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Ubisoft saying you ‘don’t get’ NFTs proves just how out of touch gaming companies can be

Earlier this week, Ubisoft made headlines for defending its decision to enter the controversial NFT (non-fungible token) market.

Through its ‘Ubisoft Quartz’ platform, gamers can purchase artificially scarce digital items that can be used in Ghost Recon: Breakpoint. At the time of the announcement, Ubisoft claimed that Quartz “aims at offering you more autonomy and agency when interacting with a new kind of in-game item.”

The response, however, was overwhelmingly negative, and Ubisoft quickly unlisted the video. Many people, including actual Ubisoft developers, responded by saying that this is categorically not something they want in their games.

Now, though, the company is claiming that consumers are to blame.

Speaking to the Australian publication Finder, Nicolas Pouard, vice president at Ubisoft’s Strategic Innovations Lab, made this truly baffling comment when asked about the blowback the company faced.

I think gamers don’t get what a digital secondary market can bring to them. For now, because of the current situation and context of NFTs, gamers really believe it’s first destroying the planet, and second just a tool for speculation. But what we [at Ubisoft] are seeing first is the end game. The end game is about giving players the opportunity to resell their items once they’re finished with them or they’re finished playing the game itself.

So, it’s really, for them. It’s really beneficial. But they don’t get it for now.

Here’s an idea, Pouard: maybe it’s just because gamers are, justifiably, wary of another dubious, trendy monetization scheme?

The funny thing about the VP’s comments is that he fails to explain at any point in the interview what we’re apparently not getting. He claims they’re “beneficial” for the player without really elaborating. In so doing, he’s proven to be another in a sadly growing list of gaming corporations that keeps touting NFTs as the “future” without providing any real reason for why players should agree.

As it stands, many people are at least somewhat aware of the negative aspects of NFTs. They’re exceptionally bad for the environment, are often based on other people’s stolen artwork and aren’t properly regulated by government bodies. What’s more, you don’t actually “own” what you’re purchasing. As has been explained many times, you’re simply acquiring a certificate claiming you as the owner of the given digital file; there’s absolutely nothing to stop someone from saving it for their own use. Look no further than Twitter users amusingly screenshotting others’ hexagonal NFT profile pictures.

Principal Skinner Simpsons

Admittedly, in many cases, gamers are indeed at fault, but not here.

These are all common, well-founded criticisms against NFTs in general, but it gets even messier in the gaming space. When Ubisoft first launched Quartz, its site also came with the requisitive legal section to cover itself. However, a quick perusal of the fine print shows that Ubisoft doesn’t even seem to really know what it’s doing with NFTs.

As Kotaku notes:

What it didn’t show, of course, is that Ubisoft has no idea what its doing, and Quartz’s fine print says as much. It reveals that because so much of the work is being handed off to the blockchain, Ubisoft has no power to “reverse or cancel transactions,” has “no liability” for claims or damages, is aware that the blockchain “may be subject to specific weaknesses, which make them possibly targets for specific cybersecurity threats,” and has “no liability in the risks implied by the use of this new technology.”

The first gaming giant to get into NFTs, and it’s that clueless? That certainly doesn’t instill confidence, especially while we’ve seen Konami, Sega, EA, Square Enix and even popular actor Troy Baker all support the business practice. Square Enix, in particular, feels painfully tone-deaf; one of the company’s biggest and most iconic games, Final Fantasy VII, is literally about a band of ecoterrorists fighting to topple a megacorporation that’s killing the planet to create energy. Meanwhile, Baker himself acknowledged he knew very little about NFTs, despite publicly partnering with a company that directly deals in them.

And that’s the thing — most of these people or companies don’t care. It should go without saying, but they’re just in it for the money. Ubisoft will just claim NFTs are “beneficial” for players through vague platitudes like “giving players the opportunity to resell their items.” All the while, it’s mostly quiet about the fact that yet-to-be-determined cuts will be taken from these sales from the secondary market platform and even Ubisoft. That’s the real “endgame” that Pouard speaks of — players will sell these in perpetuity, and Ubisoft will profit without having to do a thing. Meanwhile, there’s no guarantee that this market will be operated fairly, or if Ubisoft will indeed even continuously use the “more advanced, energy-efficient [NFT] alternatives” it’s promising for Quartz.

What’s more, have publishers really earned the benefit of the doubt that this will actually benefit players? Consider some of what they’ve done before.

In the PS3/Xbox 360 era, they tried to push “online passes” on people to recoup costs from third-party sales. The Xbox One was also originally set to be “always online” to limit used game sales. Companies like EA have been so aggressive and predatory with microtransactions like lootboxes that entire countries, such as Belgium, have stepped in to attempt to regulate them. We’ve also seen EA market FIFA microtransactions to kids — especially concerning since they’re not unlike gambling. (And lootboxes are still problematic.) Ubisoft made Assassin’s Creed Odyssey more grindy to encourage you to buy an XP boost to level up faster. And in a particularly sinister move, Warner Bros. had Harry Potter mobile game players forced to watch children literally get strangled for a set period of time unless they paid to skip ahead.

