History Main / ImmersiveSim

* '''Consistency'''. As noted above, special cases and one-offs are generally few and far in-between: e.g. there are no {{Invisible Wall}}s and no GameplayAllyImmortality -- but even if an important NPC bites the dust, there is no GameOver, and the simulation [[AnyoneCanDie just carries on]]. In fact, player character's death is often the only explicit failure state.

* '''High level of player agency'''. Players are thrown into the virtual space and given goals to achieve and tools to use, but no predetermined paths to follow. Instead, they are expected to explore and to find the best way to reach their goal in a [[CombatDiplomacyStealth manner]] that best suits the tools and resources they have, relying on creativity and improvisation instead of on guessing the "correct" solution. The designers may offer some entry points and starting suggestions, in order to avoid overwhelming the players, but these are never rigid paths to be followed for the rest of the level (or even the game).

* '''High reactivity'''. The game world [[ChoiceAndConsequenceSystem reacts to the player's actions]] and observably evolves over time. StoryBranching often occurs not via explicit (dialogue) choices, but through gameplay actions, including ones that may appear like SequenceBreaking at first.

** ''VideoGame/BioShockInfinite'', on the other hand, is generally ''not'' considered part of the genre, due to its extremely linear level progression and heavy emphasis on FirstPersonShooter mechanics. Its two-part DLC ''BioShockInfinite/BurialAtSea'', however, was a deliberate return both to Rapture and to the immersive sim mechanics of the previous two games (part two even includes a challenge "1998 Mode" as a throwback to the original ''Thief'').[[index]]

** The [[VideoGame/Thief2014 2014 reboot]] by Eidos Montreal, however, is not considered part of the genre anymore, for much the same reasons as ''[=BioShock=] Infinite'': more linear level traversal with less exploration appeal; reliance of scripted events; reactive, rather than proactive AI; and a smaller, yet more specialized toolset to overcome challenges. One change that is often cited to illustrate the difference between simulated and scripted worlds is that the [[TrickArrow rope arrows]] in the new ''Thief'' can only be attached to hotspots placed by the level designers, rather than to ''any'' wooden surface, like in the older games.[[index]]

Because the term "immersive sim" has been so obscure for many years, most games in this genre are traditionally filed under FirstPersonShooter, StealthBasedGame, or WesternRPG labels. On a final note, many games in the WideOpenSandbox and {{Stealth|BasedGame}} genres tend to incorporate elements of immersive sims without going too deep into the EmergentGameplay territory. Examples of these include Creator/{{Bethesda}}'s [[NPCScheduling Radiant AI]]-based [=RPGs=] (''Franchise/TheElderScrolls'' from part four onward, ''VideoGame/Fallout3'' et seq.) and the ''VideoGame/{{Hitman}}'' series. For more details on the genre, see Mark Brown's [[https://www.youtube.com/watch?v=kbyTOAlhRHk video]] and Wiki/TheOtherWiki's [[https://en.wikipedia.org/wiki/Immersive_sim article]] on the topic.

Because the term "immersive sim" has been so obscure for many years, most games in this genre are traditionally filed under FirstPersonShooter, StealthBasedGame, or WesternRPG labels. On a final note, many games in the WideOpenSandbox and {{Stealth|BasedGame}} genres tend to incorporate elements of immersive sims without going all the way. Examples of these include Creator/{{Bethesda}}'s [[NPCScheduling Radiant AI]]-based [=RPGs=] (''Franchise/TheElderScrolls'' from part four onwards, ''VideoGame/Fallout3'' et seq.) and the ''VideoGame/{{Hitman}}'' series. For more details on the genre, see Mark Brown's [[https://www.youtube.com/watch?v=kbyTOAlhRHk video]] and Wiki/TheOtherWiki's [[https://en.wikipedia.org/wiki/Immersive_sim article]] on the topic.

* '''High systemicity'''. The game is governed by global rules (such as the UsefulNotes/PhysicsEngine and NPCScheduling), properties, and mechanics that work consistently throughout, with minimal use of systemic exceptions like {{Scripted Event}}s, one-off animations, and cutscene set pieces. Immersive sims also tend to recycle previously introduced elements and obstacles in different contexts.

* '''High systemicity'''. The game is governed by global rules (such as the UsefulNotes/PhysicsEngine and NPCScheduling), properties, and mechanics that work consistently throughout, with minimal use of systemic exceptions like scripted events, one-off animations, and cutscene set pieces. Immersive sims also tend to recycle previously introduced elements and obstacles in different contexts.

