Tillie Walden Concludes Her Walking Dead Journey With Clementine Book Three

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As a movie critic, I must confess that when Skybound Entertainment unveiled in 2021 their plan for Tillie Walden to pen a YA graphic novel trilogy within the universe of “The Walking Dead,” I found myself taken aback. Fans of both “The Walking Dead” and those who had immersed themselves in Walden’s graphic novels like “Spinning,” “On a Sunbeam,” and “Are You Listening?” were taken by surprise, as the brutal world depicted in “The Walking Dead” comics didn’t seem to be an obvious fit for a YA subseries, let alone one that reintroduced the beloved protagonist from the “The Walking Dead” video game series. Furthermore, given Walden’s reputation for creating deeply personal and emotionally resonant works, it was hard to imagine her delving into someone else’s intellectual property.

Now, the Clementine trilogy has been fully published. The third book, titled “Clementine,” was made available in comic stores last June and hit bookshelves everywhere this week. Having endured a treacherous mountain peak and seemingly idyllic island, the group in “Clementine Book Three” faces new challenges as they seek to belong in one of the communities that have emerged after the zombie apocalypse. Simultaneously, Clementine grapples with the lingering effects of her past trauma and newer emotional scars.

In our chat with Walden after the launch of the final Clementine book, she shares insights about the recurring themes she incorporated throughout the trilogy, skills she picked up during the process, and her feelings regarding the absence of cholera in the storyline. However, be mindful that our discussion might reveal a significant event from Book Three of the Clementine series. Here’s how our conversation unfolded:

“Walden reflects on the themes she wove throughout the Clementine trilogy, shares new skills she learned, and expresses her disappointment about omitting cholera in the storyline during our discussion after the release of the final book.

In your initial work on Clementine, when you delved into Book One, had you already mapped out the entire three-book narrative in great detail? Did the entire storyline exist then?

Initially, it seemed like almost everything was missing. However, I had an idea for Book One and solely focused on that from the beginning. I thought, “Let’s set it in Vermont, introduce some sinister twins, and create a romantic dynamic between two characters.” As I was finalizing the illustrations, my editor asked, “By the way, what’s your plan for Book Two? What about Book Three?” I responded, “I haven’t planned that far ahead. I’m focusing on Book One right now. You need to be patient.” It wasn’t until Book One was completed that I began contemplating Book Two, and even then, I only started thinking about Book Three while working on Book Two since a middle book in a series often lays the groundwork for future books.

Instead of giving as much thought to Book Three as I ought to have, if only I had a time machine, I would advise Tilly from Book One of Clementine to take some time, an hour perhaps, and jot down some ideas or create a structure for herself. This would have provided me with a clearer outline for the series, which would have reduced the need for extensive revisions in Books Two and Three, as each book had to connect fully to the first while also building upon it.

While engaged in writing Book One, my sole thought that surfaced was a vague plan – I recognized that at some stage within the series, Clementine would return to school. This concept didn’t materialize in Book Two, but as I pondered, I found myself thinking, “I want it to occur in Book Three.” This was the only definite point I had established for the plot. The rest of the storylines emerged organically as I progressed with my work on it.

Why was sending Clementine back to school so important? Why was that such an anchor point for you?

While immersed in crafting Book One, particularly during the dialogue scenes involving characters such as Clementine, Ricca, Amos, Olivia, and Georgia, I began to realize that if reading stopped at second grade level, these characters would struggle. Although they can read at a second-grade level, comprehending larger words remains challenging for them at this stage, as they are still early readers. As my thoughts delved deeper, I found myself pondering, “Oh dear, can these children even write their names? When was the last time she held a pencil?

The concept of these children outperforming me in many aspects, such as survival skills, resonated deeply with me. It was both intriguing and humbling to consider they were unversed in subjects like mathematics, history, language, literature, and media. This idea lingered in my thoughts, prompting me to reflect, “I need to address this.” I believe that a significant part of personal growth is learning from others, and schooling provides us with this opportunity. Thus, I felt compelled to reintroduce these subjects to the character, as the series emphasizes Clementine’s development into a complete individual, not just a survivor.

