Everything

Everything is not an RPG in any traditional sense, which makes it genuinely strange that it carries that genre tag. It is a simulation and an experience game: you start as an animal, discover you can become smaller things or larger things, and gradually realize the scope goes from subatomic particles up through planets and galactic structures. The core mechanic is possession and traversal. You roll or float through environments, absorb other beings, and shift scale at will. There is no combat, no leveling, no fail state. If you opened this page expecting class trees and skill checks, recalibrate now. Where the game finds its identity is in atmosphere and philosophy. Alan Watts narration, drawn from archival lectures, plays throughout - fragments about impermanence, the nature of self, and the interconnectedness of systems. The audio design pairs well with the visual style, which is deliberately abstract: animals and objects tumble rather than walk, geometry is loose, and the world feels procedurally assembled rather than authored. That looseness is a feature, not a bug. OReilly is making a point about scale and meaninglessness-in-the-best-sense, and the aesthetic reinforces it. What works: the scale shifting is genuinely affecting the first time you realize you can zoom out from a blade of grass to a continent to a star system without a loading screen. The soundtrack is excellent. For players burned out on quest markers and XP loops, this is a genuine palate cleanser. What does not work as well: the "things to discover" loop runs thin after a few hours unless you are deeply invested in the philosophical framing. Procedural generation means later environments start to feel repetitive. There are goals - collectibles, a loose autobiography mechanic, unlockable thoughts that form chains - but calling them progression would be generous. This is a wandering game, and whether that satisfies you depends entirely on your appetite for meditative aimlessness. As someone who usually wants her games to have dialogue options and consequences, I found Everything surprisingly compelling for about four hours, then genuinely peaceful as background noise for another two. It does not reward the kind of engaged re-read that a Disco Elysium or a Planescape Torment does. The "choices" here are which scale you occupy and which direction you drift. But there is something honest about a game that commits fully to that premise without padding it with combat systems or fake urgency. The Watts lectures alone are worth the runtime if you have never encountered his work. Think of it less as a game you play and more as an installation you spend time inside. Monika, Scout Team