It was very easy for us to fall in love with Everything since it touches on so many gaming styles that we’ve found infinitely appealing in recent years, but what sets it apart is how unlike anything we’ve played before it really is.
On the surface it’s a game about discovery for its own sake as you leap from creature to creature to object, up and down in scale as if you’re collecting the experience of inhabiting these objects. It seems rather aimless in a way, not far removed from the initial release of No Man’s Sky, but there’s so many more layers you can reveal with time.
Every animal and object in the game (and we hazard to suggest there may be thousands) is animated in the most basic terms. Animation may even strike you as too strong a term for the way your sheep will roll, stiff as a board, head over heels in whatever direction you point it. But this oddly lifeless form of movement brings to mind the endlessly charming Katamari series, so no harm there.
What binds it all together and elevates Everything considerably is the philosophical side of the game (that is ultimately supported brilliantly by the gameplay once you master it) in the form of snippets of audio from the late British philosopher Alan Watts. This element reminded us a little of The Witness, but this has been far more tightly bound into the experience.
Everything is a game about how connected the universe is, from an atom to a galaxy, with every size and scale of thing around it and within it. Exploring Everything’s scale and depth alone will likely be intriguing enough to keep you going, but once you begin to find its hidden oddities the philosophy and mind-bending structure another level is revealed. It’s all pretty stripped back and its focus is laser sharp. If the animation and lack of traditional structure is something likely to rub you the wrong way, we wouldn’t judge you. But if you have a head for it we recommend checking this strange experience out.