Telltale On Walking Dead Season 2 And Beyond

You probably haven’t heard, but Telltale’s The Walking Dead is kind of a big deal. It maybe won some awards or something and also made its players weep so much that their ducts now cough out specks of sand and the occasional cactus. There is, in other words, something to be said for using games to spin crushingly compelling yarns, and Telltale knows it has something very special on its hands. Season one, however, was just the beginning. The only envelope’s had its shoulder bumped. Now it’s time to give it a good, hard push. I sat down with Telltale CEO Dan Connors to discuss how he plans to go about doing that, what he’s taking away from reactions to the first season, and how his company plans to squash some of Walking Dead’s more glaring flaws – for instance, those awful game-wrecking save bugs.

RPS: I just got into The Walking Dead comics, which actually carry a markedly different vibe from your game, in my opinion. How involved has [comic author] Robert Kirkman been with the game?

Dan Connors: He knows what we’re doing. He’s always filling us in on the universe. He likes to go to lunch with us and talk about things. He comes up and does press for us. He’s been a great partner. It’s funny, because we brought it down as… We were still getting it all together and we were still trying to figure out if this was all going to work. We brought it down to him and had breakfast with him. The thing we had him play was the brother. He played through, he played the brother, and he turned around and looked at us with this very silent look on his face. He said, “This is me happy.” [laughter]

I think we’re just at the tip of the iceberg as far as what this is.

RPS: Was there anything that he declared sort of off-limits for you guys? Was there anything you couldn’t do?

Dan Connors: Yeah. We didn’t go after Rick’s story. He didn’t want us to mess with the show. We were very conscious of his fiction and timeline and where people are. He’s got characters he wants to write books about. He’s got novels going on. Basically, if he’s in there exploring something, he wants the right to dictate how that fiction goes. If it’s something that’s free and clear, like Lee and Clementine, who we’ve created, we can do whatever we want.

RPS: So, you’re now working on The Walking Dead season two. You were already straddling the line between an old-school adventure and a pure storytelling game, so how do you take that forward? Do you even scale the puzzles back further, so it’s more about how the main interaction you have is between characters? Or is it more about diversifying choices even further? What are your goals in terms of advancing this style of play?

Dan Connors: I think we’re just at the tip of the iceberg as far as what this is. A three-object traditional game puzzle – like, go find this, give it to this guy, trigger the dialogue to open the door – hurts the story. It hurts the story world, because why would I do that? In our puzzle design, our puzzle design has to create real challenges to the story, real believable actions. It’ll still be using your brain to figure it out and it’ll still be using your wits.

I don’t want to knock puzzle games, because I think there’s a lot of really clever puzzles and I think it’s something people enjoy and everything else, but again, from a storytelling perspective, it really hurts the pacing. From a depth of experience perspective, putting a character in a situation where they need to choose whether to chop off their arm or not, and they need to live with the consequences of that decision, and then really making them feel that. I can’t really define what that is, but it’s intense. That’s not a casual gaming experience. That is an intense gaming experience.

Creating that kind of depth, we’ve learned a little bit from The Walking Dead, but we can build on it and just keep trying new things, which we’ve always done. We can go after other genres or introduce new characters or try different ways of storytelling. Make the storytelling change. That’s really what we’re looking at.

RPS: I remember the first time I played The Walking Dead episode one, when I had to [SPOOIIIILER] kill the brother, finish him off. That bit where I had to keep hammering on him, that was really intense. I think conventional wisdom right now, not just in games but in a lot of media, says that you don’t do that because that frightens people off. You give them too much intensity, but they just want to go do something that relaxes them.

Dan Connors: Well, I don’t think The Walking Dead is a relaxing show, and it’s got 10 million viewers. I wouldn’t kick back and watch The Walking Dead on Sunday night to relax. Same with Game of Thrones, really. I think the compelling nature of it, the human drama, the amount of feeling in it, seems to be something that for some reason, for certain franchises [really attracts people].

