The Walking Dead: The Final Season review - page 2

The Good:
  • Perfectly-voiced Clementine remains a wonderful character
  • Reversal of Lee/Clem relationship with AJ is powerful
  • Evident artistic and graphical improvements
  • Some incredible thrills from both action and dialogue
  • A wonderful ending to the series
The Bad:
  • At times feels restrictive in scope, not helped by repetitive locations
  • Changes to combat add no benefit and are sometimes a hindrance
The Good:
  • Perfectly-voiced Clementine remains a wonderful character
  • Reversal of Lee/Clem relationship with AJ is powerful
  • Evident artistic and graphical improvements
  • Some incredible thrills from both action and dialogue
  • A wonderful ending to the series
The Bad:
  • At times feels restrictive in scope, not helped by repetitive locations
  • Changes to combat add no benefit and are sometimes a hindrance
Our Verdict:

If you’ve followed The Walking Dead all the way through, this tight and powerfully executed finale will be sure to satisfy. Get those tissues ready.

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As is standard with a Telltale production, though always worth highlighting, the voice acting is high calibre across the board, and Skybound thankfully was able to retain the same cast when taking over. Special acknowledgement must go to Melissa Hutchinson as Clementine, who once again infuses the role with raw and powerful emotion at yet another age of development, one of the key reasons the character continues to be so endearing. I went back and listened to her in previous seasons and the transformation over the years is stark, displaying a remarkable range of acting talent – I’d forgotten how young and innocent Clem used to sound. Everyone else is great here too, lending authenticity and natural flow to the dialogue. Taylor Parks sounds slightly too old but does a wonderful job of conveying AJ’s curiosity. Some of the later episodes, where his fear and anger are heightened, are incredibly convincing.

If you’ve played a Walking Dead game before (and if you haven’t, this isn’t the place to start), you’ll already be familiar with how to progress the story. What’s changed is that the occasional ‘exploration’ elements are now presented in an over-the-shoulder camera perspective that you can control separately from character movement. This has the benefit of drawing you closer to Clem, both literally and figuratively, and is a great addition. Nevertheless, the actual adventuring is as limited as ever. You’re always confined to a specific environment or room, and if you try to veer elsewhere you’ll encounter a conveniently placed blockade or just a dismissal of your action from Clem. Frankly, at this point it’s expected so not a big deal, plus it keeps the story moving. There’s stuff peppered around that you can inspect or pick up, some of which, in a cool touch, can be placed in your room at the school later. But there’s once again nothing that would constitute a 'puzzle' with the inventory you collect.

How you dispatch the ravenous zombies has also been tweaked, though the infamous Quick Time Events – mashing the right button on either keyboard or gamepad as dictated by an on-screen prompt – still exist. Some battles give you direct control of Clem, though they’re on-rails with no finesse or complexity involved. Sure, you can choose which enemy to approach first, but you’re moving inside a small zone and they all need to be killed anyway. A press of a button will let you temporarily disable a walker or go in for the full kill. Despite the varied animations, these two actions soon grow repetitive. I was also disappointed with some of the scenes where you freely aim with a weapon, in which the controls aren’t tight enough to be satisfying. I ended up dying a couple of times during these encounters and never felt they were deserved because the enemies behaved inconsistently. I actually prefer the older QTEs because at least they make for a more cinematic experience – that’s what this franchise excels at, not half-hearted combat mechanics.

Speaking of zombies, there are a couple instances throughout where they seem to exist only to advance the plot. Clem and the gang can find themselves reasonably safe one moment and then suddenly surrounded by hordes of the undead the next, without any proper sign of where they came from. It makes for solid thrills, but it’s illogical. There are also a few times where previously established rules, like how to blend in with the undead or how they infect people, are dropped for dramatic license. These quibbles are minor when you consider how well-written and plotted everything else is, but they did take me out of the moment on occasion.