Lootbox

It took years for lootboxes to start being regulated. (Image credit: Blizzard)

The point is, gaming companies have a well-documented history of chasing trends and exploring unsavoury business practices that don’t at all benefit players. Having seen what they’ve done, time and time again, it’s completely understandable to be skeptical. The onus isn’t on gamers to just “get” it — you have to win us over.

And so far, they’re not doing that — with players or developers. Indeed, game makers, by and large, have also not expressed much enthusiasm for NFTs. In a recent Game Developers Conference (GDC) survey polling 2,700 developers, 70 percent of respondents said their studios are “not interested” in NFTs. Meanwhile, 21 percent said “somewhat interested” and seven percent said “very interested,” while only one percent noted they’re already developing NFTs in their games.

Per GDC,

“When asked how they felt about the possibility of cryptocurrency or NFTs in games, a few [developers] called it the future of gaming. However, a vast majority of respondents spoke out against both practices – noting their potential for scams, overall monetization concerns, and the environmental impact.”

The monetization concerns are especially notable. On January 8th, Linkin Park’s Mike Shinoda got justifiably ratio’d when he started suggesting questionable use cases for how NFTs would work in games. According to Shinoda, gamers should imagine being able to take a skin from a game like Valorant and carry it over to Call of DutyMinecraft or even social media platforms like Twitter.

In response, countless developers pointed out how this was out of touch and illogical. As indie developer Rami Ismail noted in a reply, the games Shinoda mentioned are from different companies. As such, why would Valorant owner Riot Games sell you a skin that would work in Activision’s Call of Duty, Microsoft’s Minecraft or even non-gaming platforms like Twitter? Beyond the companies having no real incentive to band together to allow this, Ismail said the work to make sure that would even be compatible cross-platform would be difficult, to say the least. Call of Duty developer Chris Pollock even shared a blog post he wrote explaining these hurdles. Meanwhile, Digital Foundry‘s John Linneman questioned which company would even be responsible for ensuring compatibility.

Finally, there’s the whole “play-to-earn” aspect. A recent comment made by Reddit co-founder and noted crypto enthusiast Alexis Ohanian was particularly bleak. “90 percent of people will not play a game unless they are being properly valued for that time,” said Ohanian in a December 23rd, 2021 episode of the Where It Happens podcast. “In five years, you will actually value your time properly, and instead of being harvested for advertisements, or being fleeced for dollars to buy stupid hammers you don’t actually own, you will be playing some on-chain equivalent game that will be just as fun, but you’ll actually earn value and you will be the harvester.”

I dunno about you, but that’s dystopian as hell to me. Unless you’re a streamer, esports athlete or QA tester, the notion that you should be compelled to play a game for some sort of reward is mind-boggling. Aren’t games supposed to be about fun? You can promise rewards like NFTs or crypto or other digital trinkets, but that just loses the plot for me. if I’m not reviewing a game for MobileSyrup, the sole reason I play something is for enjoyment. That’s how it should be. Playing games for fun — what a concept!

Jonah Hill fuck me right

As an example of how backwards and nonsensical this “play-to-earn” mentality is, let’s go back, once more, to Ubisoft and NFTs. Essentially, the company is making you play games for x number of hours — in one case, 600 — to even have the glorious privilege of purchasing an NFT. I’m sorry, what? At least microtransactions that reduce grinding make some degree of sense, even if they’re usually frustrating. You can at least see the appeal in spending money to save time. But what Ubisoft is doing with NFTs demands both your time and your money. How, exactly, does that benefit you?

As YouTuber SkillUp notes, only Ubisoft stands to profit — not just from your money, but from increased engagement (i.e. inflated “monthly active user” counts). You played a game for 600-plus hours and spent real cash to get a unique helmet — congratulations! What a sense of pride and accomplishment you must have.

The whole “play-to-earn” argument is absolute nonsense. If a developer is permitted to make a game that is genuinely fun to play, that sense of enjoyment, in itself, is what you earn. Hell, games already offer various mechanics or metagames if you like to be rewarded for playing more — PSN Trophies, Xbox Live Achievements and Steam Achievements being the prime example of this. The difference, however, is that these are purely optional, free and harmless methods of “earning” something.

The best example of a game being inherently rewarding to play is Final Fantasy XIV. I’ve been slowly going through it since last year (I’ve finally gotten to Shadowbringers!) and I’m finally seeing why everyone hypes up the game. It truly is amazing. And a key reason for that is payoff. Over the course of hundreds of hours of content, FFXIV weaves an incredible, emotional yarn about an extremely compelling cast of characters who struggle and grow over time. That is the reward — the time you’ve invested in the game — the unforgettable journey you’ve gone on  — nets you supremely satisfying narrative moments, as well as new mechanics, dungeons and the like. Regardless of what Square Enix’s CEO may think, no NFT can capture the quality experience that director Naoki Yoshida and his team have actually created.

