WEBVTT - The Origins of Ubisoft

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<v Speaker 1>Welcome to tech Stuff, a production from I Heart Radio.

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<v Speaker 1>Hey there, and welcome to tech Stuff. I'm your host,

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<v Speaker 1>Jonathan Strickland. I'm an executive producer with I Heart Radio

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<v Speaker 1>and I love all things tech. And as I've mentioned

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<v Speaker 1>on recent shows, we are entering a new era of

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<v Speaker 1>video game consoles and that has a lot of people excited.

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<v Speaker 1>Though I have already started seeing reports of problems with

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<v Speaker 1>optical drives, both for the Xbox Series X and the

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<v Speaker 1>PS five, so that's not great, which serves as a

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<v Speaker 1>good reminder that sometimes it pays to hang back just

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<v Speaker 1>a little bit when new hardware comes out, just to

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<v Speaker 1>see if there are any you know, bugs or issues

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<v Speaker 1>that still need working out. That way, you can purchase

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<v Speaker 1>version one point one or whatever and hopefully avoid those problems.

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<v Speaker 1>You know. I'm thinking of things like the infamous Red

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<v Speaker 1>Ring of Death, that kind of stuff where the early

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<v Speaker 1>adopters bear the brunt of it. They end up getting

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<v Speaker 1>the faulty hardware, and now you have to go through

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<v Speaker 1>the whole process of getting stuff repaired or replaced. I

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<v Speaker 1>like to skip that and kind of swoop in afterward.

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<v Speaker 1>But still, if it weren't for the early adopters, none

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<v Speaker 1>of us would have the consoles anyway. The consoles have

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<v Speaker 1>video games on my mind, is what I was trying

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<v Speaker 1>to say. And I thought it was a really good

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<v Speaker 1>idea to jump into a new deep dive on a

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<v Speaker 1>video game studio I had yet to tackle this time.

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<v Speaker 1>I thought it would take a good long look at

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<v Speaker 1>Ubi Soft or is it you be Soft? I'm kidding.

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<v Speaker 1>I've actually watched videos of Ubi soft employees saying the name,

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<v Speaker 1>and there is no standardized pronunciation even within the company.

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<v Speaker 1>Some of them say you be Soft, some of them

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<v Speaker 1>to be Soft. I'm going to go with uby Soft

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<v Speaker 1>because well, to me, that sounds more French. The company's

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<v Speaker 1>history has a lot of drama packed into it, from

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<v Speaker 1>attempted takeovers to allegations of sexual misconduct, to a reputation

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<v Speaker 1>for terrible production crunch times and more. In fact, I'm

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<v Speaker 1>actually recording this just days after there was this confusing

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<v Speaker 1>event in which employees at the company's Montreal branch had

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<v Speaker 1>evacuated their buildings, some of them barricading themselves on the

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<v Speaker 1>rooftop before authorities determined that there was no actual threat present.

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<v Speaker 1>But we'll get to that in a future episode. Boobisoft

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<v Speaker 1>is known for some prestige titles like Assassin's Creed and

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<v Speaker 1>Far Cry. So it might surprise you to learn that

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<v Speaker 1>the video game company was founded by a family business

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<v Speaker 1>that supplied farming equipment to farmers in France. Yeah, farmers,

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<v Speaker 1>I'm not making that up. It was the early nineties

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<v Speaker 1>and five brothers, Eve's Michel, Gerard, Christianne and Claude Guilmant

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<v Speaker 1>would rotate through various jobs at their father's store in Brittany,

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<v Speaker 1>France as in the northwest section of France, kind of

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<v Speaker 1>across the English Channel from England, and they carried all

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<v Speaker 1>sorts of supplies, including machinery parts for like heavy farm machinery. Now,

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<v Speaker 1>I say this so that you don't think of it

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<v Speaker 1>as some sort of quaint, you know, mom and pop shop.

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<v Speaker 1>This was big business. But by the nineteen eighties the

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<v Speaker 1>profit margins for selling equipment like that, we're starting to

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<v Speaker 1>get fairly narrowed, so it's harder to stay in business,

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<v Speaker 1>and the brothers looked around to see how they might

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<v Speaker 1>diversify the family businesses product line, perhaps by finding some

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<v Speaker 1>products that have a much larger profit margin than say,

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<v Speaker 1>tractor parts. At the time, the personal computer industry was

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<v Speaker 1>starting to kick into a new year, and it had

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<v Speaker 1>begun in the mid nineteen seventies, but at that time

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<v Speaker 1>it was almost exclusively the domain of hobbyists. A few

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<v Speaker 1>years later, there were a ton of different computer companies

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<v Speaker 1>in this burgeoning industry. Here in the States were familiar

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<v Speaker 1>with names like Apple and Commodore and Atari and maybe

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<v Speaker 1>Tandy and a few others. In Europe, there were a

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<v Speaker 1>couple of other computer companies at play, like Sinclair or Amstrade,

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<v Speaker 1>both out of the UK. The Amstrade had just recently

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<v Speaker 1>debuted in nineteen eighty four, and the brothers saw that

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<v Speaker 1>it was starting to gain popularity in France. But they

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<v Speaker 1>also saw something else that was unusual. If you ordered

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<v Speaker 1>computers or computer software from a French distributor, it cost

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<v Speaker 1>way more money than if you ordered the exact same

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<v Speaker 1>stuff direct from the UK, and that opened up an

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<v Speaker 1>opportunity their store could become a retailer for computer software

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<v Speaker 1>in addition to you know, farming equipment. It's sounds like

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<v Speaker 1>an odd commodation, but that's kind of how things unfolded.

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<v Speaker 1>But then the brothers decided that their best course of

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<v Speaker 1>action was to create a mail order business rather than

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<v Speaker 1>just try to convert the shop into a true farming

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<v Speaker 1>and computer software type business, you know, like you do.

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<v Speaker 1>The brothers founded a new company in nineteen eighty four

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<v Speaker 1>to oversee mail orders. They called it Guilmo Informatique. The

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<v Speaker 1>business proved successful, and the following year they formed the

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<v Speaker 1>Guillmant Corporation to expand into the area of computer hardware

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<v Speaker 1>in addition to software. This also proved to be successful,

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<v Speaker 1>and by night six the corporation was earning around forty

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<v Speaker 1>million francs. So this was before the European Union and

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<v Speaker 1>the emergence of the euro and so we have to

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<v Speaker 1>factor in exchange rates and stuff into the value of

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<v Speaker 1>the frank relative to the US dollar, which fluctuated a

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<v Speaker 1>lot in nineteen eight six. So I guess I'm gonna

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<v Speaker 1>say that they were bringing in somewhere between five and

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<v Speaker 1>ten million US dollars in nineteen eighty six, which is

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<v Speaker 1>a pretty princely sum. If we adjust for inflation, it

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<v Speaker 1>would be somewhere between twelve million and twenty four million dollars.

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<v Speaker 1>Because they were able to buy software and hardware at

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<v Speaker 1>much lower costs from the UK than from other French distributors.

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<v Speaker 1>They could also price their products at a lower cost

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<v Speaker 1>to consumers without eating too much into the profit margin,

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<v Speaker 1>so they were essentially undercutting the competition. In six computer

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<v Speaker 1>games were starting to become a real commodity again. The

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<v Speaker 1>market had crashed hard a couple of years earlier, mostly

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<v Speaker 1>in video game consoles, but computer games were also affected.

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<v Speaker 1>But the computer game industry made a pretty fast recovery.

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<v Speaker 1>While people were a bit more cautious about consoles at first,

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<v Speaker 1>computers had a totally different value proposition. You could do

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<v Speaker 1>useful stuff on computers, right. You could have a word

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<v Speaker 1>processor or something and could do workie work on a computer.

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<v Speaker 1>It was just cool that programmers could also make games

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<v Speaker 1>for computers, and the brothers saw an opportunity. They were

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<v Speaker 1>already distributing video games as part of their software business,

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<v Speaker 1>and they saw how popular it was. But they could

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<v Speaker 1>also form a video game developer studio, a company that

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<v Speaker 1>actually makes games. Part of the motivation for starting up

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<v Speaker 1>a development company was that young programmers in France had

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<v Speaker 1>approached the brothers with either completed games or ideas for games.

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<v Speaker 1>The software industry in France was still very young and

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<v Speaker 1>there were few opportunities for programmers at that time in

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<v Speaker 1>the country, so the company decided that this was a

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<v Speaker 1>risk worth taking, but it would require a new organization,

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<v Speaker 1>a new company dedicated to game development. On March night six,

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<v Speaker 1>the brothers Guilmant founded the UBI Soft Entertainment s A.

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<v Speaker 1>And depending on the source you look at, the original

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<v Speaker 1>name for the company was broken up into two parts,

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<v Speaker 1>with Ubi and Soft being distinct words, though lots of

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<v Speaker 1>other sources just pair them together as UBI soft. To

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<v Speaker 1>be fair, their logo made it clear it was UBI

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<v Speaker 1>soft to words, and for many years that's essentially how

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<v Speaker 1>official company communications spelled the name of the company now

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<v Speaker 1>Soft clearly comes from software, but what is UBI Well,

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<v Speaker 1>that also depends upon which source you cite. Now most

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<v Speaker 1>claim that UBI stands for ubiquity, meaning omnipresent or found everywhere.

