Randy Smith Evergreen, a designer known for his work on the Thief series, revealed that he declined an opportunity to work with an Xbox-funded studio due to concerns over Microsoft's history of studio closures. Smith Evergreen described the decision as analogous to "walking past some stakes with human skulls on them and being like, 'It's probably fine in this direction.'"
At the time of the offer, Smith Evergreen's own studio was struggling with funding for a nonviolent RPG project. He recalled the "lowest moment of our funding search" when considering the Xbox offer as a means to provide for his family. Ultimately, he stuck with his project and secured funding, a decision he believes was validated by recent layoffs at Microsoft.
The designer specifically pointed to the closure of Arkane Austin, the studio behind games like Dishonored and Prey, as a significant warning. "I have countless friends who worked there or were the founders of that studio, and I know the high quality work that they're capable of," Smith Evergreen stated. "And I know the tortured history of their last project, Redfall, and that its shortcomings weren't entirely attributable to the talent in that studio. For Xbox to buy them and quickly turn around in a few short years and dissolve the studio was just a pretty dire warning."
Smith Evergreen's team successfully secured funding and is now working on an unannounced game that evolved from their original RPG pitch. He described the development as a challenging but ultimately rewarding process. "But where it is today is great. In our case, it did not torture the concept out of desirability. It's still a great game that we're excited to work on."
Reflecting on past industry pressures, Smith Evergreen recalled Eidos's influence on Thief: Deadly Shadows, where the publisher pushed for increased violence. "They didn't want to call it Thief 3, and they did want to emphasize murder," he said, noting the team was not enthusiastic about the direction.
He also suggested that the high cost of modern AAA development may render the immersive sim genre ill-suited for the biggest budgets. Smith Evergreen posited that a "triple-I or double-A" approach, with budgets between three and ten million dollars, could be more viable for passionate teams. He referenced the original Thief's $3 million budget, arguing that a smaller, more focused immersive sim today might not sell disproportionately fewer copies than a $250 million one.
"I remember back when Alan Wake came out I was like, 'OK, this is relatively photoreal. I know 100% that I'm on a ferry. I see that I'm going to an island in the Pacific Northwest. Why do we need more graphics?' Because they just cost a ton," Smith Evergreen commented on the necessity of graphical fidelity.
Looking ahead, Smith Evergreen expressed interest in a low-budget Thief entry that prioritizes gameplay and creativity over excessive graphical detail. He noted the upcoming remaster of Thief: The Dark Project, stating that he is excited to play it with fresh eyes. "I used to say that when I played Dishonored, that was the first time I ever played a Thief game," he admitted, highlighting the distinct experience of development versus play.
Smith Evergreen's perspective aligns with other industry veterans who have faced challenges in securing funding for their projects. Reports indicate similar struggles for Dragon Age's David Gaider and Jeff Gardiner's RPG Wyrdsong, underscoring the current difficulties in launching new games, particularly within the immersive sim space.