Ultimately, that’s what gaming is about. I don’t want your NFTs. I don’t care about your NFTs. Monetize a game, if you must, with in-app purchases, but until you can actually give legitimate reasons to want an NFT, keep them out of it. I’m just here to have fun with games, and all these tedious, vague and slimey buzzwords just detract from that.

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Ubisoft+ coming to Xbox, Rainbow Six Extraction launching day one on Game Pass

Ubisoft has announced that its Ubisoft+ game subscription service is officially coming to Xbox platforms.

Starting at $19.99/month, Ubisoft+ offers unlimited access to a catalogue of more than 100 Ubisoft games and their add-on content. Ubisoft+ is currently only available on PC and Google Stadia, making the upcoming Xbox launch the service’s console debut.

While a specific launch window for Ubisoft+ on Xbox wasn’t provided, Ubisoft did also reveal that Rainbow Six: Extraction is coming to Xbox Game Pass on January 20th, the same day it releases on every other platform.

It’s a significant get for Game Pass, as Rainbow Six Siege, Ubisoft Montreal’s massively popular predecessor to Extraction, has amassed more than 70 million players since releasing in December 2015. Additionally, Siege — which is already available on Game Pass for consoles — is coming to Game Pass Ultimate and PC Game Pass, allowing mobile and PC subscribers to jump in.

Formerly known as Rainbow Six QuarantineExtraction offers a four-person co-op PvE experience that has players facing off against a mysterious alien threat. Extraction features 18 playable operators and a slew of unique gadgets and weapons as part of its signature Rainbow Six tactical gameplay.

Xbox Game Pass and PC Game Pass each cost $11.99/month, while Game Pass Ultimate — which includes both, plus Xbox Cloud Gaming, Xbox Live Gold and EA Play — is priced at $16.99/month.

Source: Ubisoft

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Here are 10 standout 2021 Canadian-made games

The Canadian video game industry is massive — we’re talking, “third-largest producer of games in the entire world” massive.

With that in mind, there are scores of new games that are released every year that were made here at home. 2021, in particular, had quite a few standout ones from both the AAA and indie space.

Keep on reading to learn more about just a handful of them.

The Big Con

The Big Con

Developer: Mighty Yell (Toronto, Ontario)
Publisher: Skybound Games
Genre: Adventure
Platform: Xbox Series X/S, Xbox One, PC

It’s not every day a game gets recognized by Tribeca, the world-renowned film festival co-founded by Robert De Niro, but Toronto-based Mighty Yell was the little indie that did just that. The Big Con is particularly notable, too, as it’s a game that’s completely devoid of any combat. Instead, you assume the role of a sarcastic teenager who travels across America to steal enough money to help save her mum’s business from nasty loan sharks. From its delightful ’90s setting, charming Doug-esque art style and witty writing, The Big Con is a uniquely delightful game that’s absolutely worth your time.

Read more on The Big Con in our review.

Boyfriend Dungeon

Boyfriend Dungeon

Developer/Publisher: KitFox Games (Montreal, Quebec)
Genre: Action-RPG, dating sim
Platform:
Xbox Series X/S, Xbox One, Nintendo Switch, PC and Mac

What other game do you know that mixes dungeon crawling with a dating sim? In Boyfriend Dungeon, you fight your way through isometric locations with the help of a human partner who can transform into a sentient weapon. Outside of combat, the game features visual novel-style conversations to let you date characters of your choice. It’s through this novel approach that Boyfriend Dungeon has really found its audience — it features a refreshingly gender-diverse cast to romance, but it also doesn’t shy away from the darker sides of dating, particularly when it comes to stalkers. There’s nothing quite like it.

Chicory: A Colorful Tale

Chicory: A Colorful Tale

Developer: Greg Lobanov (Vancouver, B.C.)
Publisher:
Finji
Genre: Adventure
Platform:
 PlayStation 4/5, Nintendo Switch, PC

At first glance, Chicory: A Colorful Tale‘s cute, doodle-esque art style might suggest a light and fluffy experience, but the game is anything but. To be sure, there’s a lot of earnest joy to be found with its simple-yet-deep painting mechanics. Pretty much everything in the world can be painted over and manipulated, offering a wonderful sense of creativity to the moment-to-moment gameplay. But beneath that, Chicory tells a surprisingly affecting story about mental health — specifically, the darker depths of self-doubt and the importance of self-care.

Chivalry 2

Chivalry 2

Developer: Torn Banner Studios (Toronto, Ontario)
Genre: Multiplayer slasher
Publisher:
Tripwire Interactive
Platform:
PlayStation 4/5, Xbox One and Xbox Series X/S, PC

Chivalry 2 is the epitome of a fun multiplayer experience. Without a single-player campaign, the game instead focuses on engaging player-vs-player melee combat. On top of medieval weapons like swords, battle axes and sledgehammers, you can use amusingly unorthodox weapons like severed limbs, chairs, a rolling pin and even bread. A variety of game modes are also supported, including Team Deathmatch, Free-For-All and more objective-based options. All the while, the game retains a lovable Monty Python-esque sense of humour, which is just icing on this thrilling multiplayer cake.