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<v Speaker 1>That's what uby soft. Montreal tweeted that the UBI stood

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<v Speaker 1>for warhen someone asked them outright, so it seems pretty definitive.

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<v Speaker 1>But other sources point to a more regional explanation for

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<v Speaker 1>the origin of the company name, and that was that

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<v Speaker 1>UBI stood for Union de Breton Independent, the Union of

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<v Speaker 1>Independent Bretts, as in people from Brittany. Now, according to

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<v Speaker 1>an interview that Christianne Guillamont sat in for back in,

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<v Speaker 1>his brother Gerard Guillamont was the one who suggested UBI

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<v Speaker 1>because he thought it sounded good, and Eve Guillamont had

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<v Speaker 1>given the ubiquity answer in another interview, So I'm willing

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<v Speaker 1>to go with ubiquity being the origin. However, I would

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<v Speaker 1>not be surprised to find out that the sound of

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<v Speaker 1>the name came first and then the meaning followed afterward.

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<v Speaker 1>That's also possible. I'm not saying that's what happened. I'm

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<v Speaker 1>just saying it wouldn't surprise me. Now. The brothers had

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<v Speaker 1>also made an interesting decision when it came to the

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<v Speaker 1>headquarters for this company. There are other businesses were located

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<v Speaker 1>out of Paris at this point, but Ubisoft would be different.

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<v Speaker 1>After a few months, and originally they worked out of

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<v Speaker 1>the same sort of Parisian offices, but shortly thereafter, the

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<v Speaker 1>brothers decided to establish UBI Soft, the video game development company,

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<v Speaker 1>in a chateau in Brittany. And when I say chateau,

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<v Speaker 1>I'm talking about the real deal. Think of something that

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<v Speaker 1>sits somewhere between castle and mansion, and you're on the

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<v Speaker 1>right track now. According to the founders, this was largely

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<v Speaker 1>a marketing strategy to attract programmers who wanted to work

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<v Speaker 1>in a different setting than your typical office building. You

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<v Speaker 1>could work in a chateau La la, and according to

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<v Speaker 1>Ubisoft's executive director of Worldwide Studios, Christine Burgess Gernard, there

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<v Speaker 1>was another motivation for putting the HQ in a chateau,

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<v Speaker 1>one that might in retrospect be viewed with some disapproval.

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<v Speaker 1>Perhaps In an interview with Game Informer, Christine said, we

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<v Speaker 1>also thought it would be great to have a place

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<v Speaker 1>where we could actually lock all of our developers together

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<v Speaker 1>so that they could develop games and finish them. It

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<v Speaker 1>was not always easy when you had a bunch of

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<v Speaker 1>eighteen or nineteen year olds to realize that when you

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<v Speaker 1>start a game and you start talking to the press

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<v Speaker 1>about it and you start investing into it, you have

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<v Speaker 1>to deliver. So the first aim was to make sure

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<v Speaker 1>that everybody was under the same roof, so we could

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<v Speaker 1>have everybody contained in a way in the quotation, so yikes,

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<v Speaker 1>with the benefit of a more heightened awareness of things

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<v Speaker 1>like development crunch and autonomy, which I'm sure we'll touch

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<v Speaker 1>on again as we go through this history, that kind

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<v Speaker 1>of perspective takes on a much more sinister meaning. But

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<v Speaker 1>I want to be fair, it's not at all an

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<v Speaker 1>unusual tactic for tech companies in general to kind of

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<v Speaker 1>go this route. Uh not, maybe not this extreme, but

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<v Speaker 1>it's not unusual. Microsoft was famous for doing stuff like

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<v Speaker 1>buying pinball and arcade machines to put in the employee

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<v Speaker 1>break room so that the developers over at Microsoft would

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<v Speaker 1>find reasons to stick around the office for longer hours.

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<v Speaker 1>Google kept chefs on hand to prepare breakfast, lunch, and dinner,

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<v Speaker 1>thus removing the need for people to go home to

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<v Speaker 1>have meals. The tech world is no stranger to finding

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<v Speaker 1>ways to discourage workers from, you know, having a life

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<v Speaker 1>outside of work. The company hired on programmers and a

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<v Speaker 1>leadership team for all the usual stuff like marketing for example,

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<v Speaker 1>and at first the focus was purely on the French market,

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<v Speaker 1>so keep that in mind when I talk about sales

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<v Speaker 1>figures in a second. So the company got started in

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<v Speaker 1>March and by the end of the year they had

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<v Speaker 1>published several titles, including Zombie z O, m b I, Sineclap, Fair,

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<v Speaker 1>eflam Mosque, and a developer tool called graphic City. Which

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<v Speaker 1>was designed to help programmers edits sprites. A sprite is

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<v Speaker 1>a two dimensional bit map image that can integrate into

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<v Speaker 1>a larger scene. So a lot of early computer and

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<v Speaker 1>console games used sprites to represent, say the player character,

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<v Speaker 1>and you would be able to move around within the

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<v Speaker 1>larger background world of the video game, whatever it might be.

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<v Speaker 1>Zombie gets the credit for Ubisoft's first in house game.

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<v Speaker 1>In that game, you control a group of characters who

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<v Speaker 1>are exploring a shopping mall that is infested with well zombies.

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<v Speaker 1>In this way, it was taking elements of other popular

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<v Speaker 1>computer games of the time, like Bard's tail Or Wizardry,

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<v Speaker 1>where you would control a group of characters exploring a

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<v Speaker 1>fantasy setting, and then combining that with the setting from

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<v Speaker 1>George Romero's classic Dawn of the Dead movie. There's also

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<v Speaker 1>a little bit of Oregon Trail kind of going on here,

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<v Speaker 1>because you would control crosshairs. After you would hit a

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<v Speaker 1>use icon to activate your gun, assuming you had one

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<v Speaker 1>in your inventory, and then you would aim at zombies

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<v Speaker 1>that were walking across your field of view from one

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<v Speaker 1>side of the screen to the other, and you would

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<v Speaker 1>fire to take them down before they would stop and

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<v Speaker 1>turn and attack you. It wasn't quite at the level

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<v Speaker 1>of a first person shooter, but you can see elements

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<v Speaker 1>that would evolve into that genre. One great addition is

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<v Speaker 1>that should one of your player characters lose all their

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<v Speaker 1>hit points and die, they would become a zombie and

0:14:17.360 --> 0:14:20.000
<v Speaker 1>would become an enemy to the surviving characters, which I

0:14:20.000 --> 0:14:23.280
<v Speaker 1>think is kind of nifty. And the developers included posters

0:14:23.320 --> 0:14:26.080
<v Speaker 1>on the walls that said things like are you a programmer?

0:14:26.520 --> 0:14:31.000
<v Speaker 1>Contact ubi Soft, so that was cheeky. Ubi Soft developed

0:14:31.000 --> 0:14:34.880
<v Speaker 1>the game for platforms like the armstrad CPC and the

0:14:35.000 --> 0:14:41.240
<v Speaker 1>z X Spectrum computer, among others. By January seven, Ubi

0:14:41.280 --> 0:14:46.000
<v Speaker 1>Soft had sold around five thousand copies of Zombie. So

0:14:46.240 --> 0:14:49.400
<v Speaker 1>here's where we address the differences in scale from the

0:14:49.440 --> 0:14:53.160
<v Speaker 1>mid eighties to today. If a video game development studio,

0:14:53.480 --> 0:14:58.120
<v Speaker 1>even a relatively modest independent studio, were to see five

0:14:58.160 --> 0:15:02.080
<v Speaker 1>thousand titles sold after a few months of launch, it

0:15:02.080 --> 0:15:06.000
<v Speaker 1>would be a pretty big flop. But this was back

0:15:06.000 --> 0:15:09.120
<v Speaker 1>in the early days of programming, when it was possible

0:15:09.120 --> 0:15:12.000
<v Speaker 1>for a small team of three or four people to

0:15:12.040 --> 0:15:14.880
<v Speaker 1>put together a full game, and these were games that

0:15:14.920 --> 0:15:18.760
<v Speaker 1>were coming from big, established studios, so kind of the

0:15:18.800 --> 0:15:20.720
<v Speaker 1>equivalent of what we would think of as a triple

0:15:20.760 --> 0:15:24.840
<v Speaker 1>A title today. Also, at this point, Ubisoft was only

0:15:24.880 --> 0:15:28.720
<v Speaker 1>selling games within France, which meant they were hitting a

0:15:28.760 --> 0:15:33.120
<v Speaker 1>pretty small potential market. After all, only a relatively few

0:15:33.280 --> 0:15:36.360
<v Speaker 1>number of households owned a computer in the first place,

0:15:36.720 --> 0:15:40.600
<v Speaker 1>and Ubisoft was only focusing on their own home country.

