‘We’re Next to Go’: Inside Ubisoft’s Restructuring and the Anxiety Gripping Its Creative Network
A week after Ubisoft unveiled one of the most sweeping shake-ups in its history, unease is spreading through the company’s global workforce – particularly among employees who now find themselves grouped into what the publisher calls its “Creative Network.”
The restructuring announcement was stark. Six projects were scrapped, seven major titles were delayed, and two studios were shut down. Investors reacted swiftly, sending Ubisoft’s share price tumbling to its lowest point in 15 years – a dramatic fall of about 95% from its peak valuation. Inside the company, however, the human impact is only beginning to sink in.
At the centre of Ubisoft’s overhaul is a new organisational model built around five so-called “Creative Houses.” Each house is anchored to specific genres and flagship franchises and will operate with its own leadership, overseeing creative direction, long-term brand strategy and content planning. Ubisoft says the idea is to sharpen focus, accelerate development and make better use of internal expertise.
Supporting these Creative Houses is a second pillar: the Creative Network. This network is made up of dozens of studios tasked with providing shared services such as engineering support, quality assurance and production assistance across projects.
On paper, it is a bid for efficiency. In practice, many employees see it differently.
‘It Feels Like We’re the Buffer’
Several Ubisoft staff members describe the mood across the company as a mix of frustration, confusion and fear. While job losses were expected after years of financial pressure, the latest restructuring has amplified concerns that another large wave of layoffs is inevitable.
Ubisoft has already flagged a third and “final” cost-cutting phase, aimed at saving €200 million by March 2028. Internally, that figure translates into the potential loss of thousands of roles. But workers within the Creative Network say they feel especially exposed.
“The restructuring feels like it only really protects half the company,” one employee said. “The Creative Houses have clear ownership of brands. We don’t. That makes us feel disposable.”
Internally circulated documents show that Ubisoft has already assigned its major studios and franchises to the five Creative Houses. Flagship series such as Assassin’s Creed, Far Cry and Rainbow Six sit at the core of the first house, while others are grouped around brands like The Division, Prince of Persia, Just Dance and a range of mobile titles.
By contrast, around 20 studios – spread across Europe, Asia and North America – have been placed into the Creative Network. These include teams in Kyiv, Singapore, Pune, Red Storm, RedLynx and Winnipeg, among others. Employees say that while their inclusion has been formalised, their actual roles have not.
“Nothing has been clearly defined about how we’ll support the Creative Houses,” another developer said. “It feels temporary, like we’re waiting to be told whether we’re still needed.”
Doubts About the Bigger Picture
Beyond fears of job losses, some staff question the strategic intent behind the changes. A number of employees privately speculate that the new structure could make it easier for Ubisoft to spin off studios, sell intellectual property, or bring in external partners through subsidiaries. Others believe it is simply another reorganisation layered on top of leadership decisions that led the company into its current difficulties.
“Very few people think this alone fixes anything,” one long-serving employee said. “It’s still the same leadership, the same culture – just with a new org chart.”
Ubisoft maintains that the Creative Network is a vital backbone for the company’s future, allowing expertise and technical resources to move more freely across projects. But internally, reassurance has been in short supply.
Tensions Rise in Paris
The sense of instability deepened this week when Ubisoft confirmed plans to cut around 200 jobs at its Paris headquarters. French labour unions responded swiftly, proposing strike action between February 10 and 12. The announcement came even before further layoffs, expected as early as February, have been formally outlined.
For many developers, the situation feels painfully familiar. Years of ambitious promises, followed by delays, cancellations and restructuring, have taken a personal toll.
“It’s hard not to feel like the worst is still ahead,” one employee said. “There are incredible games and IPs here, but that doesn’t protect the people making them.”
Officially, Ubisoft’s cost-cutting programme runs until 2028. Unofficially, many inside the company believe the turbulence is only beginning – and that those without a flagship franchise attached to their name may be the first to feel its full force.
