Dead games and pop classics: the struggle for life in the face of modernity.

I just deleted the first paragraph of this review.

Life for rent, released in 2003, was the second album by singer songwriter and mythical queen of Carthage: Dido Florian Cloud de Bounevialle O'Malley Armstrong; performs under the stage name Dido, thank goodness. Unlike fable 3 the album can still be bought by in digital format and is still a classic of the 2000’s. With songs like ‘thank you’ and ‘white flag’ becoming the soundtrack for wine drunk mothers everywhere, and as a result to their children as well.

When i downloaded life for rent i was pleased to see i was not required to connect to an online store that no longer existed as a poorly thought out form of DRM. nor did i have to seek out a website, through the forums, to get a patch that essentially cracked the album by dido: life for rent, that i bought years ago and legally own, (well not really the digital media provider owns it but whatever.)

I recently decided, after years of objecting to it, that i sort of liked Life for rent and that it’s peak tracks do have a certain resonance, especially when wine drunk. The same cannot be said for fable 3, a dead game that killed it's studio and had it’s support collapse years ago and really wasn’t that good to begin with but that at the time i thought was fun.

In fable the third, you start a revolution to take the throne from your brother. Only a revolution implies a change in the state of governance. This, strictly speaking, is a military backed coup by a series counter-industrialist aristocrats, justified by the supposition of the protagonists status as an ubermensch. In life for rent the primary change of power is the codification of one’s inner vulnerability into a thing of artistic beauty by the singer. Not only i am allowed to feel my vulnerabilities but knowing that the shared experience can be a source of strength.

The simplistic gameplay nonetheless feels clumsy and unpolished with connectivity between the elements mismatched at least. Basic at best. Enemies often stand next to explosive barrels, positioned to make the encounter as trivial as possible highlighting their status as things to be crushed under the ubermensch boot and undermining my ability to empathise. Far from trivial life for rent feels like a sense of craft, care and pathos was put into each track, well produced with excellent interplay of vocal and instrumental performances the album maintains a tonal consistency without becoming samey.

The Hobbes, no silly not Thomas Hobbes, although i am here to talk about the monopolisation of force; namely by the protagonist. A short ways into the game you encounter a group of cave dwelling sentients called the hobbes: essentially fat goblins, the character accompanying you levels repeated foul racist accusations deriding their intellect, despite their having a full established civilisation with social stratification, tactics and the integrated use of magic. This reads as some genuinely shocking colonialist bollocks, or it would that was the intent; instead the subjugation and marginalisation of sapient species is played for jokes. Fantasy has stumbled into racially charged elements in the past, like the orcs in middle earth being described as similar the the Mongolian peoples but the ability to overlook it again with the hind sights takes a certain kind of contextual blindness.

If you want clarity of vision and a realisation of its subject matter, look no further than 'Life for rent' by dido. Topics around the everyday struggle for life and love make each track as relatable as it is breathtaking. The struggle to get by is highlighted by the exemplar of the insecurity renting property brings to the tenants life and the extension of that that relationship to other facets. A social commentary that is meaningful and subtle that would undermine in elegance many current pop tracks aiming to do likewise.

On the subject of rent, fable 3 tasks one, once on the throne with ruling and making decisions to decide between arbitrary good and evils to raise the funds to fight and external evil. The solution however is to buy all the property in the country and collect the rents to pay for the coming war. The image of the all powerful external enemy has often been used to justify fascist doctrine in the past, so it’s no surprise to see it here. But seeing the supposed heroic thing is the economic subjection by a seizure of others own security, makes me wonder if perhaps the developers would have been better of listening to life for rent by dido during the design stage.

In the song ‘here with me’ dido puts forward an understanding of the personal costs of love and the reconciliation of self with one's desired partner. ‘Life for rent’ muses on the transitory ephemeral elements of life in modernity. Fable three tries to justify that seizure and subjection of foreign peoples in its second act, in a section that comes close, well more like closer, to understanding the troubles of colonialism but then just defaults to praising you for #bigdecisions. The near-parody epitome of moral decision making.

A degree of self awareness would have gone so far to improving this work especially with it’s comedic edge. A total contrast the the pleasant, but not over overbearing thoughtfulness we see in the must listen hit album: life for rent by Dido. both deal in the life in the industrialised world, guess which i prefer?

The game doesn’t have horses even, wtf is with that? The DLC on G2a costs more than the game did when it was on sale, that’s limited availability for you.