Far Cry 6

Far Cry 6 Resolver gun

Developer: Ubisoft Toronto (Toronto, Ontario)
Publisher: Ubisoft
Genre: Open-world first-person shooter
Platform: PlayStation 4/5, Xbox One and Xbox Series X/S, PC, Google Stadia

If you’re not over the tried-and-true Far Cry formula, Far Cry 6 is the perfect kind of gaming comfort food. As with previous entries in the series, Far Cry 6 puts you in a beautiful location (the Cuba-inspired Yara), gives you a slew of fun new weapons to use and offers some great drop-in, drop-out co-op functionality. But Far Cry 6 is most surprising for its storytelling. While there’s certainly a disconnect at times between the earnest revolutionary story and zany open-world shenanigans, you’ll come to meet the best cast of characters in a Far Cry game to date. Protagonist Dani Rojas is extremely likable, while Giancarlo Esposito’s scene-stealing Antón Castillo breaks a long-running series trend of underused charismatic villains.

Read more on Far Cry 6 in our review.

Inscryption

Inscryption

Developer: Daniel Mullins (Vancouver, B.C.)
Publisher:
Devolver Digital
Genre: Adventure, strategy
Platform:
PC

Inscryption is a tricky one to talk about, as most who’ve played it would agree that you’re best going in knowing very little. What you should know, though, is that it mixes card games, roguelikes, escape room-style puzzles and psychological horror. It’s a game that makes full use of the medium’s uniquely interactive elements to create an experience that really couldn’t work in a film, TV series or novel.

JETT: The Far Shore

JETT: The Far Shore

Developer/Publisher: Superbrothers (Quebec, Canada), Pine Scented Software (Tokyo, Japan)
Genre: Open-world adventure
Platform: PlayStation 4/5, PC

In JETT: The Far Shore, you assume the role of scout Mei, who must explore an ocean planet to find out whether it’s suitable for human habitation. Piloting the titular jetts to fly around foreign vistas is thrilling, especially when enhanced by the PS5’s DualSense controller rumble. With its open-world setting, you’re free to just lay back and casually explore the geographically-diverse planet. But it’s the slow discovery of the world and larger narrative — filled with both heartfelt moments and bouts of existential dread — that prove to be JETT‘s most memorable qualities.

Marvel’s Guardians of the Galaxy

Guardians of the Galaxy

Developer: Eidos Montreal (Montreal, Quebec, Canada)
Publisher: Square Enix
Genre: Action-adventure
Platform: PlayStation 4/5, Xbox One and Xbox Series X/S, Nintendo Switch, PC

There was a lot of apprehension going into Marvel’s Guardians of the Galaxy. After all, Square Enix’s last Marvel game, 2020’s Marvel’s Avengers, was a disappointment to many. Thankfully, Square Enix-owned Eidos Montreal’s Marvel’s Guardians of the Galaxy is so much better. Doing away with the controversial “live service” model, Marvel’s Guardians of the Galaxy offers a purely single-player, microtransaction-free experience. Drawing more from the comics than the movies, Eidos’ Guardians of the Galaxy uses the long-form storytelling potential of games to fully flesh out Star-Lord, Gamora, Drax, Rocket and Groot. It’s a surprisingly emotional story with so much heart — not to mention some decent team-up command-focused third-person shooter combat thrown in for good measure.

For more on Marvel’s Guardians of the Galaxy, read our review.

Moonglow Bay

Moonglow Bay

Developer: Bunnyhug Games (a U.K.-based team led by Canadian creative director Zach Soares, plus some other international Canadian developers)
Publisher: Coatsink
Genre: RPG, fishing sim
Platform: Xbox One and Xbox Series X/S (including Xbox Game Pass), PC

If the idea of a wholesome, relaxing fishing experience with a charming voxel-based artstyle in a fictional Eastern Canadian town in the ’80s appeals to you, then Moonglow Bay might be exactly what the angler ordered. After your partner’s passing, you find yourself struggling to fulfill their final wish by keeping a business afloat. In addition to 100-plus species of fish to catch, Moonglow Bay lets you explore the eponymous seaside town to meet NPCs, take on new quests and stock up on supplies. But you’ll also guide your character through processing their grief alongside their daughter in a thoroughly heartfelt story. There’s even drop-in/drop-out co-op so you can catch some fish (and feels) with a friend.

For more on Moonglow Bay, read our interview with Bunnyhug.

The Vale: Shadow of the Crown

Developer/Publisher: Falling Squirrel (St. Catharines, Ontario)
Genre: Action-RPG
Platform: Xbox One, Xbox Series X and S, PC

Perhaps the most innovative entry on this list, The Vale: Shadow of the Crown was developed in partnership with the Canadian National Institute for the Blind (CNIB) to be accessible even to those with vision loss. That’s because it leverages 3D Spatial Audio and controller haptic feedback to create a new kind of action-RPG experience. The story follows the blind sister of a warden whose caravan gets attacked, forcing her to navigate a dangerous world to return to the castle. Smart uses of audio cues and vocal performances help guide you through combat and visiting towns, ensuring that those with any level of vision can play and enjoy.

