A brilliant narrative adventure that is filled with intelligence and heart. Our review of the excellent Pentiment:
"[In] almost a single burst of energy, I completed a translation, using some of those large notebooks from the Papetiere Joseph Gilbert in which it is so pleasant to write if you use a felt-tip pen."
More: the scriptorium itself, like the rest of the game's environments, is rendered flat and clean-lined, brushed with water colour, and Maler himself is a jointed paper puppet, a figure from a manuscript brought to creaking life with clothes lit by a gentle wash of paint and a face scratched in ink.
And most importantly when it comes to text there's speech itself. Pentiment is a game conducted in conversations, and these conversations play out in medieval speech balloons, with each speaker given a font that offers clues to their world. From peasant cursive to ornate gothic fonts, the lettering is telling you a lot about the people speaking, their backgrounds, their senses of themselves. More: when they shout, the text grows agitated and shakes.
And then I got a big surprise. This wasn't the end of the game, but rather the end of the first act. Pentiment is a bit of a Name of the Rose simulator, in other words, but it gets through a lot of that in the opening third. Then it leaps forward in time and becomes something stranger and richer. Maler returns to Tassing older and - perhaps - wiser, a successful artist with his own apprentice.
Look deeper and you see this last point particularly clearly in Pentiment. The abbey's Scriptorium is one of the last ones still operating, and when it goes, the church's control of books and information will be gone for good. In the town of Tassing there are already printers working, allowing ideas to travel faster and further.
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