I deeply yearned for her to return to sitting at a desk, as it seemed oddly incongruous, given that I’ve spent the last decade engaged in nothing but violence, flight, and hunger. It was quite unexpected, so I found myself in this situation where I would be seated at a desk, receiving a worksheet from someone. In the end, my wish came true – it happened in Book Three.

It’s intriguing to notice how kids, teenagers, and even young adults excel at understanding things based on their personal experiences. However, when it comes to anything beyond those experiences, they’re often clueless about the world around them. This is essentially what growing up, or adulthood, entails – learning to navigate unfamiliar situations. Yet, these young individuals are blissfully unaware of the challenges that lie ahead for them.

In a similar vein, I found myself noticing throughout the series some words that the children seemed unfamiliar with. These are not common terms typically taught in school; instead, they’re words that children pick up almost instinctively through exposure to others.

Absolutely, I’ve invested a considerable amount of time in Clementine’s company as she socializes with kids her age rather than adults. This is because Clementine isn’t typically found among adults. The post-apocalyptic zombie world might present an intriguing generational gap, given that those who enjoyed comfortable childhoods filled with modern amenities would likely struggle to connect with the younger generation who have grown up in this harsh environment. They might say, “You haven’t experienced this world like we have.” Consequently, I’ve kept Clementine surrounded by many young individuals, which means she spends most of her time with peers who are not as educated, thus preventing her from naturally absorbing certain lessons.

In my original query, it struck me odd when you mentioned having not plotted much ahead for the series, considering that upon re-reading Books 1 and 2 before Book 3, I observed a clear progression in Clementine’s character development – from self-reconstruction, to cultivating interpersonal relationships, and finally integrating into a community. Additionally, the antagonists seemed to share striking similarities with Clementine or potential paths she could have taken. Were these decisions intentional or did they evolve organically during your writing process, or am I perceiving patterns that may not actually exist?

While writing Book Two, I found myself naturally following patterns established in Book One. Though the story wasn’t predetermined, Georgia’s character, who emerged as the antagonist in Book One, became the foundation for a new character: Miss Morro. I wondered, what if this villain had grown up? What if she was a woman struggling to find her place and navigate her community? That’s essentially who Miss Morro turned out to be. In Book Three, the question became, “What would happen if Miss Morrow found a community and people who loved her, but that love was tainted?” This is the journey we embark on in the subsequent book.

In essence, these books consistently revolve around recurring themes such as womanhood, growing up, and various ways individuals cope with adversity. I purposefully revisited these themes frequently, for instance, exploring memories of the past through school, Ricca’s exploration of Judaism, Olivia’s journey to motherhood, Clementine’s quest for a relationship, among others. This consistency allowed me to write this series book by book, as I was always building upon these common themes and questions. Each book offered an opportunity to approach the themes from a fresh perspective, striving for a slight variation in each instance. The diverse settings also played a significant role in facilitating this exploration, as they provided unique viewpoints to examine Clementine and her friends from different angles.

Realizing that everything wasn’t mapped out from the start implies that you hadn’t figured out – and let me stress this to avoid spoilers, so be cautious – the events surrounding Ricca in Book Three until you were in the process of writing it.

That I did come up with a little bit in Book Two — I had an inkling that that was gonna happen.

As a dedicated cinephile, I’ve always been intrigued about the creative process behind storytelling. So, how did it strike you? What sparked the idea that this was an essential part of Clementine’s tale, one that had to be concluded? What was the moment when everything fell into place for you?

It seems that event occurred when I was preparing for the birth of my son. In preparation for childbirth, one often needs to arrange certain matters, not necessarily but somewhat required, especially if there’s a concern about mortality during childbirth. Such thoughts might arise due to the close connection between new life and impending death.

Reflecting on this situation, it struck me that what Clementine may find most unsettling is the sudden, natural death that occurs unexpectedly. I believe that children growing up in an apocalyptic world would have a profound and visceral understanding of the way people can be taken away from us. It would be a violent, abrupt removal from our lives. We would witness it frequently, and it would often be bloody, yet clear.