Why is The Walking Dead the biggest show on cable? Or Breaking Bad? That stuff is so intense. There’s something going on right now where maybe people are so busy during the day that they don’t feel. They need to go into their entertainment to have stuff so extreme that they can feel again. I don’t know. I think we throw that up another notch, though, even compared to these shows. You’re responsible for your actions.

RPS: Do you think it’s some sort of weird dearth of human relationships thing? People don’t get to experience that in their lives due to business, media saturation, or what have you, so they turn to entertainment to feel things for other people – even though those people aren’t even real?

Dan Connors: Yeah. I definitely buy that. I said to someone today, “People are probably better friends with Carley than they are with some of their friends on Facebook.” [chuckles] If you could type a Facebook post to Carley that was like, “Please don’t die. Please come back to me,” you’d probably do it. That kind of electronic relationship, that feeling of connection.

There’s something going on where people are so busy during the day that they don’t feel.

RPS: Actually, speaking of an interface that – organic, free-flowing text – I could see story-based games moving forward in that way. Have you played Façade?

Dan Connors: Oh, man. We started Telltale on Façade. Façade was the thing we played all the time.

RPS: I would hope that the technology has gotten better, because Façade could get pretty silly really fast, but would you implement something like that, maybe? That adds this really personal element to it, even if it messes up.

Dan Connors: Yeah. But, at the end of the day, if there’s too much to support, it just can’t be done. Figuring out the rules to pull that in and get a really good text parser that’s capable of doing that is a big deal. Then losing the voicing on the main character, because you can’t record for every [possibility]. I’ve always wanted to build a main character that had one of those synthetic robot voices, so then you could have voice lines for whatever people said. If you had an android human character, then no matter what people typed in, you would say it, and then it would be about parsing the text and having the NPCs respond correctly.

It’s doable. But it’s a big task, without any good template to look at – except Façade, and Façade falls apart so fast – that you say, “I don’t wanna try this.” But the moment I’ll never forget, when people would come in and we’d say, “This is Grim Fandango. This is the type of games we want to build.” They’d look at it. Then we’d say, “This is where we would go with it.” Then we’d show them Façade. They’d sit down and just start playing and playing. These are people who had never played games before. They’d start playing, and then they’d walk over and kiss the girl, and the guy would get mad, so they’d kiss her again, and he’d throw them out [laughs]. Then they’d hug him. It was good, though. Façade was definitely something that we looked at constantly.

RPS: Going back to something you said earlier, you mentioned Game of Thrones. I was thinking about this not too long ago, like, “If Telltale did a Game of Thrones game, it’d basically be a perfect fit.” It seems like it would fit the character-driven format you follow. Is that something you guys would like to do, if the opportunity presented itself?

Dan Connors: Yeah. I think we’d like to do that. It has a lot of what we need in a franchise, for sure. The intrigue, the threat, that looming threat that can be called in on you at any time. Or someone you love, similarly. It’s a dangerous world, basically, and a haywire, chaotic world with a lot of group dynamics. That’s super interesting.

RPS: Back on The Walking Dead season two, is there any sort of time frame for it? Is it definitely this year?

Dan Connors: It’s definitely high on our priority list. We’re just trying to get the story nailed down and figure out exactly what it is we’re going to build and making sure that we’re treating it right, so we’re delivering the experience that people are expecting.

RPS: How much will save files transfer over? Is it going to be as direct as it was between episodes of the first season, or is it going to be just a few little background things?

Dan Connors: We’re still working on it. The save thing is a little sensitive to begin with. But we’re definitely trying to make sure that it’s going to be a good, solid thing for everybody. We’ve still got to figure out… We don’t want to go too deep and not have it be clean. It’s tricky, with the level of complexity.

RPS: I’ve gotta ask this one now that I’ve been personally afflicted by it. The Walking Dead has a few major save file transfer errors, and there’s been a lot of people accusing Telltale of not being super-communicative about it. Is there some sort of fix in the works for that?

Dan Connors: I think there’s a lot [of pieces]. The game is released episodically on multiple platforms at once. There’s a lot of variables in this case, just in the saved game stuff. There are different things that reflect differently on different platforms that have been fixed and addressed, fixed in different episodes. We’ve pretty aggressively patched every platform to try to get as many save file issues fixed as we can. I think what’s up there right now is completely patched, so that you shouldn’t get any save file issues with what’s live now. We’ve taken all the feedback that people have given us.