0:15:40.640 --> 0:15:44.240
<v Speaker 1>But the early success encouraged the leaders of Ubisoft, who

0:15:44.280 --> 0:15:48.040
<v Speaker 1>became determined to expand into other markets. At first, they

0:15:48.080 --> 0:15:51.480
<v Speaker 1>took aim at Spain and West Germany. To keep in mind,

0:15:51.520 --> 0:15:55.200
<v Speaker 1>this is before the reunification of East and West Germany

0:15:55.280 --> 0:15:59.920
<v Speaker 1>into Germany. In addition, Ubisoft began to form partnerships with

0:16:00.040 --> 0:16:03.920
<v Speaker 1>other developers, and so it became an official distribution partner

0:16:04.280 --> 0:16:07.840
<v Speaker 1>within France. When we come back, we'll talk more about

0:16:07.880 --> 0:16:12.360
<v Speaker 1>the early days of Ubisoft's existence, including some very early

0:16:12.600 --> 0:16:23.600
<v Speaker 1>road bumps, But first let's take a quick break. So

0:16:23.680 --> 0:16:29.720
<v Speaker 1>in Ubisoft was developing games like a spy hunter like

0:16:30.120 --> 0:16:34.680
<v Speaker 1>vehicular combat game called Asphalt. You controlled a giant truck

0:16:34.720 --> 0:16:38.240
<v Speaker 1>that had a turret gun mounted on it. They also

0:16:38.280 --> 0:16:42.480
<v Speaker 1>had a pingo like game called mange Quelu, in which

0:16:42.520 --> 0:16:45.560
<v Speaker 1>you've controlled a red bird that could push rocks around

0:16:45.560 --> 0:16:48.680
<v Speaker 1>a maze to avoid enemies. By the way my French pronunciation.

0:16:48.800 --> 0:16:52.280
<v Speaker 1>I know it's terrible. I realized that I'm gonna do

0:16:52.360 --> 0:16:55.320
<v Speaker 1>my best, but it will be bad. Ubisoft was also

0:16:55.400 --> 0:16:58.240
<v Speaker 1>distributing games from other companies around this time, and some

0:16:58.280 --> 0:17:01.000
<v Speaker 1>of those games ended up being really big titles like

0:17:01.440 --> 0:17:05.640
<v Speaker 1>Akari Warriors and Commando, which were pretty popular, and those

0:17:05.680 --> 0:17:09.359
<v Speaker 1>would end up selling thousands of copies within France. Eve

0:17:09.520 --> 0:17:13.440
<v Speaker 1>Guillmant would become CEO of the company in short order,

0:17:13.720 --> 0:17:17.800
<v Speaker 1>and one other big change was also coming. The company

0:17:17.880 --> 0:17:22.560
<v Speaker 1>determined that the chateau in Brittany, while impressive and working

0:17:22.600 --> 0:17:24.639
<v Speaker 1>like a treat as a way to entice people to

0:17:24.680 --> 0:17:27.760
<v Speaker 1>come and actually, you know, work as a developer for Ubisoft,

0:17:28.280 --> 0:17:32.800
<v Speaker 1>it was just playing expensive to maintain. Too expensive. It

0:17:32.800 --> 0:17:36.320
<v Speaker 1>turns out that really old buildings require a lot of maintenance,

0:17:36.440 --> 0:17:40.440
<v Speaker 1>and that heating a building that wasn't designed to accommodate

0:17:40.600 --> 0:17:45.400
<v Speaker 1>modern heating methods is pretty expensive. So the company decided

0:17:45.440 --> 0:17:48.399
<v Speaker 1>to let the lease on the property expire at the

0:17:48.520 --> 0:17:51.720
<v Speaker 1>end of it, and they decided to shift operations back

0:17:51.760 --> 0:17:54.040
<v Speaker 1>to Paris, and from what I can tell, the initial

0:17:54.119 --> 0:17:56.639
<v Speaker 1>plan was to kind of share space with some of

0:17:56.640 --> 0:18:00.359
<v Speaker 1>the other Guilmalt brother companies now this it and go

0:18:00.440 --> 0:18:04.440
<v Speaker 1>over great with all the developers. Paris is an expensive

0:18:04.440 --> 0:18:07.560
<v Speaker 1>city to live in, and some programmers balked at the

0:18:07.640 --> 0:18:13.960
<v Speaker 1>prospect of moving from relatively inexpensive Brittany to extremely expensive Paris,

0:18:14.400 --> 0:18:16.040
<v Speaker 1>and it would mean many of them would have to

0:18:16.080 --> 0:18:18.760
<v Speaker 1>secure an apartment in a less desirable part of the

0:18:18.800 --> 0:18:21.800
<v Speaker 1>city to stay within their budgets. A few of them

0:18:21.840 --> 0:18:25.520
<v Speaker 1>declined to make the move, and Ubisoft would just kind

0:18:25.560 --> 0:18:29.440
<v Speaker 1>of keep the door open for collaborations, allowing some programmers

0:18:29.520 --> 0:18:33.960
<v Speaker 1>to even work remotely. Now, in those cases, it wasn't

0:18:33.960 --> 0:18:37.320
<v Speaker 1>like the remote programmer was a full time employee, but

0:18:37.440 --> 0:18:40.600
<v Speaker 1>rather that Ubisoft would look at any work that the

0:18:40.640 --> 0:18:44.399
<v Speaker 1>programmers produced to see if anything might warrant an investment.

0:18:45.040 --> 0:18:48.879
<v Speaker 1>One of those people was a guy named michel Ansell,

0:18:49.200 --> 0:18:52.200
<v Speaker 1>who was quite young and whose family had moved from

0:18:52.359 --> 0:18:56.119
<v Speaker 1>Montpellier to Brittany in order for him to work at Ubisoft.

0:18:56.720 --> 0:19:00.320
<v Speaker 1>Paris was not a feasible option for the family and

0:19:00.359 --> 0:19:04.600
<v Speaker 1>they decided to relocate back to Montpellier. But on sales

0:19:04.680 --> 0:19:08.920
<v Speaker 1>talent was undeniable, and the Guillman brothers convinced him to

0:19:09.000 --> 0:19:12.680
<v Speaker 1>keep communications open. Should he have anything to show them

0:19:12.760 --> 0:19:16.159
<v Speaker 1>on sale, got to work on some general concepts and

0:19:16.280 --> 0:19:19.919
<v Speaker 1>later partnered with a programmer named Frederic Howd to create

0:19:20.000 --> 0:19:23.200
<v Speaker 1>a sort of proof of concept game and the two

0:19:23.200 --> 0:19:26.359
<v Speaker 1>would present their idea to be soft and it definitely

0:19:26.440 --> 0:19:28.800
<v Speaker 1>got the company's attention. They could see a lot of

0:19:28.840 --> 0:19:31.920
<v Speaker 1>promise in the concept, but it would require a great

0:19:31.960 --> 0:19:34.240
<v Speaker 1>deal more work and several more years to bring it

0:19:34.240 --> 0:19:37.160
<v Speaker 1>into existence as a fully fledged game. Will come back

0:19:37.200 --> 0:19:41.520
<v Speaker 1>to that. In the meantime, Ubisoft continued to develop, publish,

0:19:41.640 --> 0:19:46.240
<v Speaker 1>and distribute games. In company published a port of its

0:19:46.280 --> 0:19:50.720
<v Speaker 1>first game, Zombie, to the Atari st computer system. While

0:19:50.760 --> 0:19:53.360
<v Speaker 1>the company was turning out game titles, most of these

0:19:53.400 --> 0:19:57.480
<v Speaker 1>wouldn't be familiar to people outside of France, and definitely

0:19:58.240 --> 0:20:01.720
<v Speaker 1>the familiarity drops off once get outside of Europe, as

0:20:01.760 --> 0:20:05.359
<v Speaker 1>they were still catering primarily to those markets. Also, just

0:20:05.440 --> 0:20:08.920
<v Speaker 1>as a side note, there is a Wikipedia page that's

0:20:09.000 --> 0:20:11.919
<v Speaker 1>supposed to be a list of Ubisoft games, but I

0:20:11.960 --> 0:20:14.439
<v Speaker 1>can tell you that a lot of the entries, at

0:20:14.520 --> 0:20:18.200
<v Speaker 1>least for the years between n six and nine, are

0:20:18.280 --> 0:20:21.840
<v Speaker 1>just playing wrong. Ubisoft is listed as developer for games

0:20:21.840 --> 0:20:24.960
<v Speaker 1>that it did not develop, though in some cases the

0:20:24.960 --> 0:20:28.320
<v Speaker 1>company would develop a later game in a series based

0:20:28.320 --> 0:20:30.800
<v Speaker 1>off the one that shows up on that list. Anyway,

0:20:30.840 --> 0:20:34.160
<v Speaker 1>just a reminder that Wikipedia is a great starting point

0:20:34.240 --> 0:20:37.240
<v Speaker 1>for research, but you should always go beyond that because

0:20:37.800 --> 0:20:40.760
<v Speaker 1>sometimes the information there is just playing wrong. Anyway, I'm

0:20:40.760 --> 0:20:43.200
<v Speaker 1>not gonna go through an exhaustive list of all these

0:20:43.240 --> 0:20:45.879
<v Speaker 1>early games, as most of them have faded into obscurity

0:20:45.880 --> 0:20:48.439
<v Speaker 1>in the passing years and there wouldn't be much value

0:20:48.440 --> 0:20:51.879
<v Speaker 1>to that. That being said, I'm immediately going to break

0:20:51.880 --> 0:20:54.240
<v Speaker 1>my own rule to talk about one game I learned

0:20:54.280 --> 0:20:56.600
<v Speaker 1>about while researching this. I had never heard of this

0:20:56.640 --> 0:21:01.000
<v Speaker 1>game before. This game is called Fred. You play as

0:21:01.119 --> 0:21:04.840
<v Speaker 1>a big, strong night named Fred, who at the very

0:21:04.840 --> 0:21:08.359
<v Speaker 1>beginning of the game gets transformed into a tinier version

0:21:08.440 --> 0:21:12.440
<v Speaker 1>of himself, and then you must face enemies like gnomes, who,

0:21:12.600 --> 0:21:15.800
<v Speaker 1>for the life of me, like garden gnomes. And there

0:21:15.800 --> 0:21:18.520
<v Speaker 1>are other batties in there too, like spiders and ravens

0:21:18.600 --> 0:21:21.240
<v Speaker 1>and stuff, but it's the gnomes that sell this for me.

