Wim Reygaert

The through-line

Across these sources, Wim Reygaert keeps returning to the idea that a creative tool succeeds when it produces things its makers didn't plan for, and that the surest sign of momentum is watching numbers move in real time. Early on, in the CNBC interview, his focus is on scale and access: getting "many people" onto Apple's Vision Pro to prove out XR technology, with Oisoi Studio at eight people [10]. By the time of the Painting PC launch, that same instinct toward broad reach shows up as public wishlist-counting and open invitations for testers [6][7][4], while the emotional payoff shifts from market-building to individual stories, like a player who says the game helped them reconnect with something they'd lost [2]. The throughline is a preoccupation with unpredictable, user-driven meaning: what people do with the tool matters more to him than what was designed into it [1][2].

On unexpected creativity

Reygaert repeatedly highlights moments where users surprise him with what they make. Describing a player-made painting of "a realistic pigeon wearing a tiny fluorescent security vest, standing guard over an abandoned, half-eaten bagel on a subway platform," he says the anonymous creator "made the whole project make sense in a way we couldn't have planned for" [1]. He frames this as central to the appeal of Painting PC, an "artist life sim" [3], and treats it as validation independent of sales figures.

The same theme appears in his sharing of a user testimonial about rediscovering "love for art" after depression, spending "an hour on a dog" to score "100/100" [2]. He's quick to defend the authenticity of that response ("no, you cynics, we didn't pay this person" [2]), suggesting he sees these organic reactions as the real measure of the product's worth.

On momentum and milestones

A large share of his posts function as a running tally of wishlists and launch milestones, treated almost like weather reports on the project's health. He notes crossing "15000" wishlists at "8 days from #launch" [7], then "20000 wishlists" the following Friday [6], then "Thirty thousand people" two days before launch with "more than 4000 people wishlisting" in a single day [4], and finally launching with "more than 37.000 wishlists and a spot in Steam's 'Popular Upcoming' list, together with big titles like Assassin's Creed and Echoes of Aincrad" [3]. He calls the release "the crossing of a new border, because we're no longer VR-only now" [3], marking it as a deliberate strategic shift for the studio, not just a numbers game.

On growing the XR market

In the CNBC interview, before Painting PC existed, his ambitions were framed around headset adoption rather than his own app's success. He wanted to get "many people" using Vision Pro to demonstrate "the benefits of XR technology" [10], describing his studio's growth to "eight people since launching a year ago with a small but popular app" [10]. He also expressed optimism that "larger players like Microsoft and Samsung" entering the space would help the market grow overall, rather than treating them purely as competitive threats [10].

On the people behind it

Reygaert gives credit to collaborators by name rather than treating the studio as anonymous. He thanks four departing interns, calling them "some of the smartest, nicest and most talented people I've met in the last year" and hoping they left "a bit more knowledgeable about and resilient to the professional world" [8]. He also credits specific artwork, noting a painting was made "by Zuzanna Grzyb" [3], reinforcing that individual contributors, staff and players alike, are part of how he frames the studio's story.

From the stage

On CNBC, Reygaert discussed business mechanics not present in his written posts: he confirmed Apple takes "a standard 30% fee like other app stores" [10]. He also gave a concrete studio headcount tied to timeline, "grown to eight people since launching a year ago" [10], and articulated a market-level thesis, welcoming Microsoft and Samsung into XR as a way to expand the overall space [10], rather than discussing his own titles or wishlist numbers as he does in his later posts.

Takeaways

• He treats unplanned user creations, like a pigeon guarding a bagel, as proof a creative tool is working as intended [1].
• He publicly tracks and shares wishlist growth as a narrative of momentum, from 15,000 to over 37,000 across roughly a week [7][6][4][3].
• He positions Painting PC's launch as a strategic pivot, ending Oisoi Studio's VR-only identity [3].
• He credits named interns and artists individually rather than treating team contributions as anonymous [8][3].
• In his Vision Pro-era thinking, he saw competitors like Microsoft and Samsung as helpful for growing the XR market rather than as threats [10].
• He values firsthand emotional testimonials, such as a user reconnecting with art after depression, as validation independent of sales metrics [2].