebecca’s baby ensues, and when Jane makes an offhand comment about what she will do with the baby, Rebecca takes personal offence to the statement. The two have another short argument, which ends in Jane storming off, as Rebecca attempts to apologise for her outburst.

Jane, Rebecca, and Clementine reach Parker’s Run and are delighted to find Bonnie and Mike waiting for them. They discuss the fact that Nick, Luke, and Sarah have yet to arrive at the meeting place, and that Kenny is sitting nearby seemingly broken. Mike states that Kenny flipped out when he attempted to talk to him, and so Mike and Bonnie suggest that Clementine talk to Kenny and see if he is okay.

Kenny is a mess. Clementine tries to talk with him, but he becomes hostile towards her, stating that just because she is a little girl, it doesn’t mean people won’t care if she kills someone. He becomes increasingly angry and hostile, and this forces Clementine to back out and leave him alone. She returns to the others and continues to discuss their plan of action, with Mike being sceptical about bringing a baby into this world without food or water. Clementine suggests they should go find Luke, Sarah, and Nick, to which Rebecca agrees. As a result, Jane volunteers to search for them, asking Clementine to go along with her. Rebecca thanks Jane for this decision, and the two head out into the forest.

While walking, Jane says how she is not sure they will be able to find Sarah or the others, but Clementine can choose to disagree. Either way, Jane will say that Clementine must be a smart girl, otherwise she would not have been able to make it this far. The two discuss whether or not being in a group is the best option which Clem thinks so, and if surviving alone is the more pragmatic solution which Jane thinks can often be the best option, ending with Jane giving Clementine some advice about her group, claiming that it is cracking and won’t last for much longer. Jane then reveals more of her previous life with her sister, Jaime, recalling the memories of having a little sister and annually visiting an amusement park in Virginia during the Summer.

Momentarily, Jane spots an area ahead, and the two come across the Sunshine Mobile Home Park where two fresh corpses lay on the ground. Jane teaches Clementine to make sure the walkers are dead, and that only fresh walkers contain useful loot. They search the walkers and discover bullets and a nail file. Further ahead, when they flip a walker corpse, Clementine discovers Sarah’s glasses on the ground underneath the walker, meaning that Sarah had once been here. Jane assumed she must be dead, but Clem points out that all this means is that she was here. The argument is settled when Sarah’s screams are heard from within the trailer park, as well as Luke’s voice.

Together, they discover a hole in the fence allowing entry into the trailer park, and they discover that Nick, now a walker, is caught in it. Jane suggests that Clementine as his friend should be the one to end him. Saddened, Clementine does so momentarily afterwards with three hatchet blows to Nick’s head. Jane gives Clementine more advice not to hesitate if she has to do this to other members of her group, and she also gives her a more agile weapon – a scratch awl, noting that her hatchet has a tendency to get stuck.

After entering the trailer park, they discover two walkers close by. Clementine kills one of them, and Jane attacks the other, while also demonstrating a new tactic to Clementine; to kick the walkers in the knees and then stab them in the back of the head. They press onward and discover two more walkers blocking view of a trailer where Sarah and Luke are hiding. Clementine makes use of the tactic Jane had just taught her, and Jane is impressed.

Ahead, they find the trailer park where Sarah and Luke are hiding, but discover that the trailer is surrounded by walkers attracted by Sarah’s screams. The two decide they need to find a way to lure the walkers away, and Clementine decides to use the horn of a nearby car to do so. Together, they drag a walker corpse to the vehicle and leave it on top of the steering wheel, creating the monotonous horn sound which manages to successfully attract the walkers away from the trailer. Jane and Clementine quickly enter another trailer to the side in order to get around to Sarah’s trailer. However, there are two walkers which they must dispose of first, which they do with ease, Clem once again using the new trick.

The two manage to reach the outside of Sarah’s trailer, but discover the door locked. The walker that was left on the steering wheel fell off, resulting in the horn being silenced and the walkers beginning to return to the trailer in which Sarah is screaming. Running out of time, Clementine attempts to open the door while Jane defends her from the walkers. Clementine eventually manages to break open the door by kicking it down, and once inside, the two immediately pull over furniture to block the door from walkers.

Once inside, Luke comes out to find them, and Clementine gives him the sad news of Nick’s death. Luke then explains that Sarah had run to this trailer park for shelter and hasn’t moved since. Clementine rushes over to find Sarah huddled in the corner of a room in shock, presumably over her father’s death. Clementine attempts to talk to her in order to get her to move, reminding her that her father wants her to live, but time begins to run out as the trailer is surrounded by walkers. Luke notes that the only exit is now a skylight. Walkers begin to break the main door down, and Jane rushes to help block it, asking for Luke’s help in doing so. After failing to get Sarah to move, Clementine will go help Jane and Luke, looking for something they could climb on top on to reach the skylight. It turns out that the furniture they used to block the door is the only item they can use to do so, and together they quickly move it over to where the skylight is, with Jane killing the attacking walkers that have entered the trailer. Luke is the first to exit the skylight, and it is then up to Clementine to convince Sarah to leave. Jane, keen to get out, suggests leaving her behind as she’s dead weight.