0:21:22.000 --> 0:21:26.359
<v Speaker 1>The gameplay is interesting. It kind of reminds me of

0:21:26.440 --> 0:21:29.679
<v Speaker 1>ghosts and goblins, or ghouls and ghosts if you prefer.

0:21:29.800 --> 0:21:32.800
<v Speaker 1>That's another title in that same series, but one cool

0:21:32.880 --> 0:21:35.240
<v Speaker 1>thing is that the levels have a cheat to them

0:21:35.320 --> 0:21:37.520
<v Speaker 1>to give them a little bit of depth. The game

0:21:37.800 --> 0:21:40.000
<v Speaker 1>is a platform or and it's a side scroller, so

0:21:40.040 --> 0:21:43.280
<v Speaker 1>you're looking at everything in profile, and enemies typically travel

0:21:43.359 --> 0:21:47.760
<v Speaker 1>along specific planes of depth, but there are multiple planes

0:21:47.880 --> 0:21:50.359
<v Speaker 1>in every level, so in other words, you can travel

0:21:50.480 --> 0:21:53.639
<v Speaker 1>left or right on a plane that's closest to the

0:21:53.680 --> 0:21:55.840
<v Speaker 1>screen that would be the one you know, closest to

0:21:55.880 --> 0:21:59.199
<v Speaker 1>the player, or one that's maybe slightly further back, or

0:21:59.240 --> 0:22:03.040
<v Speaker 1>maybe one that's even further back close to the background. However,

0:22:03.240 --> 0:22:05.359
<v Speaker 1>that also means they can be kind of tricky to

0:22:05.359 --> 0:22:07.679
<v Speaker 1>figure out which plane of depth and enemy is on.

0:22:07.760 --> 0:22:10.520
<v Speaker 1>It might look like you're both lined up, but one

0:22:10.520 --> 0:22:13.000
<v Speaker 1>of you is actually a little further back than the

0:22:13.000 --> 0:22:16.040
<v Speaker 1>other with respect to the you know, your point of view,

0:22:16.560 --> 0:22:19.480
<v Speaker 1>and so in those cases your attacks won't hit them,

0:22:19.520 --> 0:22:21.879
<v Speaker 1>and most of the time their attacks won't hit you either,

0:22:22.560 --> 0:22:25.119
<v Speaker 1>And you have to each beyond the same plane of

0:22:25.200 --> 0:22:27.320
<v Speaker 1>depth in order to fight each other, and that's not

0:22:27.400 --> 0:22:30.520
<v Speaker 1>always apparent. However, the attempt at adding death would be

0:22:30.520 --> 0:22:33.280
<v Speaker 1>another indicator of game elements that were coming down the

0:22:33.359 --> 0:22:36.119
<v Speaker 1>line in the future. Just as Zombie was hinting a

0:22:36.119 --> 0:22:39.520
<v Speaker 1>little bit at first person shooter elements. These were decent

0:22:39.560 --> 0:22:45.160
<v Speaker 1>ideas that were executed upon and let's say limited success.

0:22:45.600 --> 0:22:48.399
<v Speaker 1>That's a kind way of putting it. Fred from what

0:22:48.520 --> 0:22:51.040
<v Speaker 1>I've seen, does not look like it was a particularly

0:22:51.200 --> 0:22:56.480
<v Speaker 1>playable game. Around would be Soft established its own internal

0:22:56.520 --> 0:22:59.400
<v Speaker 1>studio in Paris, by which I mean the company established

0:22:59.440 --> 0:23:01.800
<v Speaker 1>a real face for programmers to come and work in

0:23:01.880 --> 0:23:05.639
<v Speaker 1>a studio. In addition, the company would open its first

0:23:05.720 --> 0:23:10.120
<v Speaker 1>studio outside of France, establishing a space in Bucharest, Romania.

0:23:10.440 --> 0:23:14.359
<v Speaker 1>This gave the company access to more developer talent. So

0:23:14.520 --> 0:23:18.680
<v Speaker 1>remember Michel on Sale and Frederic Howd. They presented their

0:23:18.680 --> 0:23:21.159
<v Speaker 1>work to be Soft with an early build of what

0:23:21.280 --> 0:23:25.840
<v Speaker 1>would evolve into the game Rayman, a platformer style game

0:23:25.880 --> 0:23:29.120
<v Speaker 1>with a super cute protagonist. Now, those of you familiar

0:23:29.119 --> 0:23:32.000
<v Speaker 1>with Rayman know that it would go on to become

0:23:32.040 --> 0:23:36.120
<v Speaker 1>an enormous franchise, spawning more than forty games that were

0:23:36.119 --> 0:23:39.920
<v Speaker 1>either sequels or spinoffs or tie ends. It would become

0:23:40.359 --> 0:23:43.120
<v Speaker 1>the big early hit for Ubisoft, and it would put

0:23:43.119 --> 0:23:46.600
<v Speaker 1>the company on the larger video game map through most

0:23:46.640 --> 0:23:50.280
<v Speaker 1>of Europe. And it started off so small. The very

0:23:50.280 --> 0:23:54.119
<v Speaker 1>earliest concept for Rayman was to be destined for the

0:23:54.160 --> 0:23:56.440
<v Speaker 1>Atar E S T. That was what it was originally

0:23:56.480 --> 0:23:59.440
<v Speaker 1>going to be programmed for, but that was back when

0:23:59.480 --> 0:24:01.880
<v Speaker 1>on Cell was just working on it by himself. Once

0:24:01.920 --> 0:24:05.880
<v Speaker 1>Frederic joined that changed. The pair of developers worked on

0:24:06.400 --> 0:24:09.480
<v Speaker 1>their project for Ubisoft with the goal of producing a

0:24:09.560 --> 0:24:12.280
<v Speaker 1>game for a system that would never actually emerge. They

0:24:12.280 --> 0:24:16.240
<v Speaker 1>were working on creating the title for the Super Nintendo

0:24:16.560 --> 0:24:21.200
<v Speaker 1>CD Peripheral system, which was originally a cooperative project between

0:24:21.280 --> 0:24:26.919
<v Speaker 1>Nintendo and Sony, but in Nintendo famously dropped a bombshell

0:24:26.960 --> 0:24:29.840
<v Speaker 1>at C E S and announced that it would instead

0:24:29.960 --> 0:24:33.840
<v Speaker 1>partner with the Dutch tech company Phillips to develop the

0:24:33.960 --> 0:24:38.040
<v Speaker 1>CD peripheral and it would be dumping Sony in the process.

