Everything, then, is an exercise in blurring.Jumping from another vessel to another isn't the only thing you can do; you can also dance, via a button that makes the objects in your control move in. Everything, Everything offers some creative flourishes on a fairly typical teen romance that succeeds thanks to its young stars. Molly Freeman May 19, 2017 Everything, Everything Trailer & Poster: Live One Perfect Day.
| Everything | |
|---|---|
| Developer(s) | David OReilly |
| Publisher(s) | Double Fine Productions |
| Programmer(s) | Damien Di Fede |
| Composer(s) | Ben Lukas Boysen & Sebastian Plano |
| Engine | Unity |
| Platform(s) | Microsoft Windows, macOS, PlayStation 4, Linux, Nintendo Switch |
| Release |
|
| Genre(s) | Simulation |
| Mode(s) | Single-player |
Everything is a simulation game developed by artist David OReilly. It was released for the PlayStation 4 on March 21, 2017, for Microsoft Windows and macOS on April 21, 2017, and for Linux on April 28, 2017. A Nintendo Switch version of the game was released on January 10, 2019.[1] It was released in Japan on February 13, 2020.[2] The game sees the player take control of various lifeforms and inanimate objects, exploring the procedurally generated world and finding new things to take control of. Everything features quotations from philosopher Alan Watts and has no clear goal aside from occupying more objects within the game. It received critical acclaim and was qualified for the Oscars.
Gameplay[edit]
Everything is a simulation game where the player has the ability to explore a procedurally generated universe and control various objects within it. The player starts as one of many possible creatures and has the ability to move around.[3] Initially, the player can shift their control to any creature or object smaller than the current one they occupy; this shifts the scale of the game to reflect this. Corel painter 2020 20 0 0 256. Eventually the player can only shift into smaller and smaller parts of matter, down to the sub-atomic level, after which the game then allows the player to shift to larger objects as well. From this point, the player can take forms that include landmasses, planets, and whole star systems. As the player moves and shifts forms, they will find other creatures or objects speaking to them.[4] The game uses a number of levels of 'existence', representing different length scales, which the player can move between as they shift into different objects.[5]
When a player 'bonds' with a form for the first time, by moving or 'singing', that object is added to an in-game encyclopedia catalogued by type. At any time, the player can shift to any form they have already previously inhabited, though this form will be scaled appropriately to the current scale the player is at: taking the form of a planet in the middle of a street will produce a miniature-sized planet. A goal of the game is to complete this encyclopedia and occupy all objects available in Everything.[6] Throughout the game, quotes from philosopher Alan Watts are given to the player.[4] If the player lets the game sit idle, the game will cycle through various scenes on its own.[4][3] Once the player has completed the game through completing the encyclopedia, they can start in a New Game Plus-type mode, but here starting from any random object in the game.[3]
Development[edit]
Everything was developed by Irish artist David OReilly. He previously had developed the game Mountain, in which players had limited interactions with a virtual mountain.[7]Mountain had been developed using the Unity game engine, which OReilly had to teach to himself. As he worked with the engine, he saw the potential about representing nature with real-time systems within Unity, forming part of the inspiration for Everything.[3]
The game was published by Double Fine Productions, who had also published Mountain. In the initial announcement, OReilly described the game as 'about the things we see, their relationships, and their points of view. In this context, things are how we separate reality so we can understand it and talk about it with each other'.[7] He also considered Everything to be a continuation of themes he had introduced in Mountain.[8][4] Later, OReilly described his hope for players of the game: 'I want Everything to make people feel better about being alive. Not as an escape or distraction, or arbitrary frustration, but something you would leave and see the world in a new light.'[9] Besides the ideas of Watts, OReilly said that Everything's approach and narrative includes Eastern philosophy, continental philosophy, and stoicism.[3]