Clem tries reminding Sarah of how they are friends who should look out for each other, and that her father would not want this, and although Sarah seems to respond a little, she still doesn’t move. With the walkers almost on them, Clem decides to take drastic measures. She slaps Sarah in the hopes she might snap out of it. This works, and Sarah is saved.

On returning, they discover that Rebecca is in increasing pain from her pregnancy, and that Kenny is keeping to himself in a tent. They are greeted by Rebecca, Mike, and Bonnie. Luke takes Rebecca for a walk, and Bonnie asks Clementine if anyone in the group has experience with birthing babies. Clementine suggests Kenny, and decides to talk with him to ask for his help with Rebecca’s pregnancy.

Kenny, although resentful at first, agrees to help, his instinct for family kicking in. The group decides to look for supplies and shelter nearby, and Jane goes towards the local observation deck and gift shop, while Bonnie and Mike head towards a nearby museum. Clementine decides to go with Jane to the observation deck.

Upon reaching the deck, Clementine finds Jane sitting on a bench, and the two discuss the situation more whilst walking to the observation deck. At the top, they discover an ideal safe location for Rebecca to give birth, however, it is locked with a padlock and will take some time to open. A moment later, Clementine spots a stranger with a limp approaching the observation deck from afar, and the two hide. Clem wonders if he really is a threat with the contraption on his leg, but it’s best to play it safe.

The man climbs to the top and attempts to stuff a bag into a garbage bin, but Clementine startles him by greeting him. The man reacts by pointing his gun at her, saying he will not hesitate to shoot her, although he seems to be clearly frightened. Clementine talks to him, asking what he is doing. Jane sneaks up behind him and disarms him, forcing him to drop his bag. The man reveals his name to be Arvo, and Clementine discovers the bag to be filled with medical supplies. Arvo says that the supplies are for his sister, who is very ill. Jane suggests that she should just take the supplies, as their group need them too.

Clem thought that if this crippled man was out getting medicine for his sister, she must be in some bad state too. He was nervous and afraid, and she thought he only pulled the gun in self defence. She refused to steal from him. Jane threatened him and warned him never to come back. After Arvo gratefully hobbled away, Jane went back to breaking the padlock while Clementine returned to Parker’s Run.

Kenny wonders why Bonnie and Mike still aren’t back from the museum, and he suggests that Clementine should go and check up on them, to which she agrees. Clementine stops to talk to Sarah, who says that she is waiting for Carlos to come back, making Clementine worry about her sanity. Her father had hinted that there may be a mental issue.

When she arrives Clem finds Bonnie and Mike have not found any supplies yet, but welcome Clementine’s help. Clementine manages to discover a Civil War Confederate coat that could be used as a blanket for Rebecca. Mike expresses concern about the implications, but they figure it wouldn’t be important. She also sees two water barrels in a locked room. She manages to open the window gate partially, allowing herself to squeeze through into the other room to unlock the door. Clementine gets stuck half-way through, and suddenly a walker rises up from the locked room and grabs Clementine. Mike begins to kick down the door as Bonnie attempts to pull Clementine out. Mike manages to successfully kick down the door and knocks down the walker which Clementine then finishes off. Mike grabs the water barrels, and as they head outside, Bonnie notices a raccoon. The trio suggest capturing it and eating it later. After trying to capture it, the raccoon heads outside where it is revealed to have a family, and Clementine can says that she is happy that it managed to escape. Mike agrees. The three then head back to Parker’s Run with the water barrels and coat.

As they return, Rebecca begins screaming in pain, attracting a herd of walkers nearby. The group quickly try to move Rebecca to the safer observation deck that Jane was working on earlier. Clem yells to Mike to take the barrels. Kenny alone, with a look of sheer determination bordering on madness, marches towards approaching walkers as the others help Rebecca get away. Clem thinks Kenny has just charged to his death; Is this bravery? Is this madness? Is this an attempt at redeeming himself again? However, he shortly after follows the group.

Upon arriving at the observation deck, Clementine discovers Luke and Jane had just been romping together. Kenny instantly snaps and becomes hostile towards Luke as it was his responsibility to be on the lookout for walkers. Regardless, the walkers begin to climb the observation deck, and the group prepare for it. Kenny stays with Rebecca who is ready to give birth, while the others try to secure the gate.