0:24:38.400 --> 0:24:41.600
<v Speaker 1>And it was really this event that encouraged Sony executive

0:24:41.680 --> 0:24:45.399
<v Speaker 1>Ken Kutaragi to take the progress that he had made

0:24:45.480 --> 0:24:49.240
<v Speaker 1>for the proposed Nintendo C D system and pivot that

0:24:49.600 --> 0:24:54.000
<v Speaker 1>toward the internal development of Sony's own video game console system,

0:24:54.040 --> 0:24:57.560
<v Speaker 1>which would evolve into the PlayStation. And you can hear

0:24:57.640 --> 0:25:00.679
<v Speaker 1>more about that story in the episodes I'd did about

0:25:00.720 --> 0:25:05.399
<v Speaker 1>the history of the PlayStation. Those episodes published earlier this year,

0:25:05.640 --> 0:25:09.520
<v Speaker 1>and it's a crazy story anyway. At this stage, Phillips

0:25:09.560 --> 0:25:13.280
<v Speaker 1>was still supposedly working with Nintendo to develop this CD

0:25:13.480 --> 0:25:17.840
<v Speaker 1>peripheral for the Super Nintendo Entertainment System. Only no peripheral

0:25:17.880 --> 0:25:21.119
<v Speaker 1>ever came out. Nintendo never announced that development for the

0:25:21.160 --> 0:25:24.199
<v Speaker 1>system had been canceled. The company never gave a release

0:25:24.320 --> 0:25:27.280
<v Speaker 1>date or a proposed price, or even a list of

0:25:27.320 --> 0:25:30.240
<v Speaker 1>games that were in development for the system. It just

0:25:30.760 --> 0:25:35.000
<v Speaker 1>kind of faded from public consciousness because the next generation

0:25:35.000 --> 0:25:38.239
<v Speaker 1>of video game consoles was starting to creep forward, and

0:25:38.800 --> 0:25:41.480
<v Speaker 1>really it was a matter of a lost cause at

0:25:41.560 --> 0:25:44.679
<v Speaker 1>that point. It just made more sense to shift resources

0:25:44.720 --> 0:25:47.879
<v Speaker 1>to developing the next Nintendo console as opposed to a

0:25:47.920 --> 0:25:52.280
<v Speaker 1>peripheral for an older console, and so the developers would

0:25:52.280 --> 0:25:55.199
<v Speaker 1>need to change direction for Rayman. They need to go

0:25:55.320 --> 0:25:59.000
<v Speaker 1>to a different platform. The Nintendo CD system was a

0:25:59.080 --> 0:26:03.240
<v Speaker 1>no go around. That same time, Ubisoft made a huge investment.

0:26:03.280 --> 0:26:06.800
<v Speaker 1>They opened up another in house studio in Paris, and

0:26:06.840 --> 0:26:10.639
<v Speaker 1>they hired on more than one hundred programmers. The little

0:26:10.720 --> 0:26:14.800
<v Speaker 1>project of Rayman grew into a fully fledged next generation

0:26:14.880 --> 0:26:19.479
<v Speaker 1>studio title on Cell. Would continue his animation design and

0:26:19.560 --> 0:26:23.280
<v Speaker 1>the developers were building a game around it, and thus

0:26:23.480 --> 0:26:26.399
<v Speaker 1>we got Rayman a cute character who has a body.

0:26:26.560 --> 0:26:28.840
<v Speaker 1>He's got feet, he's got hands, he's got a head,

0:26:29.080 --> 0:26:31.120
<v Speaker 1>but he doesn't have a neck, he doesn't have arms,

0:26:31.160 --> 0:26:33.080
<v Speaker 1>he doesn't have legs, so he has these sort of

0:26:33.160 --> 0:26:36.320
<v Speaker 1>free floating appendages. And that meant the designers could give

0:26:36.400 --> 0:26:39.960
<v Speaker 1>Rayman really interesting abilities, like throwing a punch with his

0:26:40.040 --> 0:26:43.800
<v Speaker 1>fist traveling halfway across the screen potentially, so they made

0:26:43.840 --> 0:26:48.040
<v Speaker 1>a creative platform or game based around this little fella. Now,

0:26:48.040 --> 0:26:52.239
<v Speaker 1>initially the first platform the project would focus on was

0:26:52.359 --> 0:26:55.879
<v Speaker 1>the Atari Jaguar. Now that you know the Nintendo thing

0:26:55.920 --> 0:26:59.520
<v Speaker 1>had fallen through, they thought, let's look at this new console,

0:26:59.560 --> 0:27:02.040
<v Speaker 1>the Autar Jaguar. Now a lot of you out there

0:27:02.160 --> 0:27:04.800
<v Speaker 1>may not know a whole lot about that console because

0:27:04.840 --> 0:27:08.720
<v Speaker 1>it didn't have a particularly illustrious or long lifespan. It

0:27:08.840 --> 0:27:13.639
<v Speaker 1>launched first in North American and within just three years

0:27:13.640 --> 0:27:17.639
<v Speaker 1>Atari would discontinue the system. The Jaguar was a cartridge

0:27:17.640 --> 0:27:21.040
<v Speaker 1>based console, though Atari would try to extend a life

0:27:21.040 --> 0:27:24.120
<v Speaker 1>of the flailing system later by releasing a CD ROM

0:27:24.200 --> 0:27:27.000
<v Speaker 1>add on. But that means that any game for the

0:27:27.040 --> 0:27:30.679
<v Speaker 1>system had to be hard coded onto a circuit board

0:27:31.040 --> 0:27:33.240
<v Speaker 1>that was housed inside a cartridge that you would then

0:27:33.320 --> 0:27:36.880
<v Speaker 1>plug into the console. If Ulbi Soft had only ever

0:27:37.000 --> 0:27:40.359
<v Speaker 1>made a version of Rayman for the Atari Jaguar, there's

0:27:40.359 --> 0:27:43.040
<v Speaker 1>a really good chance that no one would even know

0:27:43.119 --> 0:27:45.959
<v Speaker 1>what Rayman was at this point, would be Soft itself,

0:27:46.000 --> 0:27:48.720
<v Speaker 1>would not be the company that it is. It likely

0:27:48.720 --> 0:27:51.560
<v Speaker 1>would have made little to no impression due to that

0:27:51.720 --> 0:27:56.040
<v Speaker 1>small market size of Jaguar owners. But fortunately, both for

0:27:56.160 --> 0:27:59.840
<v Speaker 1>the company and for gamers, that's not what happened. Mis

0:28:00.040 --> 0:28:03.240
<v Speaker 1>Jail Guilmant recognized the potential of the game and had

0:28:03.280 --> 0:28:06.879
<v Speaker 1>a hunch that Sony's PlayStation console, which was on the

0:28:06.920 --> 0:28:09.919
<v Speaker 1>way but not yet on the market, was going to

0:28:09.960 --> 0:28:12.720
<v Speaker 1>be a huge deal. So part of the work that

0:28:12.720 --> 0:28:16.280
<v Speaker 1>those one plus developers were doing was to create a

0:28:16.400 --> 0:28:19.800
<v Speaker 1>version of Rayman for the PlayStation that would be ready

0:28:19.840 --> 0:28:23.200
<v Speaker 1>to go as soon as the console was hitting store shelves.

0:28:23.520 --> 0:28:26.960
<v Speaker 1>The prevailing feeling was that to compete globally in the

0:28:27.119 --> 0:28:31.919
<v Speaker 1>platform game market, especially to go up against established Japanese

0:28:32.000 --> 0:28:35.800
<v Speaker 1>video game companies, they would need to time the launch

0:28:36.359 --> 0:28:39.719
<v Speaker 1>to a console launch. They would need to tie it

0:28:39.760 --> 0:28:43.160
<v Speaker 1>to that, otherwise Raymond would likely get left behind by

0:28:43.200 --> 0:28:46.360
<v Speaker 1>the numerous games coming out of other places like Japan,

0:28:47.000 --> 0:28:50.440
<v Speaker 1>and it totally worked. When Raymond shipped, there were only

0:28:50.560 --> 0:28:54.680
<v Speaker 1>nine games available on the PlayStation. As Eve Guilmant would

0:28:54.880 --> 0:28:59.240
<v Speaker 1>Riley observe, customers didn't have much choice but to try

0:28:59.280 --> 0:29:02.280
<v Speaker 1>this one. The company would also publish the title for

0:29:02.320 --> 0:29:06.600
<v Speaker 1>other systems like the Sega Saturn for PCs. This was

0:29:06.640 --> 0:29:09.280
<v Speaker 1>at the tail end of the ms DOS days, just

0:29:09.400 --> 0:29:12.680
<v Speaker 1>before Windows would really take over, and then much later

0:29:12.760 --> 0:29:16.520
<v Speaker 1>on for more recent platforms like iOS and Android, but

0:29:16.520 --> 0:29:20.000
<v Speaker 1>obviously those came much much later. The game was a

0:29:20.080 --> 0:29:23.000
<v Speaker 1>big success in Europe, though it met with a more

0:29:23.080 --> 0:29:27.840
<v Speaker 1>modest reception in the United States. In the same year

0:29:27.920 --> 0:29:31.520
<v Speaker 1>Raymond debuted would be Soft established a new department within

0:29:31.560 --> 0:29:35.280
<v Speaker 1>the company, the Editorial Department, with a man named Serge

0:29:35.480 --> 0:29:40.440
<v Speaker 1>Ascue named as the head of that department. Says started

0:29:40.480 --> 0:29:44.320
<v Speaker 1>with the company back in ninety eight, originally serving as

0:29:44.360 --> 0:29:47.720
<v Speaker 1>a video game tester after applying for the gig through

0:29:47.840 --> 0:29:51.719
<v Speaker 1>a newspaper. At As head of Editorial, Says would be

0:29:51.760 --> 0:29:55.280
<v Speaker 1>the voice of authority on game development. If you wanted

0:29:55.280 --> 0:29:58.720
<v Speaker 1>a game made, you had to get approval from him first.