The game was developed by a three-person team, including Damien Di Fede, who had assisted OReilly in programming Mountain.[10] With the small team on an experimental title, several simplifications were made; for example creatures do not have walk cycles but instead simply flip head to feet to move. OReilly said such decisions, while breaking the reality of the game are 'the most interesting solution to particular problems in order to create a totality' for the work.[3][11][5] Additionally, OReilly considered how these animations were similar to the work done in early days of computer animation where artists would attempt to animate a wide range of objects.[12] The ability for the game to auto-play should the player go idle captured OReilly's idea that nature itself occurs on its own, without any intervention.[3]
Everything Everything 2017 Movie Download
Reception[edit]
| Reception | |||||
|---|---|---|---|---|---|
|
Polygon reviewed the game favorably, noting that it is a 'magical playpen of being, rather than doing', while also pointing out its confusing, contradictory nature.[16]
An 11-minute trailer for Everything, featuring a voice-over by British philosopher Alan Watts, won the Jury Prize at the 2017 Vienna Independent Shorts film festival in May 2017; due to this, it was on the longlist for consideration for the Academy Award for Best Animated Short Film at the 90th Academy Awards, making it the first video game trailer to qualify for the Oscars.[17][18]Eurogamer ranked the game 37th on their list of the 'Top 50 Games of 2017',[19] while Polygon ranked it ninth on their list of the 50 best games of 2017.[20]
The game won the award for 'Most Innovative' at the Games for Change Awards,[21] and was nominated for 'Best Indie Game' at the Golden Joystick Awards,[22] and for the Off-Broadway Award for Best Indie Game at the New York Game Awards 2018.[23] It was also nominated for the 'Innovation Award' at the 18th Annual Game Developers Choice Awards,[24][25] for the 'D.I.C.E. Sprite Award' at the 21st Annual D.I.C.E. Awards,[26] and for 'Game, Special Class' at the 17th Annual National Academy of Video Game Trade Reviewers Awards.[27][28]Polygon named the game among the decade's best.[29]
References[edit]
- ^Frank, Allegra (2019-01-03). 'Everything (the game) is heading to Switch'. Polygon. Retrieved 2019-01-04.
- ^'Everything'. Nintendo Japan. Retrieved February 18, 2020.
- ^ abcdefgParton, Will (March 31, 2017). 'A Short Conversation About 'Everything' with Creator David OReilly'. Glixel. Retrieved April 2, 2017.
- ^ abcdFarokhmanesh, Megan (March 21, 2017). 'A video game about being everything is less stressful than it sounds'. The Verge. Retrieved March 21, 2017.
- ^ abPavlus, John (April 5, 2016). 'A Video Game About The Secret Lives Of Everything In The Universe'. Fast Company. Retrieved March 21, 2017.
- ^Parkin, Simon (March 21, 2017). 'Everything is the most ambitious catalogue of things ever committed to a video game'. Eurogamer. Retrieved March 21, 2017.
- ^ abMuncy, Jake (March 10, 2016). 'In the New Game Everything, You Can Be, Well, Everything'. Wired. Retrieved March 21, 2017.
- ^Meija, Ozzie (March 8, 2016). 'Double Fine explores Everything with the creator of Mountain'. Shacknews. Retrieved March 21, 2017.
- ^Coulture, Joel (January 25, 2017). 'Road to the IGF: David O'Reilly's Everything'. Gamasutra. Retrieved March 21, 2017.
- ^Cone, Justin (July 14, 2014). 'David O'Reilly: Mountain Q&A'. Motiongrapher. Retrieved April 3, 2017.
- ^Rossignol, Derrick (March 21, 2017). 'Play as a ladybug or a traffic cone in 'Everything''. Engadget. Retrieved March 21, 2017.
- ^Francis, Bryant (April 21, 2017). 'How Everything connects the arts of animation and game design'. Gamasutra. Retrieved April 21, 2017.
- ^'EVERYTHING for PlayStation 4 Reviews'. Metacritic. CBS Interactive. Retrieved September 20, 2019.
- ^'EVERYTHING for PC Reviews'. Metacritic. CBS Interactive. Retrieved September 20, 2019.
- ^'Everything for Switch Reviews'. Metacritic. CBS Interactive. Retrieved September 20, 2019.
- ^Campbell, Colin (March 21, 2017). 'Everything review'. Polygon. Retrieved April 13, 2017.
- ^Riendeau, Danielle. 'First Oscar-Qualifying Game Allows You to be 'Everything,' Even Poop'. Vice.