The gate begins to break, and Luke asks Clementine to find something they can use to block it. She decides to use the nearby cannon, and Luke helps her wheel it over, but to their horror, the increased weight of the cannon causes a portion of the deck to collapse underneath them. Sarah and Jane to topple over, as well as several walkers. Luke manages to clasp Jane’s arm, but Sarah is trapped on the ground underneath piles of rubble and is unable to escape. Clemetine yells at Jane to help Sarah, but Jane refuses. Clementine looks down at Sarah, seeing walkers closing in. If they drop Jane for her, it looks as though both would definitely die. Meanwhile Jane yells for them to pull her up. Jane had repeatedly said that Sarah was not going to survive as she was, and Sarah herself had almost given herself over to the walkers in the trailer. It would not be easy to keep taking care of someone who was such a liability. And if Jane died trying to save her, they’d lose someone who was really effective and experienced. She’d asked once already, and Jane had said no. Clem decided all she could do was pull Jane up and try to come up with another way to save Sarah if they could.

But there was no more time. Clementine pulled Jane up, and Sarah was lost to the walkers.

Rebecca continues screaming from giving birth as Jane apologises to which Clem snaps “You didn’t even try!”, but Jane quickly notices that the walkers are using the collapsed deck to climb up towards them. Luke decides that they need to collapse the rest of the deck, to which Clementine discovers that she could collapse it if she cut the remaining cable with her hatchet. Mike boosts her up in order to reach the cable, and Clementine manages to dislodge the mechanisms after three swipes, causing the remainder of the deck to collapse and crush the walker herd. The group quickly return to Rebecca, and discover the baby in Kenny’s hands.

Later that night, Clementine sits with Rebecca and her baby. Rebecca offers to let Clementine hold him. Clem says she doesn’t know how, so Rebecca shows her. Kenny  approaches them and offers to look after the child for the night in order to allow Rebecca to get some rest.

Clementine then discovers Jane attempting to leave. When questioned about it, she claims that Sarah’s death reminded her too much of her sister, and that she wouldn’t be able to watch the same thing happen to Clementine. Clem finds the whole thing disappointing. Jane seems to run from trouble rather than trying to fix it. She felt she was at least partly to blame for Sarah’s death. If she had helped straight away instead of refusing, maybe it would have been different. Jane then offers her a nail file as a parting gift.

Luke arrives to find Clementine sitting alone. Upon hearing about Jane’s sudden departure, he angrily bangs the wall, which angers Kenny. The two have a tense argument in front of Clementine until Rebecca calls out for Kenny to give her the baby. The group then argues about their next destination, mainly about Rebecca’s physical condition. Kenny wants to leave straight away, while Luke says Rebecca needs rest. Most of the group abstain and Rebecca supports Clementine, who says they should stay and let Rebecca get her strength up.

When the group decides to leave, they head northwards as the location becomes coated in snowfall. Rebecca becomes visibly weak and collapses, halting their travel as she rests on a car tire. As Kenny and Luke persist in arguing over the decision to leave earlier or later, the man that Clementine and Jane met earlier arrives, along witThe-Walking-Dead-Season-2-stand offh three other Russian people that hold Clementine’s group at gunpoint. Arvo asks where Jane is, and when Clementine tells him that she had left, Arvo believes it to be a trap, causing both groups to become hostile and aim guns towards one another. Clementine begins to hear the sounds of a walker, and turns in a horrified glance to find that Rebecca had died and zombified in mere minutes, still holding the baby in her arms. Clementine does what she thinks she has to do in this situation and shoots her; she had to save the baby. The groups become startled and several gunshots are fired.ep4 20160613123431_1

Episode 5: No Going Back

The group and the Russians engage in a gunfight. Clementine falls to the ground, dazed. She sees Mike shot in the shoulder, who retreats to cover with Bonnie. Arvo is seen trying to resuscitate his sister, who has been shot in the chest. Vitali and Kenny Kenny trades shots with one Russian, while another focuses his fire on Luke who is using a wall as cover. She sees the baby on the floor by his dead mother as bullets fly around. Luke calls her to take cover with him.

Clem knew she needed to get out of the open, but she would be damned if she was leaving a defenceless newborn in the cold right in the middle of a gunfight! She grabbed him and dashed over to Luke, who says he hadn’t even noticed the infant. He asks her to provide cover fire for him so he can get a good angle on the Russians. She does, but Luke is hit in the leg.

Luke tries to get himself back behind cover as one of the Russians takes aim for the kill shot. Kenny kills the Russian before he gets the chance. Then he grabs Arvo and holds him hostage telling the last Russian to stop or he’ll shoot.