0:29:59.080 --> 0:30:02.160
<v Speaker 1>He could take a get your work and demand changes

0:30:02.480 --> 0:30:05.240
<v Speaker 1>or even cancel a project outright, he would play a

0:30:05.320 --> 0:30:08.160
<v Speaker 1>key role in the direction of the company, and more

0:30:08.240 --> 0:30:11.680
<v Speaker 1>recently he was in the news that paint him in

0:30:11.760 --> 0:30:14.800
<v Speaker 1>a truly negative light. Now I'll get to those in

0:30:14.920 --> 0:30:18.520
<v Speaker 1>an upcoming episode, as the allegations of his behavior didn't

0:30:18.560 --> 0:30:21.960
<v Speaker 1>really become public until this year, that is twenty twenty.

0:30:22.360 --> 0:30:24.360
<v Speaker 1>The important thing to keep in mind is that he

0:30:24.520 --> 0:30:28.280
<v Speaker 1>was effectively the gatekeeper of games coming out of the studio.

0:30:28.680 --> 0:30:31.400
<v Speaker 1>If he didn't like it, it wasn't going to stick

0:30:31.440 --> 0:30:35.200
<v Speaker 1>around for very long. Raymond's success marked a real turning

0:30:35.200 --> 0:30:39.000
<v Speaker 1>point for Ubisoft. One year after the game's launch, Ubisoft

0:30:39.040 --> 0:30:43.400
<v Speaker 1>would list on Paris's secondary stock exchange and raise more

0:30:43.440 --> 0:30:46.840
<v Speaker 1>than eighty million dollars worth of investments. As well, the

0:30:46.880 --> 0:30:51.200
<v Speaker 1>company would expand once again, opening up a studio in France,

0:30:51.240 --> 0:30:55.080
<v Speaker 1>another one and a new international development studio in Shanghai,

0:30:55.160 --> 0:30:59.520
<v Speaker 1>China in and then they opened up the famous Ubisoft

0:30:59.640 --> 0:31:04.240
<v Speaker 1>Montree y'all in Quebec, Canada. In they would follow that

0:31:04.320 --> 0:31:07.880
<v Speaker 1>up with two new studios in Spain and Italy, and

0:31:07.960 --> 0:31:10.360
<v Speaker 1>it really set the stage from the next phase of

0:31:10.520 --> 0:31:14.800
<v Speaker 1>Ubisoft's history. We'll learn more about that in just a moment,

0:31:14.840 --> 0:31:26.360
<v Speaker 1>but first let's take another quick break. So about that

0:31:26.480 --> 0:31:31.440
<v Speaker 1>Ubisoft Montreal office. Ubisoft was looking to expand into North

0:31:31.480 --> 0:31:35.680
<v Speaker 1>America and office in Montreal would work well as Montreal

0:31:35.840 --> 0:31:39.520
<v Speaker 1>is a French speaking city, though the dialects of Quebec

0:31:39.600 --> 0:31:44.840
<v Speaker 1>and France are very different. In addition, Montreal was looking

0:31:44.840 --> 0:31:48.360
<v Speaker 1>to create incentives to attract tech companies to open offices

0:31:48.360 --> 0:31:51.760
<v Speaker 1>in the city, having struggled as other industries like textiles

0:31:51.800 --> 0:31:55.920
<v Speaker 1>were starting to flounder. After some negotiations, Ubisoft was able

0:31:55.960 --> 0:31:58.920
<v Speaker 1>to get a pretty sweet deal to establish a studio

0:31:59.000 --> 0:32:03.840
<v Speaker 1>in Montreal. When it opened in about half of the

0:32:03.960 --> 0:32:07.719
<v Speaker 1>fifty employees of the studio actually originally came from the

0:32:07.720 --> 0:32:11.880
<v Speaker 1>Parisian office of UBI Soft. The other half were locals,

0:32:12.160 --> 0:32:15.200
<v Speaker 1>and according to later interviews, most of them had no

0:32:15.360 --> 0:32:18.280
<v Speaker 1>clue how to develop software or at the very least

0:32:18.360 --> 0:32:20.760
<v Speaker 1>video games. They were being brought in as kind of

0:32:20.760 --> 0:32:23.600
<v Speaker 1>blank slates, learning on the job how to make games.

0:32:23.960 --> 0:32:29.160
<v Speaker 1>The studio initially focused at least primarily on licensed titles,

0:32:29.200 --> 0:32:31.880
<v Speaker 1>so in other words, the games coming out of Ubisoft

0:32:31.920 --> 0:32:34.920
<v Speaker 1>Montreal were mostly games based off of existing i p

0:32:35.280 --> 0:32:39.840
<v Speaker 1>from other companies like d C Comics or Disney. Sometime

0:32:39.880 --> 0:32:44.000
<v Speaker 1>around then Ubisoft also established a development office in New York.

0:32:44.280 --> 0:32:46.160
<v Speaker 1>I can't get a whole lot of information about the

0:32:46.200 --> 0:32:49.360
<v Speaker 1>specifics around this, but they did have an office of

0:32:49.400 --> 0:32:52.600
<v Speaker 1>developers in New York City at one point. One of

0:32:52.640 --> 0:32:56.000
<v Speaker 1>the projects that that team tackled was a concept called

0:32:56.240 --> 0:32:59.840
<v Speaker 1>The Drift. Now, the Drift never made it as a

0:33:00.040 --> 0:33:03.040
<v Speaker 1>full game, but elements of the Drift would become really

0:33:03.080 --> 0:33:07.200
<v Speaker 1>important in later Ubisoft games. For example, the Drift had

0:33:07.280 --> 0:33:10.000
<v Speaker 1>a modular weapon that could do all sorts of stuff

0:33:10.040 --> 0:33:12.920
<v Speaker 1>like be used as a grappling hook. It also had

0:33:12.920 --> 0:33:16.280
<v Speaker 1>stealth mechanics and surveillance cameras that you could deploy within

0:33:16.320 --> 0:33:20.120
<v Speaker 1>the game, and had crowd ai behaviors that made crowds

0:33:20.120 --> 0:33:23.760
<v Speaker 1>of nonplayer characters react to you depending on your own behavior.

0:33:23.840 --> 0:33:26.160
<v Speaker 1>So if you pulled out a weapon, for example, in

0:33:26.200 --> 0:33:29.160
<v Speaker 1>a public space, the crowd would react to that, or

0:33:29.160 --> 0:33:31.560
<v Speaker 1>if you were running through a crowd, the crowd would

0:33:31.600 --> 0:33:34.120
<v Speaker 1>react to that. The New York team tried to kind

0:33:34.120 --> 0:33:37.400
<v Speaker 1>of pull all this together to make a cohesive game,

0:33:37.880 --> 0:33:41.160
<v Speaker 1>but while the individual ideas were good ones, no real

0:33:41.640 --> 0:33:46.200
<v Speaker 1>game emerged from the collection of ideas. There was a

0:33:46.280 --> 0:33:49.400
<v Speaker 1>last ditch effort to pitch this concept as the basis

0:33:49.480 --> 0:33:53.440
<v Speaker 1>for a James Bond style game, like an actual licensed

0:33:53.640 --> 0:33:57.280
<v Speaker 1>James Bond game, but that ultimately went nowhere. So then

0:33:57.440 --> 0:34:00.479
<v Speaker 1>UBI soft headquarters would decide to close down the New

0:34:00.560 --> 0:34:03.880
<v Speaker 1>York office, with many of that development team moving to

0:34:03.960 --> 0:34:08.160
<v Speaker 1>Montreal to join that team there, and the Drift would

0:34:08.160 --> 0:34:12.759
<v Speaker 1>be put on ice for the time being. In n Michelle,

0:34:12.800 --> 0:34:16.719
<v Speaker 1>Guilmant would found another video game publisher, this one called

0:34:16.840 --> 0:34:21.640
<v Speaker 1>game Loft. Rather than a competitor to Ubisoft, game Loft

0:34:21.680 --> 0:34:24.719
<v Speaker 1>had another market in mind. The Internet was in a

0:34:24.760 --> 0:34:27.960
<v Speaker 1>boom phase. Keep in mind this is getting towards the

0:34:28.000 --> 0:34:31.240
<v Speaker 1>peak of the dot com bubble, and the main focus

0:34:31.280 --> 0:34:34.040
<v Speaker 1>for game Loft was for web based content and then

0:34:34.120 --> 0:34:38.200
<v Speaker 1>later on for mobile games. Game Loft licensed ip held

0:34:38.200 --> 0:34:41.560
<v Speaker 1>by You guessed it would be Soft, and a few

0:34:41.560 --> 0:34:44.560
<v Speaker 1>other web based game companies would do the same, and

0:34:44.640 --> 0:34:48.239
<v Speaker 1>soon those licensing vs we're making up the majority of

0:34:48.320 --> 0:34:51.600
<v Speaker 1>Ubisoft's revenue, which in turn pumped up the company's stock

0:34:51.760 --> 0:34:56.319
<v Speaker 1>value fivefold. Flush with cash, Ubisoft made a move that

0:34:56.360 --> 0:34:59.080
<v Speaker 1>would really help it break into the North American market.

