Pentiment

I loved every second playing the game! It was very interesting and better than I expected. The player has to read much, I did not mind it and I think it is better- this way each player can interpret the lines in their own way without being influenced by the emotions/tone of a voiced character. The first act was soooo good! Maybe the youth of Andreas made it that way? The second one was too depressing. The third not so, the people had more hope for the future. Overall, the feeling of uncertainty followed us in each act, we will never be sure who committed the crimes and I prefer it that way. I was a bit disappointed about who is the culprit but I can understand why they did it. From what I understand there aren't different endings. There is this one big ending which can have minor outcomes.

스토리나 연출 자체가 천천히 흘러가는 편이지만 이런 게임스타일을 좋아하거나 역사, 예술, 신화같은 여러 이야깃거리들을 즐기는걸 좋아하는 사람이라면 등장인물의 대사, 연출 하나하나 뜯어보고 즐기기 좋은 게임입니다. 간혹가다 번역기 어색하게 되는 부분이 있긴한데 크게 거슬릴정도는 아니고 게임 특성상 이야기의 틀 자체가 크게 변하는건 아니지만 내가 선택하는 배경이나 말의 방향에 따라 결과가 조금씩 변하는걸 눈치채는 과정도 재미있더라구요 좀 지루하고 길어지더라도 천천히 즐기면서 플레이하는걸 추천합니다. 오랜만에 즐겁고 소름돋는 이야기책을 본 것 같아요 재밌었습니다

讲了个好故事。

Finally played through to the end. Structurally the game feels messy with far too much roaming around. The art is beautiful, yes, but I think you could shave off about 2 hours of walking. I sometimes felt like I was missing out because I didn't often want to go into the slow/ugly journal menu or wander around the same static trail again. I didn't think particular hotspots were interesting or meaningful in any way at times and the fact they remain after you've interacted with them isn't helpful. Narratively I really enjoyed the story and the themes. There was a lot to get invested in and finding out more about the characters was cool. I liked how the climax tied everything together really well. Played out like a very well written murder mystery overall. I think Pentiment could be condensed a bit as I feel a bit of a more brisk pace would benefit this game greatly. I didn't find clicking on meals engaging at all and the art in those parts wasn't nearly as nice as the rest of the game so it felt pointless. There weren't any fail states that I could see and the puzzles were as straight forward as you could possibly get. There wasn't anything really to look forward to on the path, so the walking around just dragged things out. I'd give this a 6/10 all of it for art and story, Gameplay is practically nonexistent.

Absolute cinema. Если любите диско элизиум, то возможно эта игра найдет в вас отклик.

光是其优秀的故事就已经可以掩盖它在游戏性上的所有不足 10/10 第九艺术！

汉化和中文字体都不太让人满意，并没有所谓“隐迹渐现”的效果，推荐用英语以防少玩50块钱。游戏本身很艺术，很适配中世纪的美术风格。与居民对话也许对破案没有帮助但很有意思，可以选择主角的背景，也会影响对话，选择很丰富，在角色扮演的同时也在认识主角。一周目结束，不完美的解谜与注定的遗憾，越玩越好玩。