As he does so, Arvo’s sister reanimates as a walker and crawls towards Clem. She immediately shoots her in the head, at which point Arvo, in tears, breaks free of Kenny and rushes to her side. Clem is about ready to put a bullet in his head too.

With Arvo out of the way, the other Russian fires at Kenny, who just about avoids the shot by diving to the ground. As the Russian prepares to finish Kenny off, Jane suddenly appears from the woods and stabs him in the neck. Kenny shoots the man in the head for good measure. Clem is really pleased to see Jane returned, hoping she had finally learned the importance of friendship and loyalty.

The rest of the group emerge from cover, while Jane confides in Clementine, stating she had never killed a person she didn’t know and did not wrong her in some way. Clem says that he was trying to kill them, so that’s wrong enough. She claims that she tried to pretend he was a walker, but that it didn’t soften the impact of killing him.

The group then gather around Rebecca’s body, mourning her loss and promising to take care of her baby. Kenny, visibly irritated, walks over to Arvo and begins to hit him, but is stopped by Luke and Mike. Luke and Mike defend Arvo from Kenny, claiming that he is no longer a threat to them, to which Kenny disagrees, before pulling out his gun and angrily telling Mike to move out of the way. The rest of the group attempt to calm Kenny down, and Arvo tells the group that he has food and shelter and that he can take them there. Clem does not trust Arvo either, but the draw of food and shelter is powerful, and she is against killing defenceless prisoners. They should see what he has to offer, and decide afterwards. Hopefully this wasn’t another trap. Eventually, the argument is defused, and Kenny begrudgingly agrees to follow Arvo to shelter.

On their way, Jane talks with Clementine about why she returned and her increasing concerns for Kenny’s mental state. Jane claims that Clementine is the only person in the group that Kenny truly trusts, and that she will have to be the one to pull him back from this state. As the group continues, Luke’s leg gives out, which he claims is due to putting too much weight on it. The group all agree to stop for a short while, but Arvo, seemingly lost in his thoughts, doesn’t hear Kenny telling him to stop. Enraged once more, Kenny throws Arvo to the ground and continues to threaten him. Once again, Mike interrupts this argument and halts the conflict. Bonnie then gives Mike the baby to look after while she helps tend to Luke’s leg wound. After Bonnie has a short conversation with Luke about his and others’ tendencies to get into fights, she asks Clementine to keep pressure on Luke’s wound while she goes to find some bandages. Luke, now alone with Clementine, proceeds to express heavy guilt regarding the rest of the cabin survivors, expressing disbelief that he is the only one left, and believing that the others had died in vain. Clementine attempts to console him, but he insists that he could have done more for the group, and has to live with his decisions. Bonnie eventually returns with a bandage for Luke, before asking Clementine if she could change the bandage on Kenny’s wound, as he refused to let Bonnie do it when she offered, to which Clementine agrees.

Heading over to Kenny, the two discuss possible names for the baby. They aren’t sure what to call him, especially as Alvin thought it would be a girl. They ultimately agree on Alvin Jr. Kenny notices the bottle of alcohol in Clementine’s hands, and assures her that he is fine, and doesn’t need his wound cleaned or bandaged. Clementine tells him he doesn’t have a choice, so he agrees amused. She successfully manages to take off the old bandage, sterilise the wound, and attach a clean bandage, during which they talk further about how Alvin Jr, and Kenny’s own guilt over the demise of Alvin and Rebecca. Kenny feels partially responsible for Alvin’s death, before the rest of the group are finished and they continue towards the house. He seems back to normal, although sad.

The group stumble across an abandoned power station, and Kenny asks Arvo if it is the shelter he is taking them to. Arvo explains that the shelter is a house which itself is a few hours away, which irritates Kenny, who claims that Arvo has been lying to them. Clem isn’t completely convinced either, having believed the walk would not be this long.

They all decide to stop for the night, as they need the rest, so Kenny and Jane scout the power station to ensure its safety, while Clementine holds AJ, using Rebecca’s previous advice before handing him to Bonnie. Kenny and Jane return and call the rest of the group down to get settled at the station.

Later they settle around a small fire, with Arvo tied up close by, and Jane standing off on her own near the fence. Luke reveals that today is his birthday, to which the group congratulates him, and they continue to have a heartfelt discussion about past memories. Bonnie takes out a special bottle of rum which she had been saving for a special occasion, and she passes it to Luke in honour of his birthday. She asks him to make a toast, which Luke makes in the honour of the loved ones that the group has lost along the way, and to the hope that they may see them again one day. Afterwards, Kenny volunteers to take first watch with AJ, while the others try to invite Jane to join them, to which she refuses. They then discuss Jane and her reasons for returning, as well as Bonnie ribbing Luke about his sexual encounter with her. Bonnie then passes the bottle of rum to Clementine and asks her to try and convince Jane and Kenny to join them by the fire. Clem is happy to, feeling that this is the first time in a long time that there has just been a nice, relaxed, calm atmosphere, and the group needs it.