0:34:59.400 --> 0:35:03.480
<v Speaker 1>It acquire another company. Longtime listeners of tech stuff will

0:35:03.520 --> 0:35:07.000
<v Speaker 1>recognize the strategy some companies find that the solution to

0:35:07.400 --> 0:35:11.480
<v Speaker 1>expansion is just in acquiring other companies rather than building

0:35:11.520 --> 0:35:16.920
<v Speaker 1>things out on their own cough Comcast cough. For some companies,

0:35:17.440 --> 0:35:21.400
<v Speaker 1>this kind of boils down into buying growth, which seems

0:35:21.440 --> 0:35:24.400
<v Speaker 1>a little cynical of me, I guess. But for Ubisoft,

0:35:24.560 --> 0:35:26.880
<v Speaker 1>it was a means to tap into a market that

0:35:26.960 --> 0:35:30.360
<v Speaker 1>had thus far remained elusive and to cover some of

0:35:30.400 --> 0:35:35.319
<v Speaker 1>the gaps in Ubisoft's own expertise. Ubisoft's acquisition was a

0:35:35.440 --> 0:35:39.800
<v Speaker 1>game development studio out of North Carolina called Red Storm.

0:35:39.920 --> 0:35:43.160
<v Speaker 1>Red Storm Studios was only four years old at the time.

0:35:43.360 --> 0:35:48.560
<v Speaker 1>It was founded by Doug Little John's and Tom Freaking Clancy.

0:35:48.600 --> 0:35:51.760
<v Speaker 1>The company took its name from a Clancy novel named

0:35:51.840 --> 0:35:55.839
<v Speaker 1>Red Storm Rising, and it launched out of, and then absorbed,

0:35:55.960 --> 0:36:00.840
<v Speaker 1>an earlier game studio called Vitus Studios. Between its founding

0:36:00.960 --> 0:36:04.000
<v Speaker 1>and two thousand, the studio had published a few titles,

0:36:04.000 --> 0:36:06.960
<v Speaker 1>but the one that really caught fire was the PC

0:36:07.200 --> 0:36:12.600
<v Speaker 1>tactical first person shore game Rainbow six. The game eventually

0:36:12.640 --> 0:36:16.120
<v Speaker 1>would come out for numerous other platforms, including the PlayStation,

0:36:16.360 --> 0:36:20.600
<v Speaker 1>the second Dreamcast, mac computers, and more. The title was

0:36:21.080 --> 0:36:24.520
<v Speaker 1>a phenomenal success and the studio was still relatively small,

0:36:24.880 --> 0:36:27.759
<v Speaker 1>which made it a perfect entry point for a company

0:36:27.800 --> 0:36:31.160
<v Speaker 1>that wants to get into the North American market. Red

0:36:31.200 --> 0:36:35.960
<v Speaker 1>Storm was at a crossroads. According to marketing manager Wendy Beasley,

0:36:36.040 --> 0:36:38.400
<v Speaker 1>the studio was in the mindset that it needed to

0:36:38.600 --> 0:36:43.040
<v Speaker 1>either be acquired to acquire some other company, or to

0:36:43.120 --> 0:36:46.719
<v Speaker 1>go public to be soft and red Storm first initiated

0:36:46.760 --> 0:36:51.120
<v Speaker 1>talks about an acquisition sometime around E three in two thousand.

0:36:51.440 --> 0:36:55.120
<v Speaker 1>E three, for those unfamiliar, is a video game industry conference.

0:36:55.719 --> 0:36:58.319
<v Speaker 1>By August of that year, the paperwork was signed and

0:36:58.360 --> 0:37:01.960
<v Speaker 1>Red Storm had become a one hundred percent owned subsidiary

0:37:02.080 --> 0:37:05.920
<v Speaker 1>of Ubisoft. Now. In the announcement of that acquisition, the

0:37:05.960 --> 0:37:09.640
<v Speaker 1>messaging was made clear that Red Storm would continue to

0:37:09.680 --> 0:37:14.120
<v Speaker 1>operate as if it were a truly independent studio. In addition,

0:37:14.480 --> 0:37:17.839
<v Speaker 1>the developers at red Storm could potentially take over Ubisoft

0:37:17.920 --> 0:37:21.239
<v Speaker 1>titles and franchises that were a better fit for the

0:37:21.280 --> 0:37:26.520
<v Speaker 1>American developers. One big change was that Tom Clancy left

0:37:26.600 --> 0:37:29.520
<v Speaker 1>the company, though he would still license his properties to

0:37:29.560 --> 0:37:32.840
<v Speaker 1>red Storm, which was a good thing as games inspired

0:37:32.840 --> 0:37:34.839
<v Speaker 1>by his work would prove to be some of the

0:37:34.880 --> 0:37:39.480
<v Speaker 1>biggest successes for Ubisoft. During this part of the company's history,

0:37:39.560 --> 0:37:44.240
<v Speaker 1>so now Ubisoft had access to licensed material from Tom Clancy.

0:37:44.719 --> 0:37:49.480
<v Speaker 1>Ubisoft Montreal had talent and assets from the recently closed

0:37:49.560 --> 0:37:53.640
<v Speaker 1>New York office. At some point, the puzzle pieces clicked

0:37:53.640 --> 0:37:57.040
<v Speaker 1>into place, and Ubisoft Montreal got to work on a

0:37:57.080 --> 0:38:00.960
<v Speaker 1>Tom Clancy game in which an operative would complete missions

0:38:01.280 --> 0:38:05.120
<v Speaker 1>using stealth and special equipment to navigate levels while trying

0:38:05.120 --> 0:38:09.200
<v Speaker 1>to avoid detection. Most of the technology from the Drift

0:38:09.560 --> 0:38:12.719
<v Speaker 1>would come into play in this game. In addition, the

0:38:12.760 --> 0:38:16.560
<v Speaker 1>team had a directive from Ubisoft HQ they needed to

0:38:16.600 --> 0:38:19.160
<v Speaker 1>make a game they could go toe to toe with

0:38:19.280 --> 0:38:23.719
<v Speaker 1>the PlayStation Konami game Metal Gear Solid two out of

0:38:23.760 --> 0:38:28.400
<v Speaker 1>the legendary video game developer Hideo Kajima. And that is

0:38:28.440 --> 0:38:32.279
<v Speaker 1>how Tom Clancy's splinter Cell was born as a convergence

0:38:32.280 --> 0:38:36.000
<v Speaker 1>of technologies and opportunities, which I think is pretty cool.

0:38:36.520 --> 0:38:39.520
<v Speaker 1>It was an Xbox exclusive and it helped to establish

0:38:39.600 --> 0:38:42.759
<v Speaker 1>the console's legitimacy as well as the company's place in

0:38:42.800 --> 0:38:46.160
<v Speaker 1>the North American video game market, and it would set

0:38:46.200 --> 0:38:49.160
<v Speaker 1>off a chain of events that would push Ubisoft's Montreal

0:38:49.239 --> 0:38:54.000
<v Speaker 1>studio on a path to tackle increasingly ambitious games. There

0:38:54.040 --> 0:38:58.000
<v Speaker 1>was a lot going on around this time. In two

0:38:58.040 --> 0:39:01.040
<v Speaker 1>thousand one, while the Montreal team was hard at work

0:39:01.120 --> 0:39:04.840
<v Speaker 1>finishing splinter Cell, would be Soft acquired the entertainment division

0:39:04.880 --> 0:39:08.640
<v Speaker 1>from the Learning Company, which in turn had properties from

0:39:08.640 --> 0:39:14.560
<v Speaker 1>earlier game companies like Strategic Simulations and Mattel Interactive, among others.

0:39:15.000 --> 0:39:18.719
<v Speaker 1>In fact, I think this acquisition is what confused some

0:39:18.880 --> 0:39:22.160
<v Speaker 1>of the editors on Wikipedia who put together that list

0:39:22.280 --> 0:39:25.279
<v Speaker 1>I had mentioned earlier. One of the games that was

0:39:25.360 --> 0:39:29.680
<v Speaker 1>mistakenly included on that list was the original Pool of

0:39:29.800 --> 0:39:34.000
<v Speaker 1>Radiance game. That's an advanced Dungeons and Dragons licensed game

0:39:34.040 --> 0:39:40.200
<v Speaker 1>that was published under the developer Strategic Simulations Incorporated in Now,

0:39:40.239 --> 0:39:43.200
<v Speaker 1>I love that game, but it is definitely not an

0:39:43.320 --> 0:39:46.759
<v Speaker 1>Ubisoft title. Ubisoft would later go on to make a

0:39:46.840 --> 0:39:50.640
<v Speaker 1>game with a Pool of Radiance name, a sequel at

0:39:50.680 --> 0:39:53.320
<v Speaker 1>least in name, but it shared very little in common

0:39:53.400 --> 0:39:57.280
<v Speaker 1>with the older title, and it got pretty mixed reviews

0:39:57.320 --> 0:39:59.759
<v Speaker 1>as well. Anyway, that's me getting my dander up about

0:39:59.760 --> 0:40:02.200
<v Speaker 1>wick A p D against We'll leave it there. The

0:40:02.280 --> 0:40:06.440
<v Speaker 1>important point here is that the acquisition did give Ubisoft

0:40:06.480 --> 0:40:09.840
<v Speaker 1>the right to several franchises, including an old game that

0:40:09.920 --> 0:40:12.440
<v Speaker 1>had been made for the Apple two called The Prince

0:40:12.520 --> 0:40:15.839
<v Speaker 1>of Persia. Ubisoft Montreal had the task of creating a

0:40:15.880 --> 0:40:19.359
<v Speaker 1>new game based off this concept of the original game

0:40:19.400 --> 0:40:22.319
<v Speaker 1>that had come out decades earlier, and that was a

0:40:22.360 --> 0:40:24.960
<v Speaker 1>platformer and puzzle game that had been created by a

0:40:24.960 --> 0:40:28.880
<v Speaker 1>guy named Jordan Metchner. The Montreal team reached out to

0:40:29.000 --> 0:40:31.799
<v Speaker 1>him and he was reluctant to come on board after

0:40:31.880 --> 0:40:34.720
<v Speaker 1>having a really bad experience with a Prince of Persia

0:40:34.840 --> 0:40:37.360
<v Speaker 1>sequel that had happened to Prince of Persia three D.