For more on the importance of accessibility in gaming, read our interview with Canada’s own Steve “The Blind Gamer” Saylor, an accessibility advocate and content creator who’s consulted on games like The Last of Us Part II.


Of course, there are so many Canadian games that come out every year, especially from indies, that it’s impossible to cover them all. Some others that we didn’t get to:

Some other relevant reading: check out our interview with Jayson Hilchie, the president and CEO of the Entertainment Software Association of Canada, on the organization’s recent study examining the Canadian gaming industry’s rapid growth.

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Ubisoft Toronto programming lead on making Far Cry 6 and joining The Game Awards Future Class

It’s been a big couple of months for Stephanie Brenham.

In October, she and the rest of her team at Ubisoft Toronto finally released Far Cry 6 after a five-year, COVID-prolonged development cycle. And earlier this month, she was inducted into The Game Awards’ second-ever “Future Class,” a global group of 50 gaming industry members who “represent the bright, bold and inclusive future of video games.”

Notably, Brenham was selected out of 3,000 nominees for her leadership roles in both programming and diversity and inclusion initiatives.

“I’m blown away,” Brenham admits. “The way that people have really responded to me being nominated, that they’ve said, ‘I couldn’t think of anyone better for this,’ has been tremendously moving.”

These accomplishments are especially noteworthy considering they come during Brenham’s second time in the world of programming, following a family-related pause.

“I came into programming in second-year university [in the ’90s], and so I kind of got into it. Society had already kind of built up this expectation of what a programmer is, and so I really did encounter that sort of, ‘Oh, you haven’t been coding since you were 13? Well, my cousin has, so I don’t know how that’s gonna go for you.’ And it’s like, ‘I’m getting A’s at U of T [University of Toronto]. I think it’ll be fine.’”

She went on to work as a technical lead at Toronto-based Alias on its Academy Award-winning software, Autodesk Maya, for a number of years. Brenham says this was a great experience, but one that had to be put on hold to look after her kids. Six years later, however, she got to re-enter the field in 2016 — this time at Ubisoft Toronto, where she’s since worked her way up to 3D Team Lead Programmer.

While that might sound like a difficult and hectic period, Brenham says the experience proved invaluable.

“I got to come back in the internet age — that wasn’t a thing in the ’90s in the same way that it is now, and how much you get to look online and see resources. Of course, it is a challenge, because with everything being so accessible, how do you pick out the good sources? [But] I [was] very lucky with [being] already connected with people who are still programmers, so they can give you tips on areas to look [at].”

Although she was fortunate to have that help, she notes that not everyone was as supportive.

“There is a challenge to coming back after being at home. I had one person even ask me, ‘so do you really think you’re going to be ready?’ And I’m like, ‘well, it’s like being a parent — are you ever really ready to become a parent?’ If you don’t 100 percent become ready, you just gotta go in. You’ve got to get yourself up to date and be ready to learn on your feet. It’s been like feeding from the firehose of information both times — I love it.”

The making of Far Cry 6

Far Cry 6 vista

In the lead-up to Far Cry 6, much of the marketing focus was placed on Emmy Award-winning actor Giancarlo Esposito, the Breaking Bad and Better Call Saul star who plays the game’s villain, Antón Castillo. But Esposito’s performance would mean little if it weren’t supported by the visuals and Cuba-inspired setting of the game that Brenham’s team meticulously helped to create.

As she explains it, her job on Far Cry 6 meant being “responsible for the visual systems fidelity” and staying “true to the art vision and also the performance, making sure that we get that interactivity” for the player.

A big part of that, she says, was the game’s “brand-new, dynamic” weather system.

“It adds to the immersion, but it’s also tying into the gameplay. With the storms that roll in, you get the humid feel of a tropical island, the GPU particles are brand new, so we can still meet those performance numbers. The clouds volumetric with the lightning, the sunsets that you get to see on that ocean vista… All of these things make it an interactive world that’s part of the gameplay because the rain dissipates the fire, the wind blows away the poison… All of this makes the world alive for our players when they go in. Everyone’s getting their own experience, and we really get to be a part of so many of the different areas of the game.”

All told, Brenham says she’s “tremendously proud” of the 3D team’s work, which extends to a fine attention to detail that many players might initially overlook.

“It goes down to tweaking the wetness for each of the materials, because the way gunmetal looks wet is very different than the bark of a tree, or the leaves, to the porosity of the surfaces. These puddles don’t magically pop in and out — they are forming and drying, as they would in simulating the physical behavior in the world,” says Brenham.

That said, she notes that some people have actually picked up on this, and it makes all the difference for her and the team.

“What’s so rewarding is when people notice these details! I loved when one fan posted a capture of a 24-hour cycle in the game of a puddle forming and drying. Yes, yes!” she says with a laugh. “So [what’s] most rewarding is seeing what people find and notice in this game, because in the end, you know you’re never creating a perfect game — the perfect game does not exist — but what you’re hoping is you’re getting a little bit of magic in it to make it meaningful and fun and exciting experience for people. And so when you see that catch fire with the players, you’re like, ‘yes!’