Honestly, we’re just working on solving the problems and getting the updates up as quickly as we can. But it’s not like we can give an easy, pat answer that says, “This is the issue. This is what you do to fix it.” Which is what everybody wants. Instead, we’re telling people what we’re doing, which is we’re trying to understand the problem. We’re trying to figure out where it’s coming from. We’re putting patches out to address it. We’ll let you know as soon as we have the patch. I think “We’ll let you know as soon as it’s patched” doesn’t help the person who just lost their saved game.

It’s not that we’re not answering. It’s that the answer is something people don’t like. We’re certainly talking internally, one, about just making it more robust. The save system in this had a lot of work to do that defined itself as we went through the season. We hadn’t really completed a season doing it before. We were always actively fixing it. It was basically whack-a-mole. Chasing it through the season. Another problem would pop up in another episode.

I think in season two, we’re going to be a lot more diligent about [the save system].

We’ve certainly learned from that and said, “Next time out, procedurally, these things are going to be very robust and it’s not going to allow for someone to require data from four in order for them to have the fix that fixes two.” That kind of stuff. It got very complicated in that sense. At the end of the day, it just created a feeling that we weren’t addressing it. We were, but like I said, we’re not giving you something that says, “Here you go. Here’s your save back. Here’s how you get your save back.” We just can’t do that. Once it’s deleted from the computer based on whatever happened, whether it was something that happened with cloud saves or any number of things… We can’t get it back for you.

RPS: So basically, it was a case of you not knowing what was going to happen until you did it. I think a lot of people look at it and they say, “Why were they lazy about programming this if their game is so rooted in save files and choices and things transferring over?” Was it more like, you did what you thought you needed to and it turns out that there needed to be more?

Dan Connors: Yeah. There were so many things going on with how downloadable content works and how you can update things and how you can patch that once the first one showed up. Bug-free would have been really hard, considering episode five didn’t exist when we put episode one out. Once one showed up, then it was, “Okay, let’s just go in and fix that.” But there was two to consider and three and four. Then the edge cases started to pop up. It got super complicated super fast, because of the way we were doing it.

I think in season two, we’re going to be a lot more diligent about making sure that part of the system can handle everything that’s going to happen. Now we know how people are going to do this and how they’re going to use this and how it’s going to appear to people. I think we’ll have some good systems in place to make sure that it’s great in the next season.

That said, Percentage-wise it wasn’t a huge majority or anything beyond a small percentage. But for how invested people were in the characters and the story, it hit them that much harder. They wanted to scream that much louder about the situation.

The one thing I do get upset about is, our customer support and our QA group are just all in all the time, trying to get as much information as they can. They don’t want to give anybody misinformation. They can’t give anybody the answer that’s going to make them happy. As individuals, they’re just trying to get people fixed. They bear the brunt of all this hostility, because it’s not the answer that people want to hear. The press goes in and starts making stories out of them trying to support people and help people, and then they can’t say any more because now the microphone’s on and we’re being watched by the press.

We’re trying to be open and honest about our support, to be as transparent as we can, but then someone comes in and turns it into a big sensational story based on something we said. Then it’s like, “Okay. How can we support in this environment?” The forum is one of our best tools. To have it be, “I need a story today about what’s going wrong with Telltale. I’m gonna hit their support forum and write a story.” [laughs] That was kind of a bummer. Not that RPS ever did that, because I know you didn’t. I appreciate that. But there were definitely times where it comes across as anger towards the individual who’s really just trying to work his butt off and get people fixed.

RPS: Lots of anonymous anger. Such is the way of the internet.

Dan Connors: Oh, yeah. So bad. Just how mean people can be when they’re anonymous, and how personally they take it.

Check back tomorrow for part two, in which we discuss Telltale’s other projects, the possibility of Connors and co crafting their own universe and branching into other genres, the future of episodic gaming, and why the gaming industry could stand to work more closely with other mediums.  


