If you cycled back a decade or two the generally held definition of what constituted a game was fairly rigid. Today that definition is far less defined with the indie explosion bringing us all kinds of experiences that dance on the edge of what could reasonably be called a “game”. Whilst I’ll leave that debate to one side (nestling it close by the “are games art” discussion) the games which have kindled that debate are undoubtedly some of the most interesting experiences I’ve had as a gamer. Everything, which comes to us care of the developer of Mountain, is an exploration of the idea that everything is connected and how we define nebulous concepts such as self and identity.
You are something, but so is everything else. How do you define what is you and what is everything? The definition of you can change at any time as you journey through space and time. Wherever you go there is always something which is made up of something else. The worlds you explore are infinite, built upon and under one another. If this is all sounding incredibly nebulous then you’re right, it is, but that’s the beauty of the story that Everything tries to tell. As you explore you’ll be many things and each of those things will give you a new perspective on what this world is.
Everything uses a stylised, low-poly, simple texture aesthetic. It’s a procedurally generated game with various different biomes defined covering everything from lush forests to galaxies to 1D sub-atomic structures. Whilst this does meant that that there’s not much variety within a biome there’s enough of them to keep you interested in exploring for hours on end. For the most part it runs very well however once you get a bunch of entities together on screen performance starts to take a noticeable dive. That’s mostly of your own making though so it’s easy to avoid performance issues if you don’t go overboard. All said and done whilst Everything’s simplistic visuals are a nice backdrop to the game’s music, narration and core game play.
Exploration is the core mechanic of Everything as it puts you in a large world for you to explore. The mechanics of how you do this are a little esoteric and not all of them will be available to you at the start. Initially you can just move around and see the thoughts of other things as you walk past. After a while you’ll be able to become other things and then explore the world from their perspective. From there you’ll then learn about ascending and descending, essentially exploring the next “layer” in the realm of existence. There’s also a bunch of other mechanics in there like herding, dancing and a few other things but they’re essentially distractions from the main exploration mechanic. In terms of an overall objective there’s really none as Everything is meant to be experienced more than played, as evidence by the inclusion of an auto-play system which turns Everything into an overgrown screensaver.
When I first saw a demo of Everything I honestly thought it was a joke. The animations are laughably simple with animals rolling around and the various “thoughts” you come across are typically nonsense cobbled together using an algorithm. However there’s something strangely relaxing about it all, watching a big herd wander across a landscape with the soothing backing music playing away. Once you get a handle on the ascend/descend mechanics then the game starts to take on a sense of purpose as you look around you environments for new places to explore.
If I had one gripe it would be that the exploration mechanics of Everything are so obtuse, even after the tutorial, that it can be hard to feel like you’ve got a sense of control. Initially you’re limited in what you can do, which is fine given the broad scope of the game. However even after unlocking all the mechanics it can still be a bit hard to understand how to ascend or descend, what certain UI elements mean or how to direct yourself to the place you want to go. Of course you could avoid all this frustration by just letting the auto-play do its thing but, realistically, I think that’s really only meant for when you’ve become tired of doing the exploration yourself. Still if you can get past this initial barrier the experience of Everything is quite rewarding.
The story, if you could call it one, is to listen to Alan Watts‘ lecture on his theory that everything is connected. The ideas are presented in a highly consumable way and often enough that you won’t go long without stumbling across another audio log to listen to. Whilst I’ll leave the philosophical debate to the reader the ideas presented are interesting and wholly in alignment with the ideas the game wants to present. I’d be interested to know how this particular lecture played into the creation of Everything as the developer has noted that in creating Mountain he saw the potential to represent more of the world through an experience like this. Either the game was somewhat inspired by the ideas presented or they were retrofitted into the game afterwards. Either way it would be interesting to know the creator’s perspective on this.
Everything is a brilliant exploration of ideas through the use of simple graphics and mechanics. Whilst they’re a little obtuse on first glance after a while they start to make sense and that’s when you can truly take control of your journey through this game’s procedurally generated world. After slogging my way through numerous AAA titles and text adventures of late it was great to be able to sit back and simply explore without a goal to achieve. It’s not a game for everyone but, if you’re suffering epicness fatigue from the last couple months barrage of AAA titles then this might just be the unicorn chaser you need.
Everything is available on PC and PlayStation 4 right now for $14.99. Game was played on the PC with a total of 2 hours play time and 44% of the achievements unlocked.