- ^Matulef, Jeffrey (June 7, 2017). 'Everything has the first video game trailer eligible for an Academy Award'. Eurogamer. Retrieved June 7, 2017.
- ^Eurogamer staff (December 27, 2017). 'Eurogamer's Top 50 Games of 2017: 40-31'. Eurogamer. Retrieved December 30, 2017.
- ^Polygon staff (December 18, 2017). 'The 50 best games of 2017'. Polygon. Retrieved February 13, 2018.
- ^Crecente, Brian (August 1, 2017). 'Game Based on 'Walden' Takes Top Honors at Games for Change Awards'. Glixel. Retrieved March 19, 2018.
- ^Gaito, Eri (November 13, 2017). 'Golden Joystick Awards 2017 Nominees'. Best In Slot. Retrieved January 12, 2018.
- ^Whitney, Kayla (January 25, 2018). 'Complete list of winners of the New York Game Awards 2018'. AXS. Retrieved January 27, 2018.
- ^Gamasutra staff (January 5, 2018). 'Breath of the Wild & Horizon Zero Dawn lead GDC 2018 Choice Awards nominees!'. Gamasutra. Retrieved January 12, 2018.
- ^Makuch, Eddie (March 22, 2018). 'Legend Of Zelda: Breath Of The Wild Wins Another Game Of The Year Award'. GameSpot. Retrieved March 22, 2018.
- ^Makuch, Eddie (January 14, 2018). 'Game Of The Year Nominees Announced For DICE Awards'. GameSpot. Retrieved January 20, 2018.
- ^'Nominee List for 2017'. National Academy of Video Game Trade Reviewers. February 9, 2018. Archived from the original on February 15, 2018. Retrieved February 19, 2018.
- ^'Horizon wins 7; Mario GOTY'. National Academy of Video Game Trade Reviewers. March 13, 2018. Archived from the original on March 14, 2018. Retrieved March 15, 2018.
- ^'The 100 best games of the decade (2010–2019): 50–11'. Polygon. November 4, 2019. Retrieved November 9, 2019.
External links[edit]
| Wikimedia Commons has media related to Everything (video game). |
Review: Everything, Everything (2017)
'When I talk to him it feels like I'm outside'
I was with Nicola Yoon‘s Everything, Everything for its first three-quarters. While it's just as implausibly overwrought as The Space Between Us—another YA love story mired by a high-concept contrivance that literally places a character's life in jeopardy so he/she may experience what living free and outdoors feels like—its smaller scale concept allows its romance to shine brighter than its premise's consequences. The notion that Maddy Whittier (Amandla Stenberg) could die from her rare case of Severe Combined Immunodeficiency (SCID) looms because it drives her refusal to let it continue to dictate her life. There's no race against time to save her or true subterfuge in escape (she's eighteen and legally able to do what she wants). There's simply the awe of experiencing everything she's missed. Pixelmator 3 8 – powerful layer based image editor free.
It's manipulative, ham-fisted in its orchestration, and overtly melodramatic, but that's par for the course with this genre. Its gimmick is drawn as a metaphor for how we're all shy and awkward about real feelings, a tool inevitably proving as blatant as it is relatable. The star-crossed love at first sight between Maddy in her glass mansion and the troubled yet sensitive new boy-next-door Olly (Nick Robinson) is the stuff teens swoon about if they allow themselves the ability to look beyond its glorified puppy love suddenly being rendered as devotion. These are the things Yoon's novel and subsequently Stella Meghie‘s film utilize to target its audience and exactly what that demographic buys their tickets to see. It might not be my cup of tea, but it's effective.
Unfortunately, the author had other ideas beyond this goal. After treating us with enough respect to carry its shortcomings at face value by knowing full well what it is, the film drops a bombshell in an attempt to shock us into believing there was more to this tale than met the eye. Not only does it not earn the additional drama this reveal hopes to conjure, it renders the love story—the literal emotional backbone of the work—into afterthought. For over an hour we're made to believe the disease is Yoon's way to amplify the romance only to discover the opposite is true. It's the romance that pushes for clarity about the disease, this love opening Maddy's eyes to finally question everything she's ever known.