  1. zeekthegeek says:

    Sob stories from game devs who we’re paying money to? No thanks. I knew several people whose TWD saves were broken for months until they finally gave up on the game entirely. Telltale NEVER communicated on the matters – not a single TT employee responded on the multiple broken save posts on the forums even once.

    • Alexander says:

      And the way he’s avoiding a clear answer about this in the interview shows how much they care about it. Loved the game, but the tech support was pretty nonexistent.

    • Tssha says:

      What were they going to say? “Sorry, you’ve lost your save, we can’t get it back.”? “Sorry, you’re part of the 0.001% that had a problem we couldn’t predict and are struggling to even find, much less nail down and fix.”? There’s only so much they can say, and it’s all bad, because there’s no easy answers here. They’re only human. They can’t fix everything.

    • faelnor says:

      I wouldn’t be as vitriolic but I agree with what’s being said here. The save bug touched several people I know, including myself.

      If I can give two bits of advice to the developers, they are as follows:

      – don’t presume that if people don’t open a support ticket, the game is working fine for them. PC gamers are used to posting on game forums for their troubleshooting, scouring Google and giving up if they don’t find a solution. For too long did we have to face incompetent tech support, never to get a straight answer or being told that “we’re sorry we can not test the game with every configuration possible do you want a refund y/n”. Be present on your forums, all the time. I would argue that good answers to the community through forums are much more important than spending time and money on tech support.

      – don’t hesitate to admit that the problem may be hard to solve at the moment, but don’t stop there! The internet is made of terrible people, but also of skilled and fantastic members of the community. Give pointers towards a solution, share some internals (yes, even the file formats if you need to) so that someone can write an unofficial tool. In the case of TWD, only after discovering the “delete the prefs.prop file” workaround that someone found on the forums could I resume playing, months after. You could have helped before.

      And let me once again say: the save problems were (and still are, in my case, as I still have to remove prefs.prop every time I launch the game) widespread.

      • TheApologist says:

        I also think they might be underestimating the extent of the problem – I got to ep 3, it lost my save and now it cannot retain any save data between any chapters. I’ve played chapter 1 through three times, and gave up. I can imagine there might be a lot of people like me who don’t go through support, because even if it was fixed, I don’t want to play through the early chapters again to progress with my choices. The first play through was my authentic save. Now I’m out.

        And I agree with less vitriol. It is frustrating, and I wish I hadn’t spent the money now, but it must be gutting for the devs too, knowing this is an issue marring a great game they made. I’m really on the fence about a second season now – I’ll be waiting to see if they’ve really fixed this issue.

    • Sordarias says:

      Tell me, would you rather have a developer say nothing, or say ‘hey guys, we’ve been hard at work trying to find that save transfer problem, but..uhm. well, we don’t know where the problem is originating from, how to really fix it, or if it’s even a programming problem we CAN fix.’

      Personally speaking, while Telltale could’ve done much better on the save-file issue, and could’ve communicated better, expecting a not-happyhappy answer on the issue is about as fun as getting nothing said about the issue. Could’ve handled it much better, of course.

  2. slimcarlos says:

    before I looked at the receipt ov $8413, I didn’t believe …that…my sister woz like actualie taking home money parttime from there new laptop.. there friends cousin haz done this for only 8 months and as of now paid for the loans on there house and got a new Ford. this is where I went,

  3. MasterDex says:

    Programming is tough. I can only imagine the complexity of the code they’re working with compared to what I’m using as a student. Hopefully, the opportunity to start from a relatively fresh slate with the sequel will assail the problems.

    As far as the game itself goes, I finally got around to playing it while my net was down. I finished it through as well. Great story, the Telltale game mechanics still need a bit more refining, though they’re getting there. Also, no save problems, thankfully.

  4. Cloudiest Nights says:

    Facade! I’ve had quite a few laughs from that game and its hate for melons!

  5. The white guar says:

    “our puzzle design has to create real challenges to the story, real believable actions. It’ll still be using your brain to figure it out”

    So, a proper zombie puzzle design, then.