All the while, the team had to develop the game for a staggering number of platforms spanning last-gen and new-gen hardware, which meant reaching 4K/60fps on both the latter and PC. That was an especially difficult task amid the pandemic, she notes.

“It was a real challenge because for my team, in particular, we need direct access to the hardware. You can’t just simulate these things — you need to be playing on the systems themselves, with the exact restrictions that the players are going to be facing. So it was a real challenge in terms of, ‘well, if we can’t bring the people to the hardware in the traditional fashion of coming to the office, we need to, in many cases, be bringing the hardware to the people and to their homes.’ And finding new ways in order to get that working with our infrastructure.”

On top of that, Brenham says COVID had more understated impacts that you might not even initially consider.

“[I had to be] mindful as a team lead that no longer are people just going to be able to casually ask you questions because you happen to be walking by or you’re sitting right beside them,” she says. “It’s making that effort to make yourself be approachable to people — we had people join and switch teams, and so they might not have even met me. So [I would do] things like always keep my camera on so people see that I’m smiling. I’m not problem-focused — I’m focused on ‘okay, let’s make this better, let’s move forward.’”

Shedding more light on the personal sides of game development

Video game companies are notoriously secretive compared to the likes of the movie or TV industries. While it’s not uncommon to get extensive documentaries or other features on a film or series, we don’t often get to see how the sausage gets made when it comes to games.

That’s why it was particularly notable when gTV released Revolución: A Far Cry Story, a 38-minute documentary following Ubisoft Toronto’s work on Far Cry both before and during the pandemic. For viewers, it provided a rare look not only at some of the many challenges that studios faced, but the deeply personal stories of their individual developers.

Perhaps the most moving anecdote in the documentary from the Ubisoft Toronto team was from Brenham herself. As she explains in the film, her late mother was from Columbia, and she had told her stories about the “El Bogotazo” revolution in her home country. Given that Far Cry 6 was itself centred around the toppling of a dictator and his regime, Brenham said her work on the game became her “love letter” to her mother.

Now that both Far Cry 6 and the documentary have been released, Brenham says she’s happy to be able to really speak to the process of making the game.

“It’s really great to be able to speak about some of our experiences. We spend so long not being able to tell our family what we’re doing, and you want to, particularly when it’s such a personal connection, in my case.”

But beyond allowing players to put faces to some of the people who make the games they enjoy, Brenham says documentaries like Revolución also help the developers learn more about one another.

“This was a real opportunity from the team’s perspective to also get to see some of the experiences from other areas of the game because it’s a big game. I mentioned that I miss the cross-pollination that kind of happens in the office where you just happen to be in the kitchen when the audio people are there. And so you’re hearing about what audio is doing [in the documentary]. You can’t have those kinds of casual interactions [remotely],” she says.

“So in many ways, it was getting to see into a writer’s room, for example, for the first time. That’s been one of the most rewarding things for me about being on this game — being able to hear from people who are working on areas that I could never contribute to. I mean, there are reasons why no one pays me to write stories,” says Brenham, laughing.

Creating a more inclusive workplace

Outside of her programming work, Brenham also regularly speaks to schools, mentors interns and students, and serves as one of the leaders of Ubisoft Toronto’s Women Employee Resource Group.

In more ways than one, she plays an important role at the studio, especially considering its history. Last year, reports surfaced out of multiple Ubisoft studios, including Toronto, regarding major workplace misconduct, particularly towards women. In a June 26th, 2020 letter addressed to management, more than 100 Ubisoft Toronto employees expressed “grave concerns about ongoing reported harassment and an inability to feel safe or protected within our own studio.”

While certain key alleged offenders have since departed the company, some developers are still reportedly unsatisfied with how Ubisoft at large has responded to the allegations. Meanwhile, other major publishers, especially Activision Blizzard, have been reckoning with their own allegedly toxic “frat boy” cultures.

When asked what must be done for Ubisoft and other companies to meaningfully address these concerns, Brenham provided a few suggestions.

“Representation, that’s a gimme. But also, I feel that diversity is a lot of outreach as well. There’s the mentorship that I make reference to — there is also looking at the ways that we are presenting ourselves publicly,” she begins.

“And also internally, I’m tremendously proud of some of the initiatives happening in Ubisoft from very open conversations, since those [allegations] have come out, about improving leadership. That we are humans — that we are simply coming in from outside, and the more that we can improve.”

Ubisoft Toronto

Ubisoft Toronto (Image credit: Ubisoft)

She adds that it “often” boils down to “the soft skills and our ability as leaders to make a welcoming space” for people.

“To be able to understand that we all have different perspectives, and it could be that you’re coming in from having taken care of three kids, or it could be that you’re coming in from a different background that I don’t necessarily understand. And so having those tools to deal with those different circumstances, or people in this workplace, is a part of breaking down those barriers.”

For her part, she says she volunteers on outreach-related opportunities “as much as possible” on “at least a monthly basis,” if not more frequently.