The bulk of the gameplay is of course handled through conversation. At points you get three dialogue options – and silence – which let you choose how Clem responds and interacts with those around her. You’ve only got a limited time to select, which puts the pressure on. There are no changes to how this works from previous seasons, but if it ain’t broke, don’t fix it. There are contextual choices that affect short-term circumstances too, like whether you let AJ sleep under the bed as he wishes, or who you turn to for support during an argument. Some of these don’t have any major consequences when comparing one choice over another, but often work well as morality questions.

There are decisions, however, that do have a bigger impact. It’s no spoiler to say that not everyone will make it to the end. You have influence over how that plays out, though whether it’ll go exactly as you want is an entirely different matter. This means that segments of the game can play out slightly differently depending on who remains in your party. Completionists will want to play multiple times to check out the various permutations, but while some interactions or conversations may change, the overarching story itself always remains the same.

Much of the season is spent within the school grounds and its surrounding area, which can feel restrictive and sometimes presents pacing problems, but does succeed in establishing it as your home. Despite falling into disarray, with broken windows and collapsing roof, the building is surrounded by a solid brick wall and make-shift barriers that form a fortified perimeter. Annoyingly – but perhaps understandably given the upheaval mid-season – there’s a general reliance on recycled locations; when venturing out you’ll spend an awful lot of time wandering through similar-looking woods. There are not many standout locations aesthetically, but it’s the moments within them that make them memorable anyway.

The more you explore, the more you’ll notice how superior the graphics are compared to previous outings. Characters retain their distinctive outlines and sketch-like marks, but are more expressive than ever before, or at least better at showing nuance. Their eyes now effectively represent windows to the soul, especially in close-ups. Backgrounds really extend the graphic novel feel, submerging things in deep, inky blacks that push the gritty atmosphere. The use of lighting is better too, like shadows cast on people’s faces or fires illuminating an area. Elements like hair, clothes and plants have more movement to them too, though sometimes this is overdone and looks out of place.

One thing I want to single out as wholly impressive is a sequence near the beginning when Clem and AJ are escaping a horde of walkers, which offers some of the most thrilling action the series has ever produced. It’s presented without any camera cuts, smoothly switching between cutscene and player interaction (a combination of third-person and brief first-person) and masterfully directed. You feel right there in the moment; the unrelenting panic of the pair is palpable, visible on their faces as they do everything they can to survive. These games often highlight the horrors of humankind, which is wise, but sometimes at the expense of turning the zombies into more pedestrian obstacles – that’s not the case here, where it’s properly tense and the protagonists are confronted with an all-out threat.

There is similar excitement to be found in the other episodes, too. Another favourite of mine comes in the third instalment, where some of the kids are infiltrating a docked ship at a pier on the forest outskirts while under attack. Not only are they up against the zombies, but also humans raining bullets down upon them. Visually it’s excellent, with a beaming spotlight adding to the dramatic tension and disorientation, and the scene keeps its foot on the pedal as Clem wades through undead-infested water in a bid to remain hidden. Sadly, it was hugely frustrating for me that this entire sequence chugged from technical problems – a Telltale staple that I’d hoped had been eradicated, or at the very least not carried over by Skybound. This was the only time it happened, unsolved by a restart of the game, but it sucked nonetheless.

Total playtime is around eight hours for the four episodes, which is a satisfying length. Now that the game is complete, you’ll likely wolf them all down one after another, since the first three end on shocking cliffhangers. Despite the unsteady development cycle and restrictive scope sometimes working against it, The Walking Dead: The Final Season mixes strong interpersonal dialogues with superb action set pieces, and it ultimately represents an entirely suitable closure to Clementine’s story. The idea to rest the narrative on the unique dynamic between her and AJ was a smart one. Seeing how their relationship grows and changes throughout the course of events is always engaging, allowing for no shortage of tender and gut-wrenching moments alike. In my eyes, the ending is pitch perfect, so it feels right that this is the finish. Goodbye Clementine, The Walking Dead and Telltale Games. Thanks for the ride.


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