  6. rekviem says:

    Thanks a lot RPS, now I really want a Game of Thrones game made by Telltale.

    • Alexander says:

      Or CDPR.

    • bigjig says:

      Play the Game of Thrones mod for Crusader Kings 2. Much better drama than anything Telltale will be able to come up with.

    • Jackablade says:

      I dunno. The Walking Dead works well because it tells its own story that’s for the most part completely separate from whats gone on in either the comic or TV show. This can be done because it’s a very personal story that can easily be simplified down to “people trying to survive in a world filled with zombies”. Game of Thrones by comparison is incredibly complex with a large number of intricately connected characters, most of whom are working towards the very specific goal of seizing the throne.

      Setting a game in that universe without interfering with the existing story would be pretty tough and even then, if you’re not getting involved with the politics, intrigue and war for the throne, is it really Game of Thrones at all?.

      • Werthead says:

        Clearly there’s lot of scope for side-stories in the setting. There’s very minor characters whose stories could be fleshed out. I can imagine a whole Telltale game about Septon Meribald and his attempts to protect the smallfolk of the villages he tends as the war breaks out, and then the game following things from his POV when his path crosses with that of Sandor Clegane (and later Brienne).

        You can also step outside the timeframe of the books altogether. Martin has written a very good series of short stories about a wandering hedge knight and his squire (both of whom are much more than they seem) set about 85-90 years before the books and TV series. They are much smaller in scope than the novels, but work just as well.

    • Juan Carlo says:

      The Game of Thrones RPG was actually a really good GOT game. Or as an RPG is was merely adequate, but I thought it got the storytelling and decision making just right.

  7. colossalstrikepackage says:

    Okay, so people had a hard time with the saves. I seem to be one of the lucky ones (I came to the party late, once all the fixes were made) – my only frustration came with the spoiler you mentioned – I just couldn’t defend myself and died about 10 times (no exaggeration). It was frustrating, but it didn’t ruin what was overall my goatee. Any game that can get me that invested in characters (Clem) and pull my heart strings so well (‘I’m only little!’) and blubber like a moron, will be my top game. It’s a real shame that others had it spoilt by mechanical failures – but it’s really a shining example of what games could be and I’d urge them to give it another shot because this game has an intensity that only works because it puts characters you love in harm’s way – and not the explosion-fest that other games obsess about these days.

  8. SF Legend says:

    Oh look, it’s the shame hoodie.

  9. Eddy9000 says:

    I would just ditch the object puzzle adventure game mechanics entirely, for me the game worked best as high end interactive fiction, like [SPOILER] clicking frantically on a tree to hack it down as the zombies approached because you don’t want to hack a man’s leg off, or when the interaction during a dream makes you think for a second that zombified clem might be real.

  10. Leaufai says:

    If I could have Telltale put their magic on a franchise it would have to be Star Trek. Maybe not the new movie era, since that’s not fleshed out enough, but perhaps something set during the Dominion War. Star Trek has a great track record of exploring interesting concepts, character’s relationships, offers the ability to integrate puzzles with all the tech stuff and unlike many other franchises Telltale’s small levels fit the set-like atmosphere that Trek has always had. Keep the story limited in scope, so nothing that will change the outcome of the war, but it will affect the fate of your crew and ship.

    • Jahkaivah says:

      Personally I would love to see Telltale handle a Phoenix Wright game, not that Capcom are ever likely to let them, but it would be nice to see the series break ground outside the portable market.

  11. jfrisby says:

    Call Dan back up and get an update on whether they’re still doing King’s Quest!

  12. MichaelPalin says:

    How come nobody is developing text-to-speech for video games? It makes a ton of sense, finally we could have more interactive and more complex interactions with NPCs. It would sound silly initially, but so did 3D graphics at the beginning and they eventually evolved

    • The Dark One says:

      Is this a deliberate snub of the Douglas Adams game Starship Titanic, just because it featured the talents of Terry Jones and John Cleese, but not Michael Palin?!