“If there’s a request going out for a speaker or a mentor or an opportunity to reach out into the community, I try to always say ‘yes,’ because I feel like representation is so very important. There’s not a lot of other people who can provide female representation from a programming perspective in games.”

Given that she’s often speaking with people outside of the industry about her work, she adds that one of the common misconceptions about game development revolves around people thinking they have to be “majorly hardcore” players. This is untrue, according to Brenham.

“There are so many different styles of being a gamer. You can be a completist and that means that you’re only going to play like maybe one or two games a year, if you’re putting hundreds of hours into each game, versus somebody who is going through and chewing these games like they’re candy because they’re going on to the next exciting experience. And those are all perfectly valid experiences. And so [it’s] being able to speak to the variety of gaming, and the joy of working with people who are kind of naturally playful,” she says with a laugh.

From her experience, she says being in the industry has brought her into contact with “people who are tremendously smart, who are experts in their field, and so very approachable” whenever support is needed.

This is something she says looking to continue to expand in the coming months. Currently, she’s preparing for the C++ North software developer conference with Guy Davidson from Creative Assembly (Total War). “This is a really great way to, especially with the pandemic, really kind of rally people again — get the spirit up,” she teases. “And so I’m really looking forward to that.”

Beyond that, she says she’s looking forward to engaging with her fellow Future Class members.

“The most exciting thing for me [with Future Class] is actually finding out that we get to be on a Discord server and get to know the other people in the Class. Because there are so many other perspectives I cannot speak from, or speak to, with knowledge,” she explains.

“And so to have an opportunity to get to know these people means that I’m going to be able to do more. There’s nothing that would make me prouder than to make this a better place.”


This is the latest entry in our monthly Canadian developer interview series. Last month’s feature, focused on Square Enix Montreal head Patrick Naud, can be found here.

Image credit: Ubisoft

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Save up to 75 percent on select Ubisoft titles at Amazon Canada

Amazon Canada has a bunch of deals on Ubisoft games across multiple platforms. If you’re hunting for a last-minute gift for a gamer, or you just want to pick up something new to play over your holiday break, there are some great options to check out.

You can find some highlights below:

  • Assassin’s Creed Valhalla – $29.95 (regular $79.99) | Xbox / PS4
  • Watch Dogs Legion – $19.95 (regular $79.99) | Xbox / PS4 / PS5
  • Immortals Fenyx Rising – $29.95 (regular $79.99) | Xbox / PS4 / Switch
  • Rainbow Six Siege Deluxe Edition – $29.95 (regular $49.99) | Xbox / PS5
  • Far Cry 6 – $39.99 (regular $79.99) | PS5 / Xbox
  • Just Dance 2022 – $29.99 (regular $59.99) | PS5 / Xbox / PS4

You can check out more deals on Ubisoft games at Amazon here, or view Ubisoft’s Amazon store page here.

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Save up to 75 percent on select Ubisoft titles at Amazon Canada

Amazon Canada has a bunch of deals on Ubisoft games across multiple platforms. If you’re hunting for a last-minute gift for a gamer, or you just want to pick up something new to play over your holiday break, there are some great options to check out.

You can find some highlights below:

  • Assassin’s Creed Valhalla – $29.95 (regular $79.99) | Xbox / PS4
  • Watch Dogs Legion – $19.95 (regular $79.99) | Xbox / PS4 / PS5
  • Immortals Fenyx Rising – $29.95 (regular $79.99) | Xbox / PS4 / Switch
  • Rainbow Six Siege Deluxe Edition – $29.95 (regular $49.99) | Xbox / PS5
  • Far Cry 6 – $39.99 (regular $79.99) | PS5 / Xbox
  • Just Dance 2022 – $29.99 (regular $59.99) | PS5 / Xbox / PS4

You can check out more deals on Ubisoft games at Amazon here, or view Ubisoft’s Amazon store page here.

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Ubisoft Toronto confirms it’s working on a Splinter Cell remake

Ubisoft has confirmed in a recent tweet that its Toronto-based studio is working on a Splinter Cell remake.

Little has been revealed about the title beyond the fact that the studio is currently hiring for the game (see the tweet below) and the fact that it will run on the same engine as Avatar: Frontiers of Pandora and Ubisoft’s upcoming Star Wars game.

In a blog post, Ubisoft says that the game will “deliver new-generation visuals and gameplay, and the dynamic lighting and shadows the series is known for.”

In an interview with three developers working on the project — creative director Chris Auty, producer Matt West and technical producer Peter Handrinos — revealed a few interesting facts about the title.

For instance, Ubisoft is approaching the game as a remake rather than a remaster. It’s still in the “earliest stages” of development, and the original game’s “stealth action redefined” direction will be carried forward. For the full interview, follow this link. With this in mind, it seems the Splinter Cell remake is poised to be more stealth-focused than the action-oriented Blacklist.

Given it’s been roughly 8.5 years since Splinter Cell Blacklist’s release, Sam Fisher is long-overdue for a return. The first Splinter Cell was released in 2004 across several platforms and, at the time, redefined the stealth genre.