Heading over to Jane, Clementine waves the bottle of rum in her view and Jane says that joining them by the fire might be awkward. Nonetheless, Clementine convinces her to take a sip of the bottle, and the two have a conversation about Jane’s past memory of being drunk before she offers Clementine a sip, which she accepts, saying that it’s nicer than Nick’s moonshine. She then gives Clementine the bottle to offer to Kenny, who probably needs it more than anyone, and she joins the rest of the group by the fire.

Clem tries to talk to Arvo, wanting to know why he did what he did, but he refuses to speak, wanting to be left alone.

Clementine then heads over to Kenny, who scolds her about drinking. She says she can make her own decisions. He apologises about his behaviour towards her after Sarita’s death, claiming that he couldn’t handle the loss, before reminiscing about Katjaa and Duck. He goes on to admit that didn’t raise his son like he should have, and that he wasn’t always there when he needed him. He laments that he used to believe that he enjoyed the time away from his family, but that he would do anything to have one more second with them. Clementine tries to comfort him, saying he might see them again one day. Kenny seems to feel a little better, but vows that he won’t make the same mistakes raising AJ, before asking Clementine to return to the fire. Clementine urges him to come with him, as the group wants to include everyone, and he needs to take it easy. He agrees.

Upon returning to the fire, she finds everyone continuing to joke about Luke and Jane’s sexual encounter. Clem says she knows what they’re talking about but thinks it’s just kissing. The sound of Arvo weeping gets Mike’s attention, so he takes the bottle over to Arvo, which Clem doesn’t approve of. Bonnie says that she believes Arvo is not a bad person, and that good people sometimes do bad things, especially given the onset of the apocalypse. Clem thinks Bonnie would say that, seeing as what she did before is comparable to what Arvo did.

They are interrupted by Arvo’s screams. Arvo yells at Mike to leave him alone, and Mike will apologise and back off. Arvo breaks down once more over his sister, and Mike attempts to console him, telling him that she is in a better place. After they agree to get some rest, Kenny goes back on watch as the group retires for the night.

The next morning, the group follow Arvo towards the house. Kenny, still bickering with Arvo, unknowingly walks past a walker lying dormant behind a rock, which gets up and attempts to attack him, sending both the walker and Kenny to the ground. Clementine shoots the walker dead, but Bonnie expresses concern over the noise of the gunshot and the potential of drawing more walkers to their location. Arvo says that the house is very close, and after a short walk, will point out a building that is half built, barely fit to be a shelter. It stands at the other side of a frozen lake, which the group are apprehensive to cross. Realising that there are no nearby crossings, and at the insistence of Arvo that the ice is thick enough for them to cross over, the group decide to cross the lake, with Arvo volunteering to take the lead. Clem suggests that they spread out so they don’t put too much weight on one area.

As they slowly cross the lake, Jane notices a small group of walkers following them, alerted by the earlier gunshot. As clusters of walkers begin to fall through the ice, the group pauses in panic. Arvo begins to desperately run towards land, while an angered Kenny follows suit. Mike, noticing the scuffle, chases after the two, believing Kenny will hurt him. Arvo crosses a weak spot and plunges in to the icy water, struggling to get back out. Kenny catches up to him and pulls him out, and the two, along with Mike holding the baby, make it to the other side.

The remainder of the group, seeing that the rest have made it safely across, begin to continue along the ice. However, Clementine and Bonnie hear the sound of ice cracking behind them, and turn to see Luke standing over a severely cracked patch of ice. Frozen in fear, Luke looks up at the two. Bonnie attempts to go back for him, but Luke tells her and Clementine to stay back. Bonnie, still insistent that Luke needs help, tries to approach him, but is stopped by Luke once more, who claims that he can make it out on his own if he’s careful. After moving too swiftly, the ice begins to break, sending Luke’s injured leg into the water. Clementine and Bonnie, now excessively worried, call out to him, but Luke continues to insist that he can pull himself out of the water. Bonnie then asks Clementine to go back and help Luke, stating that she’s small enough for the ice to hold, while Luke attempts to persuade Clementine to shoot the approaching walkers while he works to pull himself out. Clem is in agreement that of the two of them, she being the lighter has a better chance of helping, but wonders if Luke is right about being able to get himself out as long as the walkers are kept away. If he’s wrong, he will either drown or the walkers will get him.

