Telltale Games returns with a game of choices and consequences, but this time out those hard decisions are embedded in the completely fantastic world of Fables, not the relative social realism of a zombie apocalypse. The question is does this formula work with new material?

The Wolf Among Us is a bit more action oriented than Telltale's version of The Walking Dead. It is at once made familiar through its use of fairy tale and folklore and less familiar due to its heavy reliance on a media property with a complex background and back story that is less familiar to the casual player new to the game's source material.

This week we dive in with both feet to see what we make of the first major episodic game since Telltale delivered what may have been the best game of last year.

They may never be financial successes, but Suda51 titles rarely fail to leave an impression. Killer Is Dead is a little punk, a little noir, a little James Bond, and a whole lot of crazy.

This week we consider the relative value and possible meanings of Suda51's most recent digital provocation.

Nick Dinicola and Eric Swain return this week to October 1995 to revisit a horror classic, The Dreamers Guild's expansion of Harlan Ellison's short story "I Have No Mouth and I Must Scream."

The game, co-written by Ellison himself, develops the back stories of five victims tortured for over a century by the malevolent super computer AM. Its horrors develop in the game, not so much via gore or titillating jump scares, but around what it suggests might really lurk in the human heart, a malevolence and cruelty that matches that of the horrific super computer that humanity is responsible for designing.

Having found the on ramp to the Zero, Kentucky Route Zero: Episode Two proceeds to immediately disorient the player and distort the world that we are attempting to explore even further.

This week we discuss further the game that seems insistent on getting us lost and of reminding us of what has been lost in a world comprised of display, empty representation, and endless highways to nowhere.

The Moving Pixels blog has committed its share of virtual ink to the discussion of this summer's "It game," Gone Home. So, we figured it was time to discuss as a group our impressions of this study in environmental storytelling and exploration.

A strange little indie release early this year took us all by surprise. Mesmerizing in its absurd presentation and deeply indebted to text adventures of days past, Kentucky Route Zero presents a world in decay, begging to be excavated.

Of course, the first episode of the game's mines, maps, and madness all beg to be explored in some depth, which is exactly what we intend to attempt in this week's podcast.

Rogue Legacy initially feels merely like a blast from the past with its 16-but sensibilities and imagery.

This week, though, we talk about the game and the possible implications of its economic systems and financially motivated play.

Another day, another zombie apocalypse, and 400 Days gives Telltale Games another chance to test our humanity within the context of said apocalypse.

Join our podcasters as we consider the right and the wrong of interacting with hungry zombies and maybe even hungrier humans-and, of course, when it might be most appropriate to shoot another guy's leg off.

This week the Moving Pixels podcast revisits the muddled, half crazed genius of Suda 51's Killer 7. Well, at least some of us revisit it. For Eric Swain and Nick Dinicola this is their first go round with what might be the quintessential Suda 51 title.

We'll consider the madness, the vulgarity, the downright frustrating mechanics, and also how Suda provokes and interrogates gaming through what was most Americans first glimpse of one of video games' most colorful auteurs.

This week most of our regular bloggers take a peek at the zombie apocalypse as translated by Uncharted developer Naughty Dog. This episode Nick, Eric, Scott, and Jorge discuss The Last of Us.