Ubisoft Chief Yves Guillemot opens up about a pivotal turning point for the company as it attempts to recover from recent turbulence. The publisher behind Assassin’s Creed has weathered a string of disappointing releases, strategic pivots, and cost-cutting moves that have left fans and employees wary. Calls for Guillemot to step aside have grown louder from union leaders and industry observers who question the direction of the business amid the upheaval.
In a major strategic shift announced in January, Ubisoft unveiled a plan to reorganize the company into five “creative houses.” This move is designed to give development teams greater autonomy while still leveraging Ubisoft’s publishing and live-ops capabilities. Vantage Studios, the already spun-out subsidiary, sits within this new framework. The restructuring also aims to generate substantial savings—about $235 million—on top of several rounds of layoffs and studio closures already undertaken earlier in the year.
In a recent email interview with Variety, Guillemot provided more context on the rationale behind the five-creative-houses model and why he believes it will address Ubisoft’s post-pandemic challenges. He touched on strategic acquisitions, the Tencent partnership, and the roadmap for major franchises as the company moves forward.
Regarding acquisitions, Guillemot described the Amazon-backed title March of Giants as a natural fit that arrived through an organic opportunity. He emphasized that Ubisoft is not yet a MOBA player and that the March of Giants team, with several veterans from Rainbow Six, aligns with Ubisoft’s competitive multiplayer ethos. He noted that Ubisoft will remain selective with future acquisitions, prioritizing opportunities that align with a long-term vision and strengthen existing brands.
The Tencent partnership is framed as a long-term, value-adding collaboration. Tencent brings deep insight into the Chinese market, helps position Ubisoft’s brands for local audiences, and provides a robust distribution network. Guillemot highlighted that Tencent’s support will not intrude on Ubisoft’s governance or daily management, while also enabling scale for franchises like Rainbow Six in China. He also pointed to the broader mutual benefits, including investments in Vantage Studios and ongoing access to top-tier industry connections.
On product pipelines, Guillemot outlined a robust development slate across the Creative Houses. Assassin’s Creed is moving forward with multiple titles spanning single-player and multiplayer experiences, with ambitions to grow a community that already surpassed 30 million players. Far Cry has two promising projects in development, and Rainbow Six is expanding its footprint, with daily active players above 2.5 million and growing esports momentum evidenced by events like the Six Invitational in Paris and the new Chinese league. He also announced Rainbow Six Mobile, scheduled for a worldwide launch on February 23, 2026. The new operating model, he argued, should yield clearer pipelines and stronger player engagement over time as teams focus more intently on their franchises.
Ubisoft’s AI initiative, Teammates, was described as a tool to enhance gameplay and player immersion rather than a pure development aid. While still in the R&D phase, the technology is being offered to teams to decide how it best fits their creative roadmaps. Guillemot framed AI as a means to empower creators by increasing flexibility and speed, rather than replacing human talent.
The 30th anniversary of Rayman was celebrated with a special edition release and serves to illustrate the enduring strength of Ubisoft’s core IP portfolio. Guillemot indicated ongoing exploration of Rayman’s future iterations while acknowledging that the broader brand ecosystem—such as Rainbow Six and Assassin’s Creed—has grown in both longevity and scope.
Explaining the distinction between Creative Houses and a traditional division or subsidiary, Guillemot emphasized that the new structure is about empowering creators. Each Creative House will own its brands, development priorities, and profitability, operating with a high degree of autonomy while remaining aligned with a common strategic vision. Vantage Studios remains a subsidiary with its own governance, while the other houses are still finalizing the precise organizational model that balances independence with cohesion.
When asked about developing new IP, Guillemot said the Creative Houses will mainly steward established brands but will also enable targeted innovation and new ideas. Several fresh IPs are already in progress, with more details to come.
Regarding workforce impact, Ubisoft plans to pursue selective restructuring alongside voluntary departures to reach the €200 million cost-cutting target. The company intends to manage churn thoughtfully, with careful control of new hiring and replacements, while also improving processes, simplifying projects, and leveraging better tools to increase efficiency. Guillemot stressed a long-term view: the industry’s post-Covid growth did not materialize as expected, so Ubisoft is striving for a tighter, more agile organization that balances senior expertise with younger talent.
Controversy surrounding leadership changes at Vantage was acknowledged. Guillemot defended the appointment of Christophe Derennes and Charlie Guillemot (his son) as Co-CEOs, arguing that their complementary strengths and proven track records justify their selection within a family-owned company that prioritizes long-term growth and continuity.
Six projects were canceled during the portfolio review, including the Prince of Persia remake. Guillemot explained that the cancellations reflect a shift toward higher-quality, strategically aligned titles in a more selective market. Prince of Persia remains part of Ubisoft’s long-term portfolio under the Creative Houses, even as this particular remake was discontinued.
As for labor relations, Guillemot acknowledged legitimate concerns from unions in France and beyond. He pledged greater transparency and dialogue during a period of significant change while reiterating the industry’s competitive pressures and the need for swift execution to meet player expectations. He framed union engagement as essential and promised ongoing listening and responsible leadership.
Financially, Ubisoft reported a stronger-than-expected third quarter, with improved engagement across key franchises and the benefit of strategic partnerships. The company affirmed its full-year guidance and noted improving game quality metrics, including higher Metacritic scores. While positive, Guillemot stressed that the transformation is ongoing and that cost-saving measures, a strengthened pipeline, and enhanced engines and tools will contribute to long-term growth and resilience.
Looking ahead, Guillemot addressed shareholder concerns about the company’s long-term outlook. He argued that the Creative Houses model is designed to decentralize decision-making, deepen player relationships, and drive sustainable franchise growth. With a clarified three-year roadmap, Ubisoft aims to deliver high-quality titles while improving efficiency and talent retention. He also cited the return of key personnel as a sign that the studio ecosystem is healing and maturing.
Expansions beyond games into film and TV are moving forward. Netflix has greenlit a live-action Assassin’s Creed series, Splinter Cell: Deathwatch is renewed for a second season, a Watch Dogs feature film is underway with New Regency, and FX has ordered a Far Cry live-action show. These projects illustrate Ubisoft’s ambition to diversify storytelling across multiple media while leveraging its established franchises to reach broader audiences.
In terms of accessibility and inclusion, Ubisoft highlights its commitment to universal game access. The Accessibility team works across production to embed inclusive design from the outset, with playtesting and workshops that involve players with disabilities. This approach has produced accessible features like in-game audio descriptions in Assassin’s Creed Shadows and Star Wars Outlaws, reflecting ongoing industry leadership in inclusive game design.
Balancing live-service models with traditional single-player experiences remains a strategic priority. Over the next five years, Ubisoft aims to grow both open-world franchises (such as Assassin’s Creed, Far Cry, Ghost Recon, and The Division) and live-service titles (Rainbow Six, The Crew, Brawlhalla, and others). The overall goal is to create enduring worlds that invite ongoing exploration and newer forms of play, while pushing for technical and creative innovation that keeps Ubisoft competitive against emerging platforms and trends.
