Review
Culture
Fun & play
3 min read

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 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. 

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.

Review
Addiction
Culture
Feminism
Music
5 min read

The idolatry of Beyoncé: her tour hits town with eight golden calves in tow

We all desire to be perceived as more talented, confident and beautiful.

Lauren Windle is an author, journalist, presenter and public speaker.

Beyonce marches along a stage catwalk as photographers stare from below.
Taking to the stage.
Beyoncé.com.

I suspect if you asked British millennial women to name their queen, more would say Beyoncé than Camilla Parker Bowles. Such is the allure and popularity of the woman who commands legions of fans, ‘the BeyHive’, and has been dubbed ‘Queen B’. Now this pop monarch is on the move and she’s brought her royal tour to London.  

Last night the Cowboy Carter tour lit up Tottenham Hotspur Stadium in an ostentatious display of stars, stripes and glitter. I joined the throngs of fans who packed out the arena to hear the hits from Beyoncé’s first country album, protected from the rain by only their sequin-lined cowboy hats. 

A massive screen provided video entertainment during costume changes. It depicted her two settings; siren and saviour. In some of the imagery Beyoncé was veiled or illuminated by bright white lights, in modern iconography that would previously have been reserved for the Blessed Virgin Mary. During her song Daughter, with lyrics: ‘Cleanse me, Holy Trinity’, she was backdropped by stained-glass church windows. 

Beyoncé is hardly the first to draw from the style of religion in her work (see: Madonna). But, when I came back from the bathroom, the performer was midway through her song Tyrant, riding a gold mechanical bull while surrounded by eight double-headed golden calves. That’s when I realised, we’re not even pretending this isn’t idolatry anymore. 

As a recovering addict (arguably the most extreme expression of idolatry), I am interested in the processes behind idol worship. I have spent weeks studying Aaron’s ill-fated decision to melt down gold jewellery into a calf at the request of the Israelites who thought Moses, and God, were taking too long up Mount Sinai, followed by the disastrous repetition of history under King Jeroboam I.

We take these cautionary tales and usually apply them to the metaphorical calves in our own lives, but still the golden calf endures as the ultimate symbol of idol worship. Would Beyoncé have known this? Almost certainly, given the other Christian imagery sprinkled throughout the show. 

The Queen 

For those only vaguely aware of Beyoncé, I’ll explain how the global obsession came about. She was raised by parents who were committed to her success. Her mum made all her costumes while her dad formed and managed the girl band Destiny’s Child, of which Beyoncé was the lead singer. She famously grew up honing her singing talent while on a treadmill to ensure that she would maintain her voice during energetic dances on stage.  

Destiny’s Child enjoyed a huge amount of success, even if their message of female empowerment was confused. They started with the expectation that a partner would pay their ‘bills, bills, bills’, then sung of their desire to ‘cater’ to their men, before a violent U-turn declaring themselves to be ‘independent women’. The mixed messaging didn’t put off their fans, but it was when Beyoncé teamed up with her now husband, Jay-Z, that she experienced a meteoric rise to fame and became the breakout solo artist from the band. 

She has experienced some scandal over her career, most notably in 2014 when CCTV footage was leaked of her sister Solange attacking her husband Jay-Z in a lift. It was rumoured that this was in response to his infidelity but no formal statement was made. Beyoncé, like our former Queen, lives by the mantra ‘never complain, never explain’. 

Over the years, as the record sales have grown, so has her cult-like status. ‘You have the same number of hours in the day as Beyoncé’ is used as a motivational tool (although I can’t say it’s ever worked on me). Some have even hi-jacked and modified the French national motto to: Liberté, Égalité, Beyoncé. Her allure is increasingly less about her music and more about what she embodies; the ability to seemingly have everything – motherhood, a stratospheric career and the dream face and body. 

The problem 

To be clear; I don’t think admiring Beyoncé or enjoying her music is a bad thing. I am the one who paid more than £200 to go and do just that. But, with a few notable exceptions, almost everything we idolise fundamentally has the capacity to be a force for good in our lives, if it’s kept in its right place. It’s the classic Christian cliché; don’t let a good thing become a God thing. Take food, exercise and your phone, these can all do immeasurable good in enhancing your quality of life, but when they become an idol, they can also do immeasurable harm. 

It is often said that we become what we worship. Well in the context of idolising Beyoncé many people would say that’s a fate they would happily welcome. But the reality is darker than that. 

What are we really saying when we idolise Beyoncé and bow down to her golden calves? I would suggest on the surface it’s a desire to be perceived as more talented, confident and beautiful. It’s the panic that we should be perfect, especially given that Beyoncé achieves that perfection in the same twenty-four daily hours that we have. It’s a deep longing to be desired as she is, to be popular as she is, to be regularly affirmed as she is. 

Let’s go deeper. Does God say that we need to have visible talent in order to be valuable? No. He says we are all a part of a body with our own unique skills that contribute to the entire organism. Some of those skills will be discrete and often overlooked by people, but that makes them no less valuable to God. Does God say we should be beautiful? No. Jesus wasn’t exceptionally physically attractive, as far as we know. If anything the Bible warns against putting stock in such a fleeting resource. Are we called to be confident in ourselves? No. But we are told that flourishing comes from a confidence in God. 

My fear is that if we chase visible talent, we will always feel that we are lacking and unrecognised. If we chase beauty, we will always feel ugly and if we chase Beyoncé-level confidence, we will always feel small. The idol that should theoretically inspire us to greater things, ends up leaving us feeling boxed in by unhelpful and unachievable goals. It leaves us caged by the comparison and always a step behind. 

Adding to the heartbreak, the thing that we’re emulating and idolising, is never as satiating as we believe it to be. Had I stormed the stage, I would have found those calves to be moulded from plastic and sprayed gold. Just as I would find the performer to be a bit tired and flawed like the rest of us. The reality is, even Beyoncé won’t live up to the idol of Beyoncé. While in contrast, the correct focus for our worship, Jesus, will only ever get better with closer inspection. 

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