Because the genre had historically evolved under the expectation that VirtualReality technology was just around the corner, games in it tend to feature UnbrokenFirstPersonPerspective and {{Diegetic Interface}}s to improve their PlayerAndProtagonistIntegration (although this is not a requirement). {{Exposition}} and WorldBuilding tend to be handled through [[EnvironmentalNarrativeGame environmental storytelling]], with StoryBreadcrumbs scattered throughout the game world to encourage exploration thereof (BackTracking is a common activity). Many games in this genre also contain nods to the number [[https://www.youtube.com/watch?v=zAtAyycx-uY 0451]], commonly used as the first password the player uses, referencing the original ''VideoGame/SystemShock'' (where it was, in turn, a reference to ''Literature/Fahrenheit451'').

* '''Emergence'''. Interactions between various game subsystems facilitate emergent combinations thereof that the developers did not explicitly code into the game. Combined with high player agency, this also enables the UnexpectedlyRealisticGameplay characteristic of the genre.

Because the genre had historically evolved under the expectation that VirtualReality technology was just around the corner, games in it tend to feature UnbrokenFirstPersonPerspective and {{Diegetic Interface}}s to improve their PlayerAndProtagonistIntegration (although this is not a requirement). {{Exposition}} and WorldBuilding tend to be handled through [[EnvironmentalNarrativeGame environmental storytelling]], with StoryBreadcrumbs scattered throughout the game world to encourage exploration thereof (BackTracking is a common activity). Many games in this genre also contain nods to the number [[https://www.youtube.com/watch?v=zAtAyycx-uY 0451]], referencing the original ''VideoGame/SystemShock'' (where it was, in turn, a reference to ''Literature/Fahrenheit451'').

* ''VideoGame/ArxFatalis'' (2002, Creator/{{Arkane|Studios}}), intended as a SpiritualSuccessor to ''Ultima Underworld'', is likewise set in a giant underground cavern populated by a simulated FantasyKitchenSink of various creatures. The player character's task is to find a way to prevent the arrival of a GodOfEvil by manipulating the game systems to obtain a weapon strong enough to banish him. Notably, there is no dialogue system, and the player instead makes StoryBranching choices, including different quest resolutions exclusively through in-game actions.
* ''VideoGame/BioShock1'' (2007, Creator/{{Irrational|Games}}) sees the player trapped in an underwater city of Rapture, once utopian, but now fallen to anarchy and civil war. It features a simulated ecosystem of splicers, Big Daddies, and Little Sisters, and although split into distinct areas, they can still be traversed in many ways and most previous ones remain accessible (although there is rarely any point in returning).

Because the term "immersive sim" has been so obscure for many years, most games in this genre are traditionally filed under FirstPersonShooter, StealthBasedGame, or WesternRPG labels. On a final note, many games in the WideOpenSandbox and {{Stealth|BasedGame}} genres tend to incorporate elements of immersive sims without going all the way. Examples of these include Creator/{{Bethesda}}'s [[NPCScheduling Radiant AI]]-based [=RPGs=] (''Franchise/TheElderScrolls'' from part four onwards, ''VideoGame/Fallout3'' et seq.) and the ''VideoGame/{{Hitman}}'' series. For more details on the genre, see Mark Brown's [[https://www.youtube.com/watch?v=kbyTOAlhRHk video]] on the topic and TheOtherWiki's [[https://en.wikipedia.org/wiki/Immersive_sim article]] on it.

* ''VideoGame/{{Dishonored}}'' (2012, Arkane) is set in the [[ThePlague plague-stricken]] city of Dunwall and follows the ''Thief'' model of levels clearly separated by mission, with each level simulating the behavior of city guards, civilians, zombie-like weepers, and wildlife (e.g. rats). Unlike in ''Thief'', the player character Corvo Attano may use both stealth, and open violence, or any combination of the two to achieve to assassinate (or otherwise put out of commission) his marks. The ''Knife of Dunwall'' and ''Brigmore Witches'' DLC duology starring the assassin Daud follows the same model, at one point even simulating an all-out MobWar between two Dunwall gangs.

Because the genre had historically evolved under the expectation that VirtualReality technology was just around the corner, games in it tend to feature UnbrokenFirstPersonPerspective and {{Diegetic Interface}}s to improve their PlayerAndProtagonistIntegration (although this is not a requirement). {{Exposition}} and WorldBuilding tend to be handled through [[EnvironmentalNarrativeGame environmental storytelling]], with StoryBreadcrumbs scattered throughout the game world in order to encourage exploration thereof (BackTracking is a common activity). Many games in this genre also contain nods to the number [[https://www.youtube.com/watch?v=zAtAyycx-uY 0451]], referencing the original ''VideoGame/SystemShock'' (where it was, in turn, a reference to ''Literature/Fahrenheit451'').