Image credit: Ubisoft

Source: @Ubisoft

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Here are the best Black Friday deals in Canada so far

Several retailers in Canada have already launched their (early) Black Friday deals.

Below is a round-up of some of the most notable offers and promotions, with more on the way as we approach Black Friday:

Best Buy

Best Buy’s Black Friday deals discount everything from TVs, laptops and headphones to wearables, video games and smart home tech. Check out some of its most notable deals below:

Find all Best Buy Black Friday deals here.

Amazon

Although Amazon Canada states in a press release that its deals will be offered in a two-day bonanza, likely on the 25th and 26th, there are plenty of notable deals to consider scoring now, especially if you’re concerned about shipping delays this holiday season. Check them out below:

Find all Amazon Black Friday deals here.

Apple

Instead of discounting its products, Apple includes free gift cards with specific device purchases. Check out the deals below:

Find all Apple Black Friday deals here.

Samsung

Google and Samsung have teamed up for a new holiday deal.

When you purchase a Galaxy smartwatch, phone or tablet you also get free Google Play Credit, as outlined below:

To get the promotion you have to purchase one of those above devices between November 19th and December 9th. You then have to register your new device to your Samsung Account and opt-in for the offer by December 20th.

You will receive a code by email once these steps are complete and verified. Once all of that is complete, you have until August 31st, 2022, to add it to your Google account in the Google Play store.

Google

Google’s online store ‘Black Friday’ deals and promotions are live now, with great discounts on several of the company’s smart home gadgets and Pixelbooks.

Find all Black Friday deals from Google below:

Find all Google Black Friday deals here.

Walmart

Walmart’s Black Friday deals dropped on November 17th and are expected to run till November 24th, after which, the retailer will launch a new batch of promotions. Check out currently-active deals at Walmart below:

Find all active Walmart Black Friday deals here.

PlayStation

Sony went live with its ‘Black Friday’ PlayStation sale on November 19th, with several deals on titles, bundles and add-ons.

Check out some of the most notable deals below:

Find all PlayStation Black Friday deals here.

The Source

The Source’s Black Friday deals dropped on November 18th and are expected to run till November 24th, after which a new batch of Black Friday deals will roll out. Check the current deals below:

Find all Source Black Friday deals here.

Dyson

Dyson Canada released an early sneak peek of its Black Friday sale on November 18th. It’s worth noting that the sale pricing isn’t live yet. You can find the discounted deals online and in Dyson Demo stores starting November 25th.

Newegg

Newegg has PC components, pre-built PCs, laptops, peripherals and a lot more on sale, with more items to be discounted later this week. Check out some active notable deals below:

Find Newegg’s Black Friday deals here.

Ubisoft

Ubisoft launched its Black Friday sales on the Ubisoft Store, discounting games by up to 80 percent. Plus, the company’s offering an additional 20 percent off your cart with the BF20 promo code. Check out some of its current deals below:

Find all Ubisoft Black Friday deals here.

Image credit: Shutterstock

MobileSyrup utilizes affiliate partnerships. These partnerships do not influence our editorial content, though MobileSyrup may earn a commission on purchases made via these links.

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Ubisoft Store Black Friday sale has games up to 80 percent off

Ubisoft launched its Black Friday sales on the Ubisoft Store, discounting games by up to 80 percent. Plus, the company’s offering an additional 20 percent off your cart with the BF20 promo code.

Plus, Ubisoft’s giving away Tom Clancy’s Splinter Cell Chaos Theory for free until November 25th – you can grab it here.

We’ve picked out some of the highlight offers and included them below:

You can check out all the Black Friday deals at Ubisoft here.

MobileSyrup utilizes affiliate partnerships and publishes sponsored posts. These partnerships do not influence our editorial content, though MobileSyrup may earn a commission on purchases made via these links.

Image credit: Ubisoft

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Walmart Canada offering free Turtle Beach headset with Far Cry 6 purchase

Walmart Canada is currently running an exclusive gaming promotion that offers a free Turtle Beach Recon 70 Headset with the purchase of Far Cry 6.

The Ubisoft Toronto-developed open-world shooter costs $79.99 CAD, while the Recon 70 is normally priced at $49.99 on its own.

It’s important to note that the bundle specifically includes the ‘Arctic Camo’ headset if you’re particularly picky on the colour. The bundle is available of the PS4, PS5 and Xbox versions of the game. The promotion runs from November 11th to November 17th.

Originally released on October 7th, Far Cry 6 follows guerrilla fighter Dani Rojas as they attempt to topple the ruthless dictator Antón Castillo on the fictional Caribbean island of Yara. Notably, Castillo is played by Giancarlo Esposito of Breaking Bad and Better Call Saul fame.

In related news, Vaas: Insanity, the first DLC story add-on for Far Cry 6, was recently given an official November 16th release date. As the title suggests, the DLC focuses on Far Cry 3‘s standout villain, Vaas Montenegro, once again played by Montreal’s own Michael Mando, who co-stars on Better Call Saul with Esposito.

Image credit: Ubisoft