"Watchmen did seem to open the doors for a lot of people who would... They've grasped the surface of Watchmen, they've grasped that it had got grittier violence, a more adult approach to sexuality; they probably couldn't grasp exactly how to do some of the clever semiotic stuff that we were doing, but they've got the sex and violence, the pretension, the references to popular song lyrics, things like that, which all made it very 80s and very modern. And I've seen a lot of retreads of that kind of comic sensibility since, that to me have seemed depressing, pretentious, and yet I have to own up to a certain paternity there. You know, the child is ugly, but it's probably mine, you know, and that has tended to blunt it a bit. I wouldn't like to say that Watchmen had a good effect upon comics. I think it was a good comic book, but I wouldn't like to say that it had had necessarily a good effect upon comics. It might just have doomed us to 10 years of heavy-handed pretension."

"I have no interest in superheroes, they were a thing that was invented in the late 1930s for children, and they are perfectly good as children’s entertainment. But if you try to make them for the adult world then I think it becomes kind of grotesque."

These are quotes from Alan Moore obviously. He's talking about superheroes there, but I think the same thing goes double for fairy tale characters.

I have not read the original Fables comic that the game is based on, but trying to digest the story of this game was rather challenging as I was struggling to take anything any of the characters say seriously. The problem is: this is a serious story. These characters are metaphorical archetypes specifically designed to express certain themes and ideas in a simple and hyperbolic way so as to be easily comprehensible to children. Them behaving like modern-day people facing issues that arise out of our late-capitalist lifestyle is just ridiculous and pointless. Why use those characters in the first place?

I think there is a way of iterating on existing works of literature, which requires a certain degree of respect towards the context of their origin and considerations for how that relates to our modern-day context. This story doesn't really do that. If anything, it seems to be doing almost the opposite: the dissonance seems to be the gimmick, as in: "hey look, the wolf from the Red Riding Hood as a gruff nihilistic noir character is fighting the drunk Woodsman from the same story to protect a hooker, isn't that cool?" No, it's not. It's fucking stupid.

Also, the template of the Walking Dead game completely doesn't match this story. It worked there because that game was thematically about making choices under pressure. The gameplay reinforced the theme. Here the QTEs and the timed conversations make no sense. It would've been better off as a Sam & Max style point-&-click adventure, even in terms of the tone. It's a silly premise, it can only work in a light-hearted tongue-n-cheek story.