She slowly approaches him hoping she will have the strength to pull him to safety. Luke desperately pleads with her to go back, but the ice beneath the two of them collapses, plunging both of them into the icy water. Clementine swims upward to the ice, unable to find the hole she came in through. She persistently bangs her hand against it in an attempt to break it, but a walker, having fallen in manages to grab hold of her leg and begins to pull her down. She manages to kick the walker away, only for yet another walker to lunge at her. Luke quickly appears and wrestles the walker away from Clementine, but as he attempts to swim back up to the surface, the walker manages to grab onto his injured leg. Clementine can do nothing but helplessly watch as Luke is pulled down into the depths of the lake, desperately thrashing to get away. Jane pulls Clementine out of the lake and rushes her to the house.

The group arrives at the unfinished house, with Jane exclaiming that they must get a fire started to prevent Clementine from freezing to death. As Jane searches the house for fire-wood, the rest express disbelief over the death of Luke. Kenny angrily blames Arvo for the incident. Arvo, now pushed to his breaking point from all the abuse, curses Kenny. Kenny’s bursts violently towards Arvo, beating him severely while roaring insults at the Russian.

Clem sits by and watches until Mike grabs Kenny from behind. She really couldn’t care what happened to Arvo, and would have shot him for his betrayal at the gunfight given the chance. Mike is wrestled away, with Kenny shouting at him for stopping him. Mike voices his anger at Kenny for lashing out at Arvo but Kenny claims the Russian deserves it.

Jane returns with a bag of supplies and exclaims that Arvo wasn’t lying, and chastises Kenny for beating the teenager to near death. Kenny then ties Arvo up while Jane tends to starting a fire. Clementine gives Jane the file she gave her before, who then uses it to start a fire. All of the group then rest for a short while.

Upon waking, Clementine sees Mike tending to Arvo and asking if he was alright, and wonders why he cares about him. Jane offers Clementine some food. The two of them discuss Luke, and Jane’s sorrow over his unfortunate demise. She contemplates whether or not coming back was the right choice. Clem assures her it was.

Mike, now visibly upset over Kenny’s various outbursts, angrily storms out of the room as Kenny walks in. Kenny asks Clementine to help him fix a truck outside of the house, which he claims is in good shape, and only needs a little bit of work in order to get it started. Clementine agrees to help, while Jane decides to stay behind to watch AJ. Kenny shoots a distrustful glance towards Jane at the mention of this, before leaving with Clementine.

Outside, Kenny questions Clementine as to what she and Jane were talking about, believing them to be talking about him. Clementine assures him that they were not, and the two of them begin to tend to the truck. Kenny gives Clementine the keys and sits her in the driver’s seat while he works under the hood. Whilst working, Kenny will imply his personal distrust of Jane and her motives, but Clementine maintains that she likes her and she’s good for the group. After telling Clementine to turn the ignition, which fails to start, Kenny explains that he wants to get to Wellington. After failing to start the truck a second time, Kenny gets angered, claiming that they are running out of time, and that they need to continue moving in order to keep AJ alive. Kenny tells Clementine to go back inside, saying that he doesn’t trust leaving Jane alone with AJ.

Clementine stops to speak to Bonnie who is sat on the stoop. She offers Clem a cigarette, which she refuses. She talks about her past regrets, and Clem feels that Bonnie has just about earned forgiveness for her mistake with Carver. It wasn’t the same as Arvo: Bonnie didn’t know what she was doing, Arvo probably did.

Jane has moved AJ elsewhere, as Mike and Arvo were talking too much, and she wanted AJ to be more comfortable. From where they are seated, they can see Kenny working and struggling to fix the truck. The two of them discuss Kenny, as Jane argues that he is becoming a very clear and present threat to the group. She claims that he is going down a dark path, and draws parallels between him and Carver. Clementine can see her point, but doesn’t think Kenny is like that. Kenny’s thing has always been ‘family first’, but that can often be to the detriment of anyone he doesn’t consider family. She ominously states that while the two have known each other for a long time, she’ll have to decide how much it is worth in the very near future. Clem knows fully that Kenny is often the reason arguments start, and the group is tense, but she also knows that he means well. AJ begins to cry and Clementine comforts him, giving him some baby formula. She says that they are running out of the formula, and Jane will begin to recite a story about an older group she was with earlier. As Jane reminisces, they are interrupted by the sound of the truck starting up, as Clementine and the rest rush outside to Kenny.

