Thief designer says immersive sim audience is too small for AAA games

The world of immersive simulation games often finds itself caught in a frustrating paradox: a deep, niche genre striving for mainstream recognition within the massive, demanding arms race of AAA development. For designers who have pioneered this style, the pressure to scale up has become an existential challenge.

Randy Smith Evergreen, a veteran designer with credits spanning classics like Thief: The Dark Project and System Shock 2, believes that many modern immersive sims are misreading the market. He argues that the current trend—pushing for bigger budgets and broader appeal—is often a dead end for games built on deep systemic design.

“Myself and other folks who have worked extensively on immersive sims have a belief that the immersive sims that are being created today and are slated for the future are, by and large, thinking of themselves as [existing] in an arms race to be bigger and better,” he states. This mentality demands parity with behemoths like Ghost of Tsushima or GTA 6.

The problem lies in the audience size. While large studios chase blockbusters, immersive sims risk alienating their core community by trying to fit into a commercial mold that simply doesn’t align with the genre’s unique appeal.

This mismatch was painfully evident in the history of major developers like Arkane. Landmark titles such as Dishonored 2 and Prey were often perceived as commercial disappointments, largely because their expectations clashed with the realities of the niche market they were targeting.

The shifting landscape further complicated matters. When major publishers like Bethesda transitioned or were absorbed by Microsoft, the fate of genre-defining studios became precarious. The recent closures and restructuring in the industry highlight a painful reality: if a studio with significant talent cannot adapt its vision to fit the AAA mold, their future becomes uncertain.

Evergreen suggests a different path forward. Instead of entering the high-stakes arms race, he advocates for developers to focus on what they do best—creating authentic immersive experiences—rather than chasing massive sales figures that often distort artistic integrity.

He points to successful indie titles like Heat Signature and Gloomwood as proof that profitability can be achieved without relying on bloated budgets or inflated expectations. These games demonstrate that immersive sims can reach audiences effectively, even when operating outside the massive AAA spotlight.

The message is clear: true innovation in the immersive sim space may come not from chasing the $250 million budget, but from embracing a more passionate, focused approach. By opting for an AA or III budget—around $3 to $10 million—developers can leverage existing engines and potent aesthetics to create deep, compelling experiences that satisfy their community without succumbing to the commercial pressures of the big studio machine.