  13. Acorino says:

    Telltale never bothered fixing a game stopping object vanishing bug in the The Tomb of Sammun-Mak episode of Sam & Max: Season 3, though it definitely was reported on their forums. I remember that only a workaround was posted detailing which actions you should avoid. That’s great, but in the end I had to restart the episode, because I relied on the autosave feature (never ever do that is what I learned!). It’s like being mid-way through a novel and having to reread it from the beginning before continuing further. That would put quite a damper on its enjoyment, wouldn’t it?
    So from my experience I can’t say that Telltale seems all that concerned with fixing problems their costumers have with their games.

  14. webwielder says:

    I just finished the first episode of Season 1 and here are my thoughts. Mild spoilers follow.

    -Some of the characterization is solid, but some is just ridiculous. The old heart attack man punching Lee as he tries to flee the building? The father at the barn lashing out at me and telling me to watch my attitude after I politely answered all his queries? Talk about forced drama.
    -The story is beyond generic. Do we really need another zombie production where a character disbelievingly describes how zombies consume the flesh of the living and when you get bit you come back as them? Have the people in zombie games and movies not ever played or seen zombie games and movies? I haven’t read the Walking Dead comic or seen the show, so what is its hook? Is it just scared people in zombieland? This game could have been called Zombies: The Reckoning for all the distinction it had.
    -The voice acting is OK, but didnt feel particularly genuinely Southern. And Lee is good for what he is, but he’s still the sexy smooth Hulu guy and that doesn’t quite work for the character.
    -The puzzles are the same inane adventure game puzzles that they’ve always been. I’m supposed to spot the fucking nondescript pillow in the parking lot and then after Lee says he’s not going to use it on a zombie, use it on a zombie anyway? There’s a brick 3 inches outside of the gate and rather than just use a cane to drag it in, I break the lock with an axe and open the gate, despite the gate being the thing keeping us alive the entire time? I could go on, but you get the point.
    -Bugs, my lord the bugs. Crashes and bizarre interface glitches occurring over and over, in a two hour game.
    -In short, don’t see what the fuss is about. I was hoping this would be the first Telltale game I actually enjoyed, but no, it’s their usual schtick, just a little prettier and with some decent dialog and characters here and there.

    • KenTWOu says:

      I just finished the first episode of Season 1… don’t see what the fuss is about.

      No shit, Sherlock!

    • Jahkaivah says:

      “Have the people in zombie games and movies not ever played or seen zombie games and movies?”

      Zombie games and movies often don’t exist, or at least aren’t as popular in the universes of zombie games and movies, I thought that was obvious.

      “I’m supposed to spot the fucking nondescript pillow in the parking lot ”

      Yeah that was got me to turn the UI markers on, it really is advisable to have them on as the game will no doubt get frustrating without them.

      “The father at the barn lashing out at me and telling me to watch my attitude after I politely answered all his queries?”

      Not sure what happened there, as far as I can tell he only tells you to watch your attitude if you were actually rude to him.

      And yes, the game gets much better after Episode 1.

    • Untruth says:

      I loved the game, and the comics (don’t like the TV show), and I can’t entirely agree with you but some good points are made.

      Anyway, one point of ‘what’s the hook’. You missed a key bit:

      The Walking Dead is called that because everyone in it is… the walking… dead. Everyone is infected, even if they haven’t been bitten. If anyone dies, they turn. If they get bitten, they just die quicker. They haven’t as yet revealed why that is in the comics. Not entirely sure it’s unique, but that is a key plot point.

      Also, it’s ‘special’ as a franchise because, as you might have noticed from being a bit bored in the game, it’s not about the zombies, it’s about the people, and how people are affected by the situation. How they are slaves to the zombie situation yadda yadda are THEY the real zombies?! etc etc.

      If you like that sort of thing, of course.

    • Werthead says:

      According to Robert Kirkman, the creator of the franchise, zombie films, games and books do not exist in the world of THE WALKING DEAD.

