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Why has one of the noughties’ biggest gaming publishers become basically irrelevant in recent years, and is there a way back?
Remember Ubisoft in its pomp?
It seems strange to say now, given the publisher seems intent on lurching from one disaster to another in recent years, but at one point in time, Ubisoft could do no wrong.
Creatively and commercially, it had a firm grip of the industry from 2007 up until around 2015. At the beginning of this period, it launched the Assassin’s Creed franchise, the narrative-driven banger that was Splinter Cell Conviction, and the first three Far Cry titles – the only ones worth playing to this day.
It then consolidated its position as an industry leader, producing polished open world experiences that most other studios could only marvel at. Rainbow Six set the standard for tactical shooters, Ghost Recon was all the rage, and the entire community was awe-struck by that first The Division demo shown at E3 2013.
Why then, a decade on, is Ubisoft’s standing in the industry is at an all-time low? Its stocks have been steadily declining for years (minus 95.1% since 2022), gamers have reduced the company to little more than derogatory memes, and other AAA studios are using it as a prime example of what not to do when on the rise, or already at the top.
Ubisoft’s major restructuring
The latest dose of Ubisoft-endorsed disappointment arrived yesterday, with the announcement that the studio is shuttering six titles that were in development while delaying a further seven.
For the second time, the Prince of Persia: Sands of Time remake has been cancelled, leaving fans who were already underwhelmed at Prince of Persia: The Lost Crown being a half-baked Metroidvania game (for the full price of $50), feeling even more scornful towards Ubisoft.
Another major casualty, though unconfirmed, is likely to be the highly anticipated remake of Assassin’s Creed: Black Flag, which had been rumoured to be arriving before the end of March 2026. In any case, we now won’t be playing that before the next financial year – meaning March 31, 2027.
These knocks, along with slumps in share prices and plummeting commercial interest, have prompted Ubisoft to go nuclear behind the scenes. As part of a sweeping company restructure, it has closed Ubisoft Stockholm – who worked on the mediocre Avatar: Frontiers of Pandora – as well as its mobile studio Ubisoft Halifax.
Notable shakeups have also been reported at its offices in Abu Dhabi, at Trials studio RedLynx, and at The Division creators Massive, with all teams now required to return to in-office work for five days per week. Oh, the humanity!
The statement revealed that Ubisoft’s global development will now be split into five ‘Creative Houses’, each taking on a different theme that pertains to several of its established franchises. These are as follows:
Creative House 1 handles Ubisoft’s three biggest brands in Assassin’s Creed, Far Cry, and Rainbow Six.
Creative House 2 is dedicated to shooters specifically, including The Division, Ghost Recon, and Splinter Cell.
Creative House 3 will focus on live experiences, including For Honor, The Crew, Riders Republic, and Skull and Bones, among others.
Creative House 4 is to cover narrative driven and fantasy-orientated series, such as Prince of Persia, Might and Magic, Rayman, and Beyond Good & Evil.
Creative House 5 will centre on family and casual gaming, housing properties like Just Dance, Uno, Hasbro, Idle Miner Tycoon, Ketchapp, Hungry Shark, and Invincible: Guarding the Globe.