Recent years have seen the lines of what defines a game blurred significantly. Games like Heavy Rain eschew normal game mechanics in favour of only minimal interactivity, instead focusing very heavily on the story. Most gamers called titles like these playable movies or cinematic gaming (although the later is now more often used for big budget titles that have a movie feel about them) in order to set them apart from their more traditional gaming ancestors. Dear Esther is another one of these such games, being re-released as a stand alone game after it enjoyed some mild success back as a source engine mod. The game made waves as it recouped its cost in no less than 5 hours after going on sale and with the usual friend recommendation I thought it would be worth a shot.
Dear Esther drops you on an unnamed island, put in charge of an unnamed person. As you move through the world a narrator reads sections of dialog describing one of 3 separate story lines. There’s really no driving goal, the narrator doesn’t prompt you to move anywhere, but there’s enough clues to show that you’re pointing in the right direction. There are no puzzles to solve, no enemies to defeat, you must simply keep progressing forward as the narrator reads and you explore the island.
Graphically Dear Esther isn’t that impressive, mostly due to its source engine roots. Whilst there are some scenes that are quite beautifully created the rest of the game is ridden with over-specularity that makes the objects appear fake. It’s not exactly terrible though as there’s really not that much you can do with a long deserted island to make it visually interesting so overall the graphics are passable but nothing really spectacular.
Now this is where I’d usually start talking about the game play, but there’s really nothing more to say about it. All you do is walk around, look at things and have the narrator read passages to you. There’s no sprint button so you’re stuck walking at the exact same speed every time and the only real secret to the game play is to try and find all the places that you can walk to as the majority of them will trigger another dialogue section.
However doing that is not an exact science either as there are many sections that look like they’re inviting you to come down there for another piece of dialogue when in fact there’s nothing there at all. This wouldn’t be so bad but the achingly slow pace at which the main character walks means that what looks like a short trip can take you several minutes to accomplish. When there’s nothing else to do but walk and hope that the narrator starts talking again this gets quite laborious to the point where I just stopped trying.
What’s worse is that if you do play Dear Esther as a game by say trying to decipher the all the clues that are seemingly littered around the place you’re in fact just wasting your time. Sure they tie into the story somewhat but there’s no rhyme or reason to them, they are just there to break the game up visually. Indeed without them you’d spend long sections looking at nothing but varying shades of brown, green and grey. Even then though after seeing the same pattern repeated over and over again they don’t really even serve that purpose, instead just blending into the background as noise.
All of this then combines into an experience that is, for what its worth, completely and utterly boring. There’s really nothing interesting about the experience at all as the jumbled story (done deliberately, apparently) slow pace and so-so visuals do nothing to inspire enjoyment on any sort of level. It got so boring that at a certain point, where a giant hole in the ground is presented to you, I threw my character in there in the hopes something interesting would happen. Instead I was just catapulted back a couple minutes which just extended the painful time I had to spend with Dear Esther.
Reading other people’s experiences had me questioning whether it was fair to judge Dear Esther based on its merits as a game. Indeed nearly all traditional elements that we’ve come to expect from a game have been stripped away from Dear Esther, even further than that of any of the playable movies that have been released to date. Judging Dear Esther as a game then would seem unfair as it’s more akin to a strange kind of performance art than anything else.
The thing is though Dear Esther is sold as a game on a platform that deals exclusively in games. It has the same controls as a game, for the most part, and is being talked about almost exclusively by the gaming community. Judging it on its merits as a game then seems fair to me as whilst it might be far removed from even its closest cousins to completely exclude it from that genre is to ignore some of the core aspects which constitutes a game.
As a game then Dear Esther is astonishingly terrible in every regard. It’s (thankfully) very short with my play clocking in at just over an hour and the longest plays barely touching 2. The graphics, whilst capable of producing some decent set pieces like that shown above, are nothing spectular and above all the game play is simply non-existent. Even forgetting for a second that the lack of game play is intentional the story, which is what should carry a game in absence of game play, is boring and uninspired. I felt nothing for any of the characters in any of the stories and the whole idea of giving you random sections of the story so you have to draw your own conclusions is a hacky way of trying to make each game play unique.
Dear Esther then fails to entertain as a game, as an art piece or whatever it set out to be. The added insult is that I paid $10 for the experience, a price which has netted me other titles like Cave Story+ that managed to not only entertain me but also did so for more than an hour. Based on this I can’t really recommend Dear Esther to anyone unless you feel the need to torture yourself with a slow moving game that will ultimately leave you unsatisfied.
Dear Esther is available on Steam right now for $10. Game was played entirely on the PC with a total of 63 minutes played.