0:40:38.000 --> 0:40:40.680
<v Speaker 1>But persistence went out and he would end up joining

0:40:40.680 --> 0:40:43.360
<v Speaker 1>the team and become heavily involved in the project, becoming

0:40:43.400 --> 0:40:46.480
<v Speaker 1>the head writer for the new game. Now keep in

0:40:46.520 --> 0:40:48.959
<v Speaker 1>mind this is also going on at the same time

0:40:49.000 --> 0:40:51.840
<v Speaker 1>as the Splinter Cell development, so it was a really

0:40:51.960 --> 0:40:55.680
<v Speaker 1>busy time in Montreal. One of the creative features of

0:40:55.719 --> 0:40:58.799
<v Speaker 1>the Prince of Persia game was the incorporation of a

0:40:58.840 --> 0:41:02.480
<v Speaker 1>rewind feature, so players could build up the capability to

0:41:02.520 --> 0:41:05.560
<v Speaker 1>do a quick rewind of time so that if they

0:41:05.640 --> 0:41:09.040
<v Speaker 1>made a mistake that would have led to disaster, they

0:41:09.040 --> 0:41:12.440
<v Speaker 1>can activate that feature and rewind time just as short

0:41:12.480 --> 0:41:15.600
<v Speaker 1>ways and then try it again. So you miss a jump,

0:41:15.640 --> 0:41:17.920
<v Speaker 1>you rewind time you try and make the jump again.

0:41:18.360 --> 0:41:21.560
<v Speaker 1>The writers worked this capability into the story itself, making

0:41:21.600 --> 0:41:24.400
<v Speaker 1>it a clever feature of not just the gameplay, but

0:41:24.520 --> 0:41:27.239
<v Speaker 1>the mythology of the game world, and it was, in

0:41:27.280 --> 0:41:30.839
<v Speaker 1>my mind, a stroke of brilliance. The resulting game was

0:41:30.960 --> 0:41:34.080
<v Speaker 1>Prince of Persia the Sands of Time, which published in

0:41:34.120 --> 0:41:37.800
<v Speaker 1>two thousand three. The game was a critical success, though

0:41:37.840 --> 0:41:40.560
<v Speaker 1>it took a little bit longer for sales figures to

0:41:40.600 --> 0:41:44.280
<v Speaker 1>follow suit. Now I owned both splinter Cell and Prince

0:41:44.280 --> 0:41:46.480
<v Speaker 1>of Persia of the Sands of Time for the Xbox

0:41:46.480 --> 0:41:49.120
<v Speaker 1>the original Xbox, and they were two of my favorite

0:41:49.160 --> 0:41:53.839
<v Speaker 1>games of that console generation. Clearly, Ubisoft Montreal wasn't hurt

0:41:53.840 --> 0:41:57.480
<v Speaker 1>by the fact that half of their starting employees had

0:41:57.520 --> 0:42:00.479
<v Speaker 1>little to no experience in video game development. The team

0:42:00.560 --> 0:42:03.600
<v Speaker 1>learned quickly and they were turning out some real bangers

0:42:03.640 --> 0:42:07.080
<v Speaker 1>for games. The Prince of Persia game made use of

0:42:07.120 --> 0:42:09.439
<v Speaker 1>a game engine that Ubisoft had developed for a totally

0:42:09.520 --> 0:42:12.960
<v Speaker 1>different project, one that was held by Michelle A. Sell,

0:42:13.080 --> 0:42:16.840
<v Speaker 1>the guy who created Rayman. After working on numerous Rayman

0:42:16.960 --> 0:42:20.440
<v Speaker 1>sequels on Cell, wanted to tackle something totally different, and

0:42:20.480 --> 0:42:23.920
<v Speaker 1>that's something would be a project called Beyond Good and Evil,

0:42:24.280 --> 0:42:26.400
<v Speaker 1>a game in which the player controls a young woman

0:42:26.440 --> 0:42:29.240
<v Speaker 1>as she tries to uncover a conspiracy in a science

0:42:29.239 --> 0:42:33.160
<v Speaker 1>fiction setting. The game had a long and troubled development

0:42:33.239 --> 0:42:37.000
<v Speaker 1>process back at Ubisoft HQ in France, and it included

0:42:37.040 --> 0:42:41.400
<v Speaker 1>a nearly complete rewrite, and it would have ultimately debuted

0:42:41.400 --> 0:42:45.440
<v Speaker 1>to lackluster sales, but it got really good reviews. The

0:42:45.480 --> 0:42:48.320
<v Speaker 1>game was released on the then current generation of video

0:42:48.320 --> 0:42:51.760
<v Speaker 1>game consoles, which were the PlayStation two and the Xbox

0:42:52.200 --> 0:42:55.760
<v Speaker 1>and the Nintendo GameCube, and also it came out for Windows.

0:42:56.200 --> 0:42:58.839
<v Speaker 1>Much later on. It would also come to the Xbox three,

0:42:58.880 --> 0:43:02.040
<v Speaker 1>sixty and the p US three. Over time, the reputation

0:43:02.080 --> 0:43:04.640
<v Speaker 1>for the game would lead to better sales figures, but

0:43:04.920 --> 0:43:08.040
<v Speaker 1>at first, at least, it appeared to be a serious misstep.

0:43:08.440 --> 0:43:12.640
<v Speaker 1>In retrospect, many at Ubisoft said that the failure largely

0:43:12.680 --> 0:43:16.319
<v Speaker 1>rested on the company's marketing for the game. And we're

0:43:16.320 --> 0:43:19.359
<v Speaker 1>going to conclude this part of our story with ubi

0:43:19.400 --> 0:43:24.239
<v Speaker 1>Soft two words officially becoming ubi Soft one word, and

0:43:24.320 --> 0:43:28.520
<v Speaker 1>that happened on September nine, two thousand three. The company

0:43:28.600 --> 0:43:31.960
<v Speaker 1>also would replace its logo. Originally, its logo had been

0:43:32.120 --> 0:43:37.120
<v Speaker 1>a large maroon pinkish Ubi I with the word soft

0:43:37.160 --> 0:43:41.200
<v Speaker 1>written in white script on top of U B i uh.

0:43:41.280 --> 0:43:44.480
<v Speaker 1>It had gone through a few other permutations of logos

0:43:44.480 --> 0:43:46.840
<v Speaker 1>in the following years, but in two thousand three we

0:43:46.960 --> 0:43:50.720
<v Speaker 1>finally got the more familiar swirl logo, which would remain

0:43:50.800 --> 0:43:53.960
<v Speaker 1>the official logo for more than a decade. It changed

0:43:53.960 --> 0:43:56.680
<v Speaker 1>again in twenty seventeen, but we'll get to that. So

0:43:56.719 --> 0:43:59.399
<v Speaker 1>in our next episode, will continue the story of Ubi

0:43:59.440 --> 0:44:02.200
<v Speaker 1>Soft and talk about how some sharks in the games

0:44:02.200 --> 0:44:04.880
<v Speaker 1>industry started to circle the studio just as it was

0:44:05.000 --> 0:44:08.319
<v Speaker 1>really taking off on the global stage, but that will

0:44:08.360 --> 0:44:11.480
<v Speaker 1>have to wait until next time. If you have suggestions

0:44:11.560 --> 0:44:15.160
<v Speaker 1>for topics I should tackle in future episodes of tech Stuff,

0:44:15.200 --> 0:44:17.560
<v Speaker 1>reach out to me and let me know. The best

0:44:17.560 --> 0:44:19.879
<v Speaker 1>way to do that is on Twitter, where I used

0:44:19.920 --> 0:44:23.000
<v Speaker 1>the handle text stuff h s W for the show,

0:44:23.520 --> 0:44:31.800
<v Speaker 1>and I'll talk to you again really soon. Text Stuff

0:44:31.880 --> 0:44:35.000
<v Speaker 1>is an I Heart Radio production. For more podcasts from

0:44:35.040 --> 0:44:38.839
<v Speaker 1>I Heart Radio, visit the I Heart Radio app, Apple Podcasts,

0:44:38.960 --> 0:44:40.960
<v Speaker 1>or wherever you listen to your favorite shows.