The rest of the group run outside to find that Kenny had fixed the truck, and they discuss what they should do next. Kenny thinks that they should continue heading to Wellington, while others think they should return southward towards Howe’s Hardware. Kenny once more gets angered by this, and the disagreement begins to turn heated. Kenny goes on to claim that since he started the truck, he gets to decide where they should go, and stubbornly insists on heading north in search of Wellington. Mike will relent, and instead ask about Arvo, who Kenny states they will leave behind. Mike argues with Kenny, expressing concern over the possibility of him dying by himself, and that he knows the area and could be a potential help to them. Clementine wants to go to Wellington, remembering that to be where Christa was also heading, and always having it in mind that it was meant to be a safe place. Howe’s Hardware sounded like an awful idea. For all they knew it could still be overrun by the walker herd, or some of Carver’s goons could still be keeping it. She does however feel the best thing to do immediately is to sleep on it. They elect to figure things out in the morning. Kenny, angered and outnumbered, enters the truck. Mike asks Clementine to talk some sense into Kenny before heading back inside.

Clementine will go around to an incredibly angered Kenny, who tells Clementine to get in the truck and shut the door. Kenny will rant about what just happened, and how important it is to continue north. He begins to talk how a lot of people died for them to get where they are, and that they owe it to them to see the group, and AJ, to safety. Clem doesn’t want to leave alone, and her talk with Jane makes her wary of the idea of trying to survive with just Kenny and a baby for companions. Kenny suggests they should get some sleep and figure everything out in the morning. Clementine agrees, and the two return to the house.

Clementine awakes to an unusual sound banging on the house. She gets up and looks out of the window to see a loose cable swinging into the house with the wind. Upon exiting the house to fix it, she hears a noise and discovers Mike and Arvo attempting to leave with the fixed truck. She tries to approach them quietly, not wanting to startle them, but Arvo draws a rifle on her, so she pulls out her pistol. Mike turns and notices Clementine, and attempts to quell the stand-off. Bonnie then appears with the remainder of the supplies, planning to also leave with Mike and Arvo. Mike will calmly explain that they are simply leaving, and that nothing has to get heated as long as they all stay quiet. Clementine questions them all about leaving, asks why they are doing this. She liked Mike, had mixed feelings about Bonnie, although had been warming to her, although this fresh betrayal put her back at square one, and she was ready at a moments notice to put a bullet in Arvo’s head.

Mike explains that they need to get away from Kenny, and they are afraid of his instability and irrational behaviour, fearing what he might do next. Mike slowly and calmly approaches Clementine, asking her to drop her weapon. She holds her ground, but the only person here she wants dead is the Russian. Mike carefully takes the gun from her anyway. However, a panicked Arvo shoots Clementine in the shoulder and she falls to the ground in pain. Bonnie worries about Clementine’s wound, before they all run off together as Kenny barges out of the house yelling. Clementine loses consciousness.

Clem dreams of Lee, back in the RV with Lilly being held prisoner after killing Carley. Lee tells her that people don’t always make sense, and how anger and grief can cloud a person’s better judgement. Lee will eventually wrap the conversation around into an important life lesson: “Part of growing up is doing what’s best for people you care about… even if sometimes, that means hurting someone else.” Clementine will claim that she does not want to hurt anyone, but Lee sadly claims that it is not that easy. After Lee reassures Clementine that everything will be alright, she falls back asleep peacefully in his arms.

Clementine wakes up in the back seat of the truck with Kenny, Jane, and AJ. After asking about her wound, Jane tells her that the bullet managed to go straight through, and that she should be fine. Kenny and Jane start arguing about the safest location to go. Kenny continues to insist on heading north, while Jane attempts to convince Kenny otherwise, to no avail. Giving up, Jane instead starts to provoke Kenny, getting into a much more personal argument with him. The argument gets heated when Kenny makes a snide remark to Jane regarding her past, to which Jane responds by bringing up Kenny’s family. Kenny angrily warns her to stop, and Jane will continue to rant about Kenny’s family, and how the people close to him fear him and his behaviour, including Clem in that remark, which Kenny instinctively and angrily denies. Clem tries to stay neutral, fed up of the conflict in the group, and not sure who to side with. She cared about both of them, and wanted them to get along.

They are forced to stop at a pile-up of cars blocking the road. Kenny decides to leave the truck in search of fuel. As he exits the truck, Kenny will point to a sign for a nearby rest area, telling them to meet him there should anything happen. Clementine will climb into the driver’s seat. Jane suggests that they should leave right then and there in the truck, which Clementine disagrees with, but the two are cut off by the sound of gunshots in the distance. Walkers, attracted by the gunshots, begin to approach the truck. Panicking, Jane tells Clementine to drive the car ahead, which she manages to do.

They don’t travel far before Clementine hits a walker in the road, causing them to swerve and crash into the side of the road. The walker becomes wedged into the windshield, forcing Jane to exit the car with AJ, leaving Clementine inside the car. Clementine manages to shoot the walker dead, but more approach them, causing Jane to flee the scene with AJ in her arms. After Clem gets out, she realises that Jane is nowhere in sight, and so she draws her weapon and continues on her own through the snow and mist.

