Fable Secrets
Robert
hi! i'm a big fan of fable 2 and i really would like to discover every secret in the game but on the internet i only found guides for the achievements/quests but no guide for every little cave, etc. so i just found a cave occasionally called old tin mine and in this cave for example there hasn't been anything inside that you'd need for an achievement or quest but i anyway enjoyed finding it. i think this cave was near the edge of a lake in westcliff (i think near a silver key). then i came to a house in the rookridge demon door with an "a" on the door but i couldn't open it - is there any way i can get inside or is it just a bug? another thing i found was a book with a strange and disturbing story about a rabbit in the shadow cort inside the cursed skull. and so i wanted to know if theres a list or something showing every secret in the game because i'm afraid of missing some of them! thanks in advance
there's this one door in a house in bowerstone market and i think its by the argumentation seller. and it will let you knock on the door but it won't let you open it even if you own the house. i was wondering how you open it or if theres any type of story behind it.
The only issue I have now is that money is no longer a problem for me. I make more than I can spend. I even used some to max out my abilities by spending it at the Temple of Light but now both gold and experience are useless. So when I stumble upon a chest that contains 5000 gold or a dig spot with a beggar's ring, it's almost more of a nuissance than a good thing. I think this game may have gone a bit too generous with the gold.
exactly! i have over 70mil gold so ive become a bit obsessive compulsive with collecting "ohh, another dye, lets get it" "whats that random guy on xbox live? sure ill buy your hero doll for 5mil, now i have 3 whole sets" thanks god for dlc.
that is the thing i absolutely love about this game! there are so many secrets! like did you know in bowerstone old town there is a house that you cant buy and cant get into via the street, you need tons of people to follow you and squeeze you and push you up the ledge so you can get in the house and when people follow you in, they shrink in size! how awesome :locked
hey thanks for your help. i think we could share in this thread some of the special secrets we find in the game. today i found the solution to the story about the "Grumpy Rabbit" and so i found a new cave , i got a really rare item:locked and i received another interesting present
i hope that there are many other things like that in the game and at the moment im trying to open these black doors in some of the bowerstone houses (Adampro123 was talking about them) but perphaps is it just a bug and these doors can't be opened?
so i found out what these black doors inside some of the Bowerstone Market houses are for: they are just kind of "backdoors" that normally lead for example to a little lane (you can open some of these black doors in Bowerstone Old Town) but when there is no lane behind a house with a black door and just a wall these doors can't be opened.
This was a fast paced heist story. Evie was an unreliable character with lots of secrets in her past. The Dark Fable was a mysterious group of thieves with magic powers. Even though the story is called The Dark Fable, the group in the story was referred to by their French name La Fable Sombre. It sounded more mysterious, but I wish it was consistent with the name of the book. There were some great unexpected twists at the end of the story, but they were explained quite quickly. I would have liked to see them revealed a bit earlier so there was more time to see the fallout of these twists.
