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The Crooked Man is, in the end, nothing more than a two-bit thug; he crumpled easily, once found out. All this time he appeared as an all-powerful figure but it ended up that all he really had was secrecy, and he got sloppy. There's no value in keeping him alive, in Fabletown's mind. These are very old-school morality type of folks, frankly I'm surprised that imprisoning him was even an option anyone considered.

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*and speaking of Frau Totenkinder, I'm sad she didn't show up at all. Or Cinderella. Or Boy Blue (hey, just now realized, that seems pretty weird for him not to show up at all).

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But Bigby didn't know that at the time!!!

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I just thought of something; it'd be awesome if the next game had you play as Cindy. Although that seems slim, since she hasn't even been mentioned at all, as far as I can remember.

I killed Georgie - But geez neither of those options really felt right.  Either murder the only guy who has more info on the Crooked Man or slowly let him bleed to death.  That part was a really good illustration of Georgie's line right before it all went bad:  "Sometimes all your options are shit." 

I gave the Crooked Man a Trial - Because I needed to be better than that.  If I just up and killed him because he wasn't playing by Business Office's rules, then what's the difference between him and me?

I threw the Crooked Man down the Witching Well. - For starters I wasn't going to rip his fucking head off because Jesus Crispy Christ literally everyone is right there.  I was really hung up on whether to throw him down the well or just lock him up, but then I took too long to decide and he tried to choke me out with his handcuffs to make an escape.  I ended up fighting him right over to the edge of the witching well, and it gave me the choice again.  This time it was really easy to decide.

I accepted TJ's gift to Snow - Because seriously.

My last words to Nerissa were "I've made some mistakes"  - Because I did.  A lot of things went wrong.  A lot of Fables died who didn't need to die.  I can't really deny that.

And of course I went after Nerissa.  You don't set up teaser as big as that and expect me not to try to follow up on it.

So maybe you might be saying "But Jango, the morality choices are the puzzle!" Wrong. While I haven't replayed everything with different choices each time, I find that most of my choices didn't really change much in the long run. Hell, I interrogated both the Woodsman and Tweedle Dee, and outside of some minor dialogue, the results were the same regardless of who I brought in. And while that's understandable when you're working on a small scale and you don't want to make a huge fucking game, it also means that in the end, it removes me as a player and leaves me as a spectator.

I’ve learned Matt’s strengths and how to bolster his many, many weaknesses. And we’ve learned to sneak in references to the “U Talkin’ U2 to Me?” podcast when no one is looking, so that keeps us happy.

A question I imagine people will be asking themselves is, “If I’ve played the game, will this comic book show me anything new?” and the answer to that is an unqualified “Yes.” We’ve added a great deal of depth and characterization and back story, which we’re able to do in comics because it’s such a nimble medium. In a comic you can go anywhere and do anything and you don’t have to worry about your narrative bogging down gameplay. Of course, in the comic, the audience doesn’t get to tear anyone’s arm off, like they do in the game. You have to imagine what it’s like to tear off the arm, which is far less visceral. It’s a trade-off.
[...]
[Fables writer and creator Bill Willingham] has been nothing but supportive throughout the endeavor. We talked some about the choices that he made while he was playing the game — it seems like if any choices would be “canonical” it would be those made by the guy who created the thing it’s based on. But then you kind of also got the sense that Bill was mainly taking the most violent possible path at every decision point out of some atavistic urge to kill and destroy, and so verisimilitude was secondary to that. Which is understandable; it’s hard not to want to attack everyone when you’re being Bigby Wolf. It’s almost like Bigby’s struggle to keep his animal nature locked inside is a metaphor for some aspect of the human condition. Dave and I probably should have thought about that. Hm.
[...]
And yes, the comic is canon. The game is technically canon, but it’s canon in this strange quantum-mechanical, indeterminate way where several different outcomes are canonically all true at once until you as the player have observed them and forced the story to choose an outcome. Our comic is purely Newtonian: It collapses the narrative waveform and gives you the macro-level canonical events without all the weird simultaneously-dead-and-alive cats.
[...]
I know that some people’s initial reaction might be, “Yeah, right. A comic based on a video game based on a comic?” And I can understand why those people would be initially skeptical. But keep in mind that “The Wolf Among Us” isn’t just any video game. It’s an extremely well-written game that’s heavily focused on narrative, that has gotten rave reviews from just about everyone. So it’s not like we’re writing an adaptation of “Flappy Bird.” The source material here is very strong. And Vertigo is putting serious artistic talent on this thing. When it comes to “Fables,” they don’t mess around.