After walking a fair distance, she finally arrives at the rest area mentioned by Kenny. As she enters the rest stop, she sees Kenny looking out through a window in search of them, and he quickly turns towards Clementine. He asks if Clementine is okay, before asking where AJ is. Clementine says that he is with Jane, and a worried Kenny immediately barges outside in search of Jane. Clementine peers out through a window and sees Jane approaching in the distance, and Kenny will return to greet her inside. It is revealed that Jane does not have the baby with her, and Kenny demands to know what happened to AJ. When she replies with silence, both Kenny and Clementine fear the worst, and Kenny rushes outside in search of AJ. With Kenny gone, Jane will quickly change her demeanor, telling Clementine to stay out of the conflict that is about to ensue, saying that she wants Clementine to see Kenny for what he really is, implying that there is no need to worry about the baby.

The two of them then watch in fear as Kenny storms back towards the rest area, fists clenched and going straight for Jane. His rage is peaked as he says that Jane killed the baby. Clementine has no idea what to think. Would Jane kill a baby to prove a point? To make her own life safer and easier? Did Kenny find the body? If he did why did he leave it? She stays out of the way as Kenny attacks Jane. Jane claims that what happened was an accident, which Kenny dismisses as a lie. Clem wonders if a walker got the baby. Did Jane not try to save AJ, like she left Sarah?

Clementine attempts to calm them down, but Kenny, now in a state of pure rage, charges at Jane. The two of them fight brutally, all the while Clem helplessly tries to pull them apart and stop either of them getting hurt. She wants to talk, and find out what is actually going on.

Eventually, the fight takes all three of them outside, with all on the floor. Having been knocked about, Clem’s wound is reopened, and she lays in pain a few feet away from the wrestling adults. She notices her gun laying by her.

Kenny pounces on Jane, pins her to the ground and holds the knife above her as Jane desperately holds him back. He tries to push it down to her throat, while she desperately pushes it away, though managing for the time being, she clearly is fighting a losing battle, and it’s only a matter of time before she is killed. Clem can only see two options left. Wait for the fight to come to its natural conclusion with Kenny murdering Jane, or uuse her gun to shoot him and save her. She tearfully holds the gun aimed at Kenny for what feels like an age as she struggles with the decision.

She likes Jane, and she appreciates all the great things she taught her, but she doesn’t completely trust her. She knows Jane would let someone die if she considered them weak or a liability. Did she kill AJ? But she said she wanted to prove who Kenny really was. Clem thought Jane would leave someone to die if she had to, but she wouldn’t actually kill someone if they had done nothing wrong. She knows that all along she has been pointing out Kenny’s dark side and she had hinted that the baby was ok.

Kenny on the other hand has always been a friend. He was one of the first people looking out for her when the outbreak happened. He’s her link to the past with Lee. But he’s not Lee. He never was. He was often a problem for Lee. He was more often a problem and a source of tension for the groups he was in as a whole. Right now he had the upper hand in a fight, and was going to kill someone he had clearly bested. His temper was unpredictable, and made him do rash and harsh things. He killed Larry. He wanted to kill Ben. He would have killed Arvo, but that would have been no big deal. He wants to protect his family, but too many times he’s been out of control and acts before thinking. He’d already raged at Clem for things she had done in the hopes of helping. Jane was right. Kenny was a danger, and as much as she wanted to fix him, it may be that it was too late for that.

Tearfully, Clementine shoots Kenny in the chest, causing him to fall. Jane and Clementine will stand back up and approach the dying Kenny. Unusually calm and serene Kenny smiles at Clementine, whispering that she did the right thing. Kenny admits that he let everybody down, and that despite asking so many times for death, he’s scared of it now that it is happening to him. Clementine will then say a final goodbye to him as he dies peacefully in the snow.

Jane and Clementine will then hear the sound of a crying baby in the distance. Clem discovers AJ safe in a car. She asks Jane about why she lied about AJ. Jane will explain that she hid AJ in order to provoke Kenny and show Clementine what he was truly capable of.

Maybe Kenny was a danger. But Jane had lied to both of them and caused his death by doing so. Clem was already unsure about whether she could trust Jane, but an outright lie pushed her to a decision. All those times Jane had told her being alone was a good thing, and the times she had proved she would sacrifice others for her own safety, just went to show that she was not someone who Clem could have faith in. She chose to walk away. Jane pleads with Clementine to stay, apparently finally having learned the importance of companionship, but it does not succeed.

Nine days later, Clementine, is walking through a hilly area with AJ in her arms. She spots a walker herd in the distance. She finishes off a dying walker nearby and covers both herself and the baby in walker guts, allowing them safe travel through the herd.

She had chosen to be alone. Although all along she stressed the importance of keeping the group together, she also knew that the group could not work with untrustworthy members.

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