Because the genre had historically evolved under the expectation that VirtualReality technology was just around the corner, games in it tend to feature UnbrokenFirstPersonPerspective and {{Diegetic Interface}}s to improve their PlayerAndProtagonistIntegration (although this is not a requirement). {{Exposition}} and WorldBuilding tend to be handled through [[EnvironmentalNarrativeGame environmental storytelling]] and StoryBreadcrumbs scattered throughout the game world in order to encourage exploration thereof (BackTracking is a common activity). Many games in this genre also contain nods to the number [[https://www.youtube.com/watch?v=zAtAyycx-uY 0451]], referencing the original ''VideoGame/SystemShock'' (where it was, in turn, a reference to ''Literature/Fahrenheit451'').

* '''High level of player agency'''. Players are thrown into the virtual space and given goals to achieve and tools to use, but no predetermined paths to follow. Instead, they are expected to explore and to find the best way to reach their goal in a [[CombatDiplomacyStealth manner that best suits]] the tools and resources they currently have, relying on creativity and improvisation instead of on guessing the "correct" solution. The designers may offer some entry points and starting suggestions, in order to avoid overwhelming the players, but these are never rigid paths to be followed for the rest of the level (or even the game).

* '''High level of player agency'''. Players are thrown into the virtual space and given goals to achieve and tools to use, but no predetermined paths to follow. Instead, they are expected to explore and to find the best way to reach their goal in a [[CombatDiplomacyStealth manner that best suits]] the tools and resources currently available to them, relying on creativity and improvisation instead of on guessing the "correct" solution. The designers may offer some entry points and starting suggestions, in order to avoid overwhelming the players, but these are never rigid paths to be followed for the rest of the level (or even the game).

* '''High level of player agency'''. Players are thrown into the virtual space and given goals to achieve and tools to use, but no predetermined paths to follow. Instead, they are expected to explore and to find the best way to reach their goal in a manner that best suits their [[CombatDiplomacyStealth current tactics and playstyle]], relying on creativity and improvisation instead of on guessing the "correct" solution. The designers may offer some entry points and starting suggestions, in order to avoid overwhelming the players, but these are never rigid paths to be followed for the rest of the level (or even the game).

* '''High level of player agency'''. Players are thrown into the virtual space and given goals to achieve and tools to use, but no predetermined paths to follow. Instead, they are expected to explore and to find the best way to reach their goal in a manner that best suits their [[CombatDiplomacyStealth current tactics and playstyle]], relying on creativity and improvisation instead of finding the "correct" solution. The designers may offer some entry points and starting suggestions, in order to avoid overwhelming the players, but these are never rigid paths to be followed for the rest of the level (or even the game).

* '''High systemicity'''. The game is governed by global rules (such as the UsefulNotes/PhysicsEngine), properties, and mechanics that work consistently throughout, with minimal use of systemic exceptions like scripted events, one-off animations, and cutscene set pieces. Immersive sims also tend to recycle previously introduced elements and obstacles in different contexts.

Because the term "immersive sim" has been so obscure for many years, most games in this genre are traditionally filed under FirstPersonShooter, StealthBasedGame, or WesternRPG labels. On a final note, many games in the WideOpenSandbox and {{Stealth|BasedGame}} genres tend to incorporate elements of immersive sims without going all the way. Examples of these include Creator/{{Bethesda}}'s Radiant AI-based [=RPGs=] (''Franchise/TheElderScrolls'' from part four onwards, ''VideoGame/Fallout3'' et seq.) and the ''VideoGame/{{Hitman}}'' series. For more details on the genre, see Mark Brown's [[https://www.youtube.com/watch?v=kbyTOAlhRHk video]] on the topic and TheOtherWiki's [[https://en.wikipedia.org/wiki/Immersive_sim article]] on it.

** The [[VideoGame/Thief2014 2014 reboot]] by Eidos Montreal, however, is not considered part of the genre anymore, for much the same reasons as ''[=BioShock=] Infinite'': a much more linear level traversal (reducing the exploration element), reliance of scripted events, reactive AI, and a smaller, yet more specialized toolset to overcome challenges. One change that is often cited to illustrate the difference between simulated and scripted world is that the [[TrickArrow rope arrows]] in the new ''Thief'' can only be attached to hotspots placed by the level designers, rather than to ''any'' wooden surface, like in the older games.[[index]]

** ''VideoGame/SystemShock2'' (1999, Irrational) is set some time after the first game on two docked spaceships, the ''Von Braun'' and the ''Rickenbacker'', after both have been overrun by the mutagenic alien hive mind known as "the Many".

