Go medieval: game play as history lecture

While Pentiment’s game-play makes it a playful, enjoyable, and in-depth history lecture, it also raises deeper questions, says Lukas Herren.

Lukas Herren

Lukas Herren is a student of philosophy and business and works in communications in the technology industry.

A screen grab of a video game showing a chequered floor amidst classical architecture, with player figures.

Iconography and medieval illustration inspires Pentiment's graphic design.

Obsidian Entertainment.

Pentiment, an adventure game set in the rural Bavarian town of Tassing between the years 1518 and 1543, transports players to a time of political intrigue, religious reform, and societal conflict. With a deep love for history based on meticulous research, the game offers an authentic look at the lives of ordinary people like peasants, monks, artisans, and farmers, and the decisions that shaped their lives.

At the heart of the game is Andreas Maler, an artisan who is hired to illustrate manuscripts in the Abbey of Kiersau. As he stumbles upon a murder, he is drawn into a web of personal conflicts that balance the different professional and societal groups of the village. Players can immerse themselves in the story and get to know the characters intimately, thanks to sophisticated design and a myriad of thoughtful details. Playing as Andreas, you feel like you are becoming an integrative part of a larger story and leaving a footprint in the village's history.

The game is beautifully illustrated and captures the essence of medieval aesthetics, making it a joy to play and a valuable educational tool. Everyday life in the Bavarian village is brought to life with attention to detail, from the food they eat to the different scripts characters are represented with. These features transform into crucial puzzle pieces to solve the murder mystery. To help keep track of the storyline and interesting info, the game provides a journal and glossary.

A screen grab of a medieval style illustration and text.

Illuminated illustration and a different kind of coding.

Pentiment feels like a playful, enjoyable, and in-depth history lecture. It is highly recommended to anyone interested in diving into a different time period – to anyone who appreciates learning not only about grand historical geopolitics but also simple, everyday life. Although it is thought of as a single-player game, it is also beautifully played with another person, with whom to explore which traits to choose, which characters to approach, and ultimately, which path to take. This game is not just for those who want to escape into a different time period, but also for those who appreciate a well-researched, multi-faceted murder mystery.

The setting of the game enhances its appeal in various ways. The 1500s were the time of the Protestant Reformation, a religious reform movement sweeping through large parts of Europe. Intersecting with it was the German Peasants’ War of 1524-1525. As you play the game, identifying with the main characters in this Bavarian town, you triangulate your position asking questions like: Where did the murder victim stand in terms of religious reform and the peasants’ demands? Where does my interlocutor stand? What position do I take to get the information I need to solve the murder mystery?

Beyond the enjoyable whodunnit, the game raises deeper questions such as: Is it legitimate to portray people and events untruthfully – that is, in a way that does not correspond to one's own knowledge – for ideological reasons or to promote a good cause? Is it appropriate, for example, to embellish the representation of local history in public space? If so, on what grounds and to what extent? What does this mean for the way we present the history of our churches? In our attempts to steer public perception, are we possibly damaging the discipline (history, church history) as well as the integrity of the positions promoted?

The name of the game is carefully chosen: Pentimento refers to ‘the presence or emergence of earlier images, forms, or strokes that have been changed and painted over.’ Pentiment is worth engaging with on more than one level.

The controls are simple, and dialogues are well done, though at times the game can be a bit confusing – accessible albeit occasionally challenging. While void of fast-moving animation and action, it is sophisticatedly made, letting the player get to know and experience each character. All in all, it comes together beautifully and deserves.

⭐⭐⭐⭐

Pentiment is available on Windows and Xbox and is published by Obsidian Entertainment.

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Culture

Film & TV

Politics

Royalty

11 November 2024

2 min read

Would you rather live in Wolf Hall?

Monarchy and deciding who's really in charge.

Jack Chisnall

Jack Chisnall is a former gag teller and Oxford Theology graduate, combining the two at Holy Fooling.

A TV production set shows Henry VIII at a masked ball.

Daniel Day-Lewis digs his claws into the role of Henry VIII.

BBC.

Viewers of Wolf Hall: The Mirror and the Light may well have breathed a sigh of relief: thank goodness we don’t live in such times. Henry VIII, depicted by Damian Lewis with lionesque intensity, flexes and pouts at his Privy Council, prepared to send even his own daughter to the axeman’s block. He is unimaginably powerful, capricious, and easily offended.

Meanwhile, almost four-thousand miles away, we have just witnessed a democratic election in a nation which wanted nothing to do with kings. Donald Trump has won a second term in the White House - whatever one thinks of him, a sitting President is contained by counterpoised checks and balances. Congress. The Supreme Court. Here, at least, are some features that would have usefully reigned in Henry VIII’s absolute power.

Kings are perhaps cutting a rather pathetic figure right now, even without a sulky, fur-clad Damian Lewis to damage their PR. A few weeks ago, King Charles was heckled by an Australian Senator during a trip to Parliament: “not my King!” yelled Lidia Thorpe. Lately, King Felipe VI of Spain had dirt hurled at him as he walked through Paiporta, to examine the damages of recent floods. So much for a royal welcome.

So, is this just the way things are going? Farewell to tyrants. Humiliated, shouted at, mud-splattered and powerless - will we finally decommission them like old submarines?

But the question of “who’s really in charge here?” is one that all human societies have to face squarely. For our ancestors, there had to be something real behind a legitimate government. It could not just be a useful or appropriate way of organising ourselves - there had to be something copper-bottomed to give authority its clout. Only the gods could prop up a leader. In the pagan world, a philosopher like Aristotle would add that it is just the case that some people rule, some are ruled.

The UK constitution - though few would speak of it in this way - is premised on the idea that the King represents the people of this country to God, who alone can vouchsafe his legitimacy. A monarch in this sense is not absolute. They are contained - contained by the most comprehensive and eternal power that can be conceived. No tyrant gets away with it, on the Christian view.

All societies seek this real basis to power, whether that is “self-evident truths”, or the “will of the people”. The question is: which of them provide for a flourishing community for the longest? King Felipe may have been abused, but he did not flee to the refuge of a car like the Prime Minister. Here was a man of immense privilege reaching out to his subjects. Despite their pain and anger, he wanted to show he really cared - indeed, that he was born to care. For as long as monarchies seem like a reasonable and compassionate answer to the issue of legitimate government, they may endure yet.