David OReilly: Gaming as Art – Crafting Interactive Universes of Emotion and Philosophy

source: barbican

Few creators have reshaped the boundaries of interactive media quite like David OReilly. A visionary digital artist and game designer, OReilly is celebrated for his work at the intersection of philosophy, art, and play. Best known for the games Mountain and Everything, he has carved out a unique space in the world of game design — one where contemplation matters as much as competition, and where players are invited to reflect rather than conquer.

OReilly's projects defy easy categorization. They aren’t traditional games with objectives and scores; instead, they are immersive thought experiments that challenge players to see the world — and themselves — differently. His first major interactive work, Mountain (2014), casts the player not as a character, but as a mountain. With no direct control over the environment, and only ambient sounds and weather to observe, players are encouraged to engage in quiet observation. It was a radical departure from mainstream gaming norms — meditative, poetic, and strangely emotional.

But it was with Everything (2017) that OReilly’s vision truly took flight. In this expansive philosophical simulator, players can inhabit literally anything — from a single atom to a galaxy, from a blade of grass to a planet. As they move between forms, they’re accompanied by narrated excerpts from philosopher Alan Watts, creating an experience that is both deeply immersive and profoundly introspective. Everything isn't just a game — it’s a meditation on existence, interconnectedness, and the nature of consciousness.

OReilly has long argued that video games and interactive experiences deserve recognition as legitimate forms of artistic expression. 

Through his work, he dismantles the assumption that games must be action-driven or goal-oriented. Instead, he shows how interactive media can become tools for philosophical exploration, emotional storytelling, and visual poetry. His minimalist aesthetic, bold concepts, and refusal to conform to industry expectations have earned him widespread acclaim — not just from gamers, but from artists, filmmakers, and scholars alike.

Before entering the gaming world, OReilly made a name for himself in animation. His short films, such as The External World and his fictional animations within Her (Spike Jonze’s 2013 film), display a distinctive, stylized aesthetic and a willingness to explore dark humor and surrealism. These early works laid the foundation for his later focus on interactivity, pushing beyond linear storytelling into open-ended, player-driven narratives.

What sets OReilly apart is his refusal to compartmentalize. For him, art, technology, design, and narrative are not separate disciplines — they are pieces of a unified creative vision. Whether it’s a strange, pixelated tree swaying in the wind or a cosmic dance between stars and microorganisms, his work invites players to slow down, think deeply, and engage emotionally.

In the spirit of this issue’s theme — Creative Futures: Celebrating Innovation in Digital Arts & Technology — OReilly exemplifies how digital media can serve as a canvas for big ideas. As gaming continues to evolve as a medium, his creations remind us of its limitless potential: not just to entertain, but to enlighten. His games become spaces for introspection, experiences that resonate long after the screen goes dark.

David OReilly’s work isn’t just about the future of gaming — it’s about the future of consciousness in a digital age. He challenges us to rethink what it means to “play,” suggesting that the truest form of interaction may lie not in doing, but in being. And in a world often driven by noise and speed, his gentle, philosophical universes offer something increasingly rare — the space to pause, reflect, and imagine.

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