In the beginning I was an elephant. My first play-through of David OReilly’s computer game “Everything” started inside the skin of a trunked animal. Shortly after that I slipped into the body of a beetle, I transformed into a grain of pollen and back again. I guided tufts of grass and turned into a palm tree, an island, but also a billiard table, a guitar, the sun and the galaxy in which I was everything simultaneously, embodying all the things it contained. One aspect of OReilly’s “Everything” is its playing with this constant change of perspective, observing things and the world with the eyes of other things. Another is that the game plays with changes of scale, so that the previously embodied object becomes the measure of the next. It is a voyage from small to large, from micro- to macrocosm and back again, just like in the famous experimental film Powers of 10 (1977) by Charles and Ray Eames. The essential difference to the film is clearly that “Everything” is a digital game, an interactive work through which no one passage is the same as another and which is received individually depending on which path the player chooses through...