In a secure, modern society, one of the most agonizing aspects of death is its mystery and fearfulness. Death can seem so unexplained and terrifying because we don’t always understand it. I have personally experienced this through a young relative in my wife’s family who suffered from two pulmonary embolisms all of a sudden. It was shocking. Thankfully, she recovered, but the experience left me thinking, “Oh my god.” Working as an EMT provided me with a close-up perspective on life’s fragility and vulnerability.

In simpler terms, I’m contemplating how much harder it might be for these kids in the apocalypse to cope with loss if they don’t have tangible signs of violence, like wounds or someone to accuse. It seems beneficial, from a psychological standpoint, that these kids channel their anger towards the zombies, as they are perceived as the ones who took their loved ones, giving them an outlet for their anger.

As a film enthusiast, I find the universe enigmatic, and it’s not always easy to point fingers. When this particular idea struck me, it felt like an inevitable revelation, as if destined to unfold. If you asked my editor, he might admit that this concept had been subtly simmering in the background since Book One. It was a potential development all along. It’s much like contemplating death and considering the challenges for a child of the apocalypse who may not understand pulmonary embolism. In the end, it simply happens. There’s no escaping it.

In comparison to the primary “The Walking Dead” series, this spin-off presents a striking difference as it purposefully incorporates death. To have death occur spontaneously, which is something that actually happens, feels remarkably insightful within this specific narrative context.

It’s incredibly unfair! It seems as though this story doesn’t align with reality. It’s almost as if it’s a tale written for someone else. This isn’t how things should unfold, and that’s why it feels like an immense challenge – not just for Clementine, but for me as her creator. I’m dreading the outcome, yet the only thing that provides solace is the thought that every other person on Earth shares this impending fate. The comfort lies in knowing we’re all facing it together, which gives me a sense of continuity amidst my fear.

A unique perspective on The Walking Dead contrasts with Clementine in that she personalizes some of the series’ grand concepts and motifs. To me, the early stages of The Walking Dead depict widespread chaos, followed by reconstruction on a societal scale. However, Clementine’s story seems to revolve around her own internal rebuilding following traumatic events in the video games. Essentially, your tales explore how one might mend a person who has endured such hardships.

Absolutely, it’s intriguing to note that prior to working on these books, I found myself unconsciously crafting tales revolving around reconstruction. In On a Sunbeam, the characters are restoring various space structures, which has been a captivating concept for me – the art of building architecture and the spaces we construct for ourselves, our communities. These ideas have piqued my interest for some time, and when The Walking Dead series approached me, it felt like a serendipitous encounter. It was as if they said, “What will this series be about? About a young character rebuilding herself and her world with her companions in their vision.” I thought, “This is spot on!” This theme has always been engaging for me, and it remains so. I can never tire of stories that show people constructing something or themselves; it’s everlastingly fascinating.

In my opinion, it was delightful to compare and contrast Clementine’s personal growth with the world’s transformation during the zombie apocalypse, given all the wreckage and decay. It was intriguing to ponder how societies might rebuild themselves and operate. This series clearly reflects my fascination with everyday tasks and human behaviors, and I could have delved much deeper into these aspects if I had chosen to do so.

In my novel titled “Book Two“, the main focus was to narrate a story revolving around cholera, which had become a significant concern due to the unsanitary conditions in the universe of “The Walking Dead“. Since everyone defecates outside and every zombie killed remains untouched, it leads to contaminated water everywhere in North America. The question arises: where do people access clean water? Given the risk of cholera outbreak, I aimed to center my book around this issue. However, my editor suggested we couldn’t make a book solely about cholera; instead, they wanted me to focus on something else. Reluctantly, I decided to create another story, but it still contains an essential element: the development of a plumbing and water purification system, although its impact on the plot might not be substantial.

Have you ever found yourself stepping into someone else’s imaginative playground for the first time? Did any hesitation cross your mind before embarking on such an adventure, and has this journey sparked a stronger desire or perhaps a cooler interest within you to engage in similar projects in the future?