This doesn't make the story deeper or give greater meaning to the whirlwind romance. It just ensures that we recognize the flimsiness of the plot's foundation. I questioned many things throughout, but the supposed reality that I was watching a cute bit of romantic escapism manufacturing a reality-based imprisoned princess saved by Prince Charming scenario told me to stop. I chastised myself for reading too far into something that didn't ask me to dig only to see it pretend like it did without a shred of authenticity. The shift comes as a cheap trick, exposing cracks rather than filling them with context. What mother (Anika Noni Rose‘s Pauline) would keep her child locked away for eighteen years? What doctor wouldn't introduce ways to integrate her with the world?
There's an answer to these questions. They aren't plot-holes and yet I wish they were because then I wouldn't feel so cheated. The Space Between Us knew its idea of a boy born on Mars coming to Earth was cheesy science fiction and it put its cards on the table early for us to experience its lead character's journey as one he needed to take for himself as much as those surrounding him. If Everything, Everything did the same my reaction would be completely different. It would succeed on those grounds if it remained about Maddy risking everything to feel the sun on her face, ocean waves on her skin, and kiss on her lips. She'd teach her mother (and us) that some things are worth dying for.
By changing the game its achievements are erased. It spends so long setting up an inspirational tale of courage and conviction only to push it aside for drama that's much sadder and bleaker than anyone should prepare for since there's no time to do its complexities justice once they arrive. I often thought how everything would be more worthwhile if Yoon had mined the psychological struggles SCID provides rather than merely painting it as the unfortunate circumstances birthing a cheerful artist with multiple talents. And if she went in that direction (it's Yoon's story I take umbrage with, not Meghie's direction or J. Mills Goodloe‘s adaptation) the ending would fit. The familial drama in Olly's family would feel like more than an excuse for him to leave too.
Everything Everything 2017 Free
Instead its best moments conversely portray the two lovebirds' unbridled joy. There's a real connection between them that goes beneath the surface of lust and both Stenberg and Robinson do well playing teens with more to offer than their self-esteem allows them to believe. The scene where they meet in-person—his entrance into the airtight home being facilitated by Maddy's nurse Carla (Ana de la Reguera), a character whose empathy fits this tone a lot better than Pauline's suffocating worry—is memorably delightful with both having no clue what to do or say. A nice stylistic flourish subtitling their next encounter with the meaningful cadence/expression-laden subtext under their otherwise empty conversation earns its smile. We pull for their love even if it may end in her death.
But then comes the bombshell. The idea that what Olly and Maddy have can save them both disappears as the story pulls the rug on another type of love it had asked us to believe on faith. A synopsis of the book makes me believe Meghie and Goodloe rightfully changed things to render the ramifications of this turn as weighty as they must be (the book apparently doesn't), but it's still like we've stumbled into a completely different film. Pauline was the pawn, her authority a barrier to its central love. But now it's Olly who's revealed as the device, his inclusion serving as an excuse to pave Maddy's way towards another truth. In the end nobody's love feels real anymore and Stenberg's endearingly likeable performance is wasted.
| Wikimedia Commons has media related to Everything (video game). |
Review: Everything, Everything (2017)
'When I talk to him it feels like I'm outside'
I was with Nicola Yoon‘s Everything, Everything for its first three-quarters. While it's just as implausibly overwrought as The Space Between Us—another YA love story mired by a high-concept contrivance that literally places a character's life in jeopardy so he/she may experience what living free and outdoors feels like—its smaller scale concept allows its romance to shine brighter than its premise's consequences. The notion that Maddy Whittier (Amandla Stenberg) could die from her rare case of Severe Combined Immunodeficiency (SCID) looms because it drives her refusal to let it continue to dictate her life. There's no race against time to save her or true subterfuge in escape (she's eighteen and legally able to do what she wants). There's simply the awe of experiencing everything she's missed. Pixelmator 3 8 – powerful layer based image editor free.
It's manipulative, ham-fisted in its orchestration, and overtly melodramatic, but that's par for the course with this genre. Its gimmick is drawn as a metaphor for how we're all shy and awkward about real feelings, a tool inevitably proving as blatant as it is relatable. The star-crossed love at first sight between Maddy in her glass mansion and the troubled yet sensitive new boy-next-door Olly (Nick Robinson) is the stuff teens swoon about if they allow themselves the ability to look beyond its glorified puppy love suddenly being rendered as devotion. These are the things Yoon's novel and subsequently Stella Meghie‘s film utilize to target its audience and exactly what that demographic buys their tickets to see. It might not be my cup of tea, but it's effective.