* ''VideoGame/{{Pathologic}}'' (2005, Creator/IcePickLodge) is set in an unnamed stepped town ravaged by a mysterious epidemic, and the player steers one of three variously eccentric characters in an attempt to find a cure. Notably, the game runs in actual RealTime and always ends after 12 [[InUniverseGameClock in-universe days]], and it is entirely possible to miss the vast majority of the story events unless you know exactly when and where the next one will occur.

Since the term "immersive sim" has been quite obscure for years, games in this genre are traditionally filed under FirstPersonShooter, StealthBasedGame, or WesternRPG labels. On a final note, many games in the WideOpenSandbox and {{Stealth|BasedGame}} genres tend to incorporate elements of immersive sims without going all the way. Examples of these include Creator/{{Bethesda}}'s Radiant AI-based [=RPGs=] (''Franchise/TheElderScrolls'' from part four onwards, ''VideoGame/Fallout3'' et seq.) and the ''VideoGame/{{Hitman}}'' series. For more details on the genre, see Mark Brown's [[https://www.youtube.com/watch?v=kbyTOAlhRHk video]] on the topic and TheOtherWiki's [[https://en.wikipedia.org/wiki/Immersive_sim article]] on it.

On a final note, many games in the WideOpenSandbox and {{Stealth|BasedGame}} genres tend to incorporate elements of immersive sims without going all the way. Examples of these include Creator/{{Bethesda}}'s Radiant AI-based [=RPGs=] (''Franchise/TheElderScrolls'' from part four onwards, ''VideoGame/Fallout3'' et seq.) and the ''VideoGame/{{Hitman}}'' series. For more details on the genre, see Mark Brown's [[https://www.youtube.com/watch?v=kbyTOAlhRHk video]] on the topic and TheOtherWiki's [[https://en.wikipedia.org/wiki/Immersive_sim article]] on it.

** ''VideoGame/ThiefDeadlyShadows'' (2004, Ion Storm Austin) introduced to the series the central hub level, consisting of several districts of the City, from which the plot mission locations are accessed and which are unlocked for exploration gradually as the story progresses. This has also closed the last immersion-breaking gap of the previous games, transforming the shopping screens between their missions into a [[GameplayAndStoryIntegration in-universe interaction]].[[/index]]

* ''VideoGame/UltimaUnderworld: The Stygian Abyss'' (1992, Looking Glass) is usually named as the UrExample of the genre. A SpinOff of the ''Franchise/{{Ultima}}'' series, it put the recurring dungeon of the Stygian Abyss into the focus, simulating its massive and complex multi-level ecosystem in real time. The series' overarching PlayerCharacter, the Avatar, found himself thrown into the Abyss with an overarching task to free a kidnapped damsel from a powerful demon but no obvious path towards it, requiring the player to try out different strategies and to improvise. [[http://www.pcgamer.com/the-designers-of-dishonored-bioshock-2-and-deus-ex-swap-stories-about-making-pcs-most-complex-games/2/ Warren Spector's inspiration]] for this emergent approach to in-game problem solving came from ''TabletopGame/DungeonsAndDragons'' and from watching a playtester solve an UnwinnableByMistake puzzle in ''VideoGame/UltimaVI'' by exploiting the fact that his animal companion Sherry the Mouse could squeeze under a locked door and open it from the other side. Lessons learned from ''UU'' influenced both ''Ultima Underworld II: Labyrinth of Worlds'' (1993, Looking Glass) and ''VideoGame/UltimaVII'' to a considerable degree.

* ''VideoGame/UltimaUnderworld: The Stygian Abyss'' (1992, Looking Glass) is usually named as the UrExample of the genre. A SpinOff of the ''Franchise/{{Ultima}}'', it put the recurring dungeon of the Stygian Abyss into the focus, simulating its massive and complex multi-level ecosystem in real time. The series' overarching PlayerCharacter, the Avatar, found himself thrown into the Abyss with an overarching task to free a kidnapped damsel from a powerful demon but no obvious path towards it, requiring the player to try out different strategies and to improvise. [[http://www.pcgamer.com/the-designers-of-dishonored-bioshock-2-and-deus-ex-swap-stories-about-making-pcs-most-complex-games/2/ Warren Spector's inspiration]] for this emergent approach to in-game problem solving came from ''TabletopGame/DungeonsAndDragons'' and from watching a playtester solve an UnwinnableByMistake puzzle in ''VideoGame/UltimaVI'' by exploiting the fact that his animal companion Sherry the Mouse could squeeze under a locked door and open it from the other side. Lessons learned from this game influenced both ''Ultima Underworld II: Labyrinth of Worlds'' (1993, Looking Glass) and ''VideoGame/UltimaVII'' to a considerable degree.