Without hesitation, I approached this new project with eagerness rather than reservation, as I had just completed several original graphic novels including “Are You Listening?”. To be frank, I felt a bit ready for a change from my usual creative pursuits, desiring a break from my own voice and the style I’d been developing through works like “Spinning”, “Sunbeam”, and “Are You Listening?”. The timing seemed ideal because I was yearning for limitations, eager to step out of my comfort zone. This opportunity to work on intellectual property, delve into a universe untouched by my own hand, and contribute to a world with a rich history and devoted fanbase, where no woman has drawn or written before, sounded like an intriguing challenge I was thrilled to take on. In short, I was eager and excited about the prospect.

Generally speaking, the response was similar to, “Is Tillie Walden writing a ‘Walking Dead’ book?” My reaction was, “What a great fit! That’s brilliant. I wouldn’t have thought of that.” Additionally, I felt quite proud because I couldn’t believe I was at a stage in my career where they would ask me to do this. It was touching. It made me feel like, “Wow, I’ve made it in this field.” This is really exciting. This is a massive opportunity. In summary, I was thrilled beyond words.

After facing some intense criticism from fans, I find myself wary about diving back into someone else’s creative space for a while. To put it simply, I feel I received an unfair treatment, as the fans I encountered were actually video game enthusiasts, not those of “The Walking Dead.” With GamerGate as a reminder, we know that gaming fandom can be incredibly valuable and inspiring, but it can also be extremely toxic. Consequently, I’m inclined to avoid any future projects related to video games.

I have no remorse over my involvement in these books, as I adore them and take immense pride in them. My publishers, Skybound and Robert Kirkman, have been nothing but supportive, standing by me, and watching out for me. However, I am tired of receiving death threats. It’s senseless to threaten someone over a fictional character who doesn’t exist. It’s a waste of energy and emotion that I don’t need in my life. I try to avoid it when possible. If I work on another project or IP in the future, I would need to be prepared and understand the fan culture before diving in.

Working on these books has been an illuminating journey that significantly shaped me both as a writer and an artist. It’s been a truly remarkable phase for me and my artistry, one that I find quite fascinating. Now, as I venture back into original graphic novels and new projects, I believe the impact of my work on Clementine will be evident throughout.

Could you elaborate on that a bit further? I recall an interview from the release of the first book where you mentioned learning to draw zombies as it wasn’t something you were familiar with initially. Are there particular skills or aspects of your artistry that you’ve honed through this series, which you anticipate will impact your future work?

Absolutely! Over time, I’ve become more confident and skilled at creating dynamic drawings, particularly in the realm of action. It’s no secret that a significant aspect of the stunning visuals found in the The Walking Dead comic book series is exquisite inking, heavy use of spot blacks, and intricate shadow work. Through this experience, I’ve acquired an immense amount of knowledge about inking techniques. My style has greatly developed as well, and you can witness its progression from Clementine Book One, through to Two, and up to Three.

As a passionate cinephile might express: The novel I’m currently engrossed in is like a stark contrast to my usual action-packed flicks. Instead of high-octane sequences, it delves deep into history, painting tranquil landscapes populated by these remarkable women. Though they are calm, their stories resonate profoundly, teaching me innovative ways to create dynamic character interactions, which is a stark contrast to my previous works. I feel like I’ve acquired an arsenal of new storytelling techniques. If I had spent this time immersed in traditional tales as I did before, I would undoubtedly still be skilled at depicting trees, boats, and Victorian-era architecture, but I wouldn’t have learned these new skills – the art of movement, action, and more classic comic book styles. My affection for vintage inking remains unwavering, and I relish the legacy of comic books’ origins. Admittedly, it doesn’t flow as smoothly now, but I hold a soft spot for characters like Dick Tracy, with his timeless, old-world cartooning charm. Dipping my toes into that classic style in this project was quite enjoyable.

This interview has been edited for length and clarity. Clementine Book Three is on sale now.

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2025-07-11 23:12