      As for his intent for the franchise to set it apart from the rest, my understanding is that he wanted to focus on the living characters and the impact the situation has on them. The zombies are irrelevant to that goal, which is why the zombies are very generic (nothing to set them apart from other zombie franchises apart from one bit of info that comes up in Episode 2 or 3) and why he hasn’t explored how the zombie outbreak started. The comic even has a moment when the main character (Rick) tells everyone else that they are the Walking Dead, not the zombies.

  15. derella says:

    I quite enjoyed TWD, and the lack of puzzles played a big role in that. Recently, I’ve been playing a lot of adventure games, and the puzzles really do destroy the pacing of the story. I’ve basically abandoned the Whispered World, because the flow of the story awkwardly jerks to a halt every step of the way.

    I was fortunate to not experience any of the save bugs… But a friend of mine who I gifted the game to on Steam had to replay previous episodes every time a new one was released. He stopped after 3, and decided to just wait until they were all out, and play through the whole game at once.

    • Risingson says:

      Sincerely, complaining about puzzle games in adventures is like complaining about curves in racing games.

      EDIT: having said that, I’m glad that Telltale had a success with The Walking Dead, and I hope that their next project will be that old fashioned concept that is called “game”.

      • Jahkaivah says:

        “I’m glad that Telltale had a success with The Walking Dead, and I hope that their next project will be that old fashioned concept that is called “game”.”

        Well they are working on a Season 2 of The Walking Dead as we speak.

      • bill says:

        The problem is in the name. If they were called Puzzle Games then it’d all be fine.
        But they are called Adventure Games, and it’s hard to have an adventure when you have to stop every 3 minutes to think for 3 hours and then use a sandwich on a vacuum cleaner.

        • Risingson says:

          Let’s hope that developers don’t listen to you. You are arbitrarely damaging the adventure design because fuck the adventure, that’s why. If you want that kind of design, there is a wonderful world called “visual novels”, which are very similar to what Telltale did in The Walking Dead. But people complaining about adventures being that way or another has being the worst thing that happened to the genre: that it wasn’t serious enough (and then no funny adventure was released in years), that it wasn’t 3D (and then things like GK3 happened – which is very fine in story, but not in engine), that you couldn’t interact with everything (and then EVERYTHING turned into a FPS with something) and so on. And what you said, again, is like saying that “racing is nothing about slowing down and turning”.

          Please, don’t blame the whole genre putting a ridiculous example of a puzzle without any context.

          By the power of the Babel Fish puzzle, I damn your opinion.

      • Premium User Badge

        gritz says:

        People who say that the Walking Dead (or Dear Esther, or Kentucky Route Zero, or whatever) isn’t a real game are just as bad as Roger Ebert saying no game can be real art.

  16. bill says:

    i really wish they weren’t being stubborn and would release this on Android. It sounds like it’d be more at home on a nexus 7 than on a PC anway….

  17. Citrus says:

    I LOVED the ending of episode 5. Made me shed tears when playing a game (in a good way) for the first time.

    That said, can RPS ask Telltale why they still haven’t fixed Walking Dead games on PC? Why they ignore the complaints filling up their forums (which serve as a place for other PC gamers to help each other instead)?

    Game decided to delete my play stats (which record your choices and progress), TWICE, forcing me to replay first three episodes TWICE to get the choices I made earlies. I went to their forum to see that this is a common problem and NO ONE from Telltale every posts or says anything to PC gamers about it.

    Nice customer service. Ignore PC gamers while making money of them. Can RPS ask them about all this? (the ignoring the customers part, I know you already asked about saves) And while you’re at it, punch the person you are interviewing for ignoring the “master-race” (more like dumbfuk-race considering the way we are treated).

    PS: Most of the choices lead to same conclusions. Characters are killed for no fucking reason almost all of the time. Not to mention that the developers already have made your choices. They just give you different dialogues and lead you to their decisions from the start. In other words, enjoy the “game” for being a 3D NOVEL, not a adventure “game”. Still better than the Esther crap we get.

  18. PedroBraz says:

    Taking the puzzles out, and there is basically no game left. Just a series of QT events. Might as well make an animated movie instead.

    Seems a bit silly for a company that makes its money on episodic content to bitch about not knowing how to do it. Learn how to do it, or get out.