Unfortunately, the author had other ideas beyond this goal. After treating us with enough respect to carry its shortcomings at face value by knowing full well what it is, the film drops a bombshell in an attempt to shock us into believing there was more to this tale than met the eye. Not only does it not earn the additional drama this reveal hopes to conjure, it renders the love story—the literal emotional backbone of the work—into afterthought. For over an hour we're made to believe the disease is Yoon's way to amplify the romance only to discover the opposite is true. It's the romance that pushes for clarity about the disease, this love opening Maddy's eyes to finally question everything she's ever known.
This doesn't make the story deeper or give greater meaning to the whirlwind romance. It just ensures that we recognize the flimsiness of the plot's foundation. I questioned many things throughout, but the supposed reality that I was watching a cute bit of romantic escapism manufacturing a reality-based imprisoned princess saved by Prince Charming scenario told me to stop. I chastised myself for reading too far into something that didn't ask me to dig only to see it pretend like it did without a shred of authenticity. The shift comes as a cheap trick, exposing cracks rather than filling them with context. What mother (Anika Noni Rose‘s Pauline) would keep her child locked away for eighteen years? What doctor wouldn't introduce ways to integrate her with the world?
There's an answer to these questions. They aren't plot-holes and yet I wish they were because then I wouldn't feel so cheated. The Space Between Us knew its idea of a boy born on Mars coming to Earth was cheesy science fiction and it put its cards on the table early for us to experience its lead character's journey as one he needed to take for himself as much as those surrounding him. If Everything, Everything did the same my reaction would be completely different. It would succeed on those grounds if it remained about Maddy risking everything to feel the sun on her face, ocean waves on her skin, and kiss on her lips. She'd teach her mother (and us) that some things are worth dying for.
By changing the game its achievements are erased. It spends so long setting up an inspirational tale of courage and conviction only to push it aside for drama that's much sadder and bleaker than anyone should prepare for since there's no time to do its complexities justice once they arrive. I often thought how everything would be more worthwhile if Yoon had mined the psychological struggles SCID provides rather than merely painting it as the unfortunate circumstances birthing a cheerful artist with multiple talents. And if she went in that direction (it's Yoon's story I take umbrage with, not Meghie's direction or J. Mills Goodloe‘s adaptation) the ending would fit. The familial drama in Olly's family would feel like more than an excuse for him to leave too.
Everything Everything 2017 Free
Instead its best moments conversely portray the two lovebirds' unbridled joy. There's a real connection between them that goes beneath the surface of lust and both Stenberg and Robinson do well playing teens with more to offer than their self-esteem allows them to believe. The scene where they meet in-person—his entrance into the airtight home being facilitated by Maddy's nurse Carla (Ana de la Reguera), a character whose empathy fits this tone a lot better than Pauline's suffocating worry—is memorably delightful with both having no clue what to do or say. A nice stylistic flourish subtitling their next encounter with the meaningful cadence/expression-laden subtext under their otherwise empty conversation earns its smile. We pull for their love even if it may end in her death.
But then comes the bombshell. The idea that what Olly and Maddy have can save them both disappears as the story pulls the rug on another type of love it had asked us to believe on faith. A synopsis of the book makes me believe Meghie and Goodloe rightfully changed things to render the ramifications of this turn as weighty as they must be (the book apparently doesn't), but it's still like we've stumbled into a completely different film. Pauline was the pawn, her authority a barrier to its central love. But now it's Olly who's revealed as the device, his inclusion serving as an excuse to pave Maddy's way towards another truth. In the end nobody's love feels real anymore and Stenberg's endearingly likeable performance is wasted.
Score:4/10
Rating: PG-13 | Runtime: 96 minutes | Release Date: May 19th, 2017 (USA)
Studio: Warner Bros.
Director(s): Stella Meghie
Writer(s): J. Mills Goodloe / Nicola Yoon (novel)
Everything (2017)
Jared Mobarak
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