The title given by Abstemius to his story was "The man who told his wife he had laid an egg" (De viro qui uxori se ovum peperisse dixerat), with the moral that one should not tell a woman anything one wishes to keep secret.[3] Roger L'Estrange translated it two centuries later under the title "A woman trusted with a secret".[4]
Wishing to test his wife, who swears that she can be trusted to keep silent, a husband tells her one night that he has just laid an egg. Scarcely had dawn broken than the woman left her bed to tell a neighbour, who does not hesitate to pass it on with exaggerations of her own. By nightfall after a day of busy gossip, the man is reported to have laid forty eggs. In 1763, Rowland Rugeley went on to intensify the irony of the ending in his paraphrase of La Fontaine's later version, shifting from the simplicity of village life to an urban emphasis on credulity. "Some from this strange phaenomenon,/ Presag'd misfortune to the town,/The fall of States, the death of Kings,/And many more surprising things."[5]
However suited to the end of the 15th century may have been Abstemius' bare anecdote, it needed La Fontaine's seasoned craft as a fabulist to adapt it to the spirit of Renaissance France. Outwardly he did so by exaggerating it further in the telling. The man pretends to lay the egg while in bed with his wife and obtains her promise to stay silent. But since "nothing is so heavy to bear as a secret", she betrays it while it is scarcely light, enjoining secrecy in her turn. This time the number of eggs is swelled by repetition to more than a hundred by day's end.[6]
More subtly, although the story seems told against women, La Fontaine hints at gender reversal throughout the story. At the very start he points out that where gossip is concerned "Many men are women too". The husband takes on the female role by his imposture, in consequence of which he is referred to as 'the egg-layer' (le pondeur) later in the narration.[7] Similar reversals of exclusive prejudice occurred in Creole versions of the fable. Gossip "is a failing of negresses, you say,/ But they're no weaker than a white that way," argued Franois Marbot (1817-66) of Martinique in Les Bambous (1846).[8] And Rodolphine Young from the Seychelles followed him further in challenging prejudice: "Black women have this weakness, true,/ But whites are even weaker."[9]
In France there were two dramatic adaptations of the fable. That of 1767 was the one-act comic opera Les femmes et le secret by Franois-Antoine Qutant (1733- 1823) and Pierre Vachon.[10] It was followed in 1823 by a similarly titled one-act comedy with musical interludes by W. Lafontaine and Gaspard Touret.[11] The 1843 vaudeville by Edouard Deadd Saint-Yves and Lon de Villier only borrowed the title and applied it to another situation.[12] There was also a silent film made in 1909 by the Gaumont Film Company.[13]
Book illustrations of the fable often picture one woman talking to another, or to a group, with a finger raised to her lips to indicate that the story should go no further, as in the 19th century engraving by Tony Johannot.[14] The same gesture persists into Maguy Bourzeix's modern update of the situation.[15] It seems implied too in Gerard Stricher's more abstract treatment of the women's heads in his painting of 2015.[16]
I blinked. I didn't know Justin very well. I did know that he was a very affable bearded man, and we both lived in the Bay Area. At the time, he ran a small creative agency, while I worked as a writer and digital media consultant.
"I've been thinking about giving you something," he said. Justin told me he'd been considering giving me a gift for weeks, and finally decided to go through with it after reading an article I'd written about how people use pseudonyms to explore their identities. "But you have to promise me that you won't tell anyone about it. No one."
On the back of the card, in the spot that would normally hold a credit card signature, there was a sentence in elaborate black script: "You have received an invitation to visit the San Francisco House of the Latitude." Below the script, I saw a web address and a code.
"What is this?" I asked, but Justin refused to answer my questions. He laughed as I pulled out my phone, went straight to the web address and entered the code in the form I found there. The website was elegant and basic, black serif text on a grey background. After I logged in, the site showed me two definitions of the word "discretion (noun)." One defined "discretion" as freedom of choice, while the other emphasized subtlety and secrecy.
The message listed an address; it encouraged timeliness and, again, discretion. Weeks later, on a Saturday afternoon, I stood before a pair of grey doors in San Francisco's Mission District. People walked past me, normal people walking around on a normal day, while I tried to be invisible. Beside the doors, there was a card reader embossed with the same golden symbol printed on the card case. I glanced around, then slid my card through it. The doors opened.
The lights began to pulse faster, and the thrumming rose to an urgent hum. The floor vibrated beneath my feet. My heart thumped. I launched myself into the slide, emerging fast into a dim reception room with three wooden doors.
A still, silent figure sat behind a frosted glass ticket window. Above the ticket window, a neon sign said SHHHH. I suspected the figure was a mannequin, but couldn't be sure. As I gazed at this silhouette, a cabinet beside the window clicked open. There was a sign within it, asking me to leave all my possessions inside.
Standing in that quiet waiting room, I remembered back to the day Justin gave me the invitation. I'd asked Justin: "How long will this take? Will I be able to meet my clients the next day?" He just smiled and shrugged.
Now, confronted by the cabinet, I wondered if I was about to be hooded and bundled into a van, or removed from San Francisco by helicopter. How well did I know Justin? Not very well. And I had no idea who'd built this place.
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