“书本的益处就在于让人阅读。一本书是由论及其他符号的符号构成的，而这些符号又论及别的事物。如果书本不被人通过眼睛阅读，那书上面的符号就不能产生概念，书就成了哑谜。这座藏书馆的诞生也许是为了拯救这些书籍，而如今藏书馆却是为了埋葬这些书而存在，因此它成了叛逆的诱因。” —— 历时15个小时通关了Pentiment，即兴写一点玩后感，想到哪里说哪里（为啥是15小时呢因为我出去拿外卖被电瓶车创了，到医院缝了两针回来发现这游戏还挂着）。 信仰是否需要知识？这个追问是一切争端的起源。围绕着“唯其荒谬，我才相信”与“信仰寻求理解”，人们的争论永无休止。 “……因为不是所有的人都能够聆听真理，就像不是所有的谎言都能够被一个善良的灵魂所识破一样。最后僧侣们在缮写室里开始一项精确无误的工作，为了完成那项工作他们必须读某些书卷，而不是去读另一些书卷，以满足会令他们鬼迷心窍的好奇心，不管是由于思想上的弱点，还是由于自负，抑或是由于魔力的引诱。” 16世纪的欧洲，知识仍是少数上等人的特权。图书普遍要价不菲，远道而来的男爵将一本《塔西娅历史》作为送给院长的珍贵礼物；基耶绍修道院的缮写室承接王宫贵胄发下的编绘手抄本的订单；藏书院对于院内书籍严加看管，图书管理员伊卢米纳蒂（这个名字也很有意思）不竭追寻每一本散佚的书籍，唯恐其中提及异教思想的只言片语。与此同时，塔兴的民众则生活在不识文字的真空地带，老一代人近乎执拗地固守着古老的传统，向年轻人讲述佩奇塔与狂猎的神话，因为不存在文字与图画媒介的情况下，他这一代人的死去即预示着传统的彻底凋亡；老牧羊人提尔即使有意阅读，却无法负担起昂贵的手抄本价钱，而印刷匠为小镇提供了一种平价低廉的图书渠道，印刷术的流行让知识得以在平民之间流传；大字不识的奥托挖掘出了古罗马战神玛尔斯的雕像头颅，却将它误认为塔兴基督教圣人圣萨蒂罗的头部，便以此象征作为道德标杆与信仰基石，没想到却为自己招来了杀身之祸。 塔兴镇内犯下的三起谋杀案，都意在断绝知识以维护信仰。掌握知识的人决定什么可以被知道，什么应当被抹除。想要阻断知识，就将修道院的大门锁起、关闭圣地与图书馆；为了守护信仰的纯粹，就要抹除真相，连带着葬送知晓真相的人；若无人将历史描绘为壁画，这段时间便会随着一代人的老去而被遗忘，如同古罗马的水渠一样倾圮，如同冠以他名的异教神像一样面目模糊。游戏的标题“Pentiment”原指绘画中因颜料年久透明而显露出的被覆盖的底层构图，但被压抑的真相总会以某种方式“隐迹渐显”。 —— “阿博内啊，贱民的生活并不受智慧的启示，也不像我们这些聪明人具备辨别真伪的警觉性。他们的生活被疾病和贫困所困扰，因愚昧无知而变得渺茫。” 在第三幕玩家操纵玛格达莱妮问询镇中居民有关起义的历史时，我们可以观察到小镇人们对于起义的两波截然相反的态度。有人说起义有功，至少现在我们的生活在变好，而塔兴也摆脱了修道院的控制；而有人则认为《十二条纲领》不该被印刷，农民不该阅读文字、不该掌握知识，知识只会让他们平白生起妄念，最终付出惨痛代价（而在起义前夕，这种情绪则被群体调动的亢奋感压制）。其实，对于生活在时代中的小人物来说，什么是知识、什么又是信仰呢？佛罗伦萨，萨尔茨堡，这些离我们的小镇都太远太远了。修道院高涨的税收，还有难捱的冬天，这让我们不能过活啊。 —— 再来说一个Pentiment众所周知的创作蓝本：翁贝托·艾科的《玫瑰的名字》。《玫瑰的名字》讲述了1327年意大利北部的本笃会修道院内发生的数起谋杀案，而游戏和书本的重心都落在了修道院内的藏书馆，也即被封藏的知识。同样的，第二幕主角安德里亚斯飞奔火场抢救图书的情节也和《玫瑰的名字》中威廉修士的举动何其一致！ “灯油四溅，火焰立刻蹿到一张易脆的羊皮纸上，那些书就像一堆干柴烧了起来。转瞬间，火势大增，好像那些珍藏千年的书卷几个世纪以来就带着对火的渴望，期待着这场大火，此刻，它们正享受着这种未曾满足的渴望骤然实现的快感。” 在阅览玩家社群的时候，时常能看到大家对于每一桩谋杀案真凶是谁的讨论。然而是否真正存在唯一的凶手？在游戏中，你可以指控不同的人为凶手，游戏从始至终都没有宣布正确答案，每一章结束时你都不得不做出可能错误的判断，并因此背负多年后果。命运的车轮滚滚向前，它从未因零星人的错判或枉死而偏离轨迹。一如《玫瑰的名字》中的主角威廉修士将修道院陆续发生的数起谋杀与《启示录》的七灾相关联，而最后的真相却揭秘为一场对于禁书与知识的独占。在历史的视野上，真相是否重要？ 此外，游戏中还保留有对《玫瑰的名字》的直接致敬：在第一幕中，主角可以在修道院图书馆内找到一本名叫《修道院谋杀案》（A Murder in the Monastery） 的小书。书中所绘制的修道院地图与《玫瑰的名字》完全一致。 游戏还存在大量有趣的历史与文学原型，在此不尽详述，为的是保留大家在玩游戏时自行发现的惊喜感（也或许我闲着无聊没事干会出一点考据），就这样！ —— 最后，刻在岩上的会垮塌，而言语会失传，我们拥有的唯有文字。 而文字留下的，终究也只是名字。“昔日玫瑰以其名流芳，今时人所持唯玫瑰之名。”（stat rosa pristina nomine，nomina nuda tenemus.） 以上所有引用均出自翁贝托·艾科《玫瑰的名字》。