This is exactly the kind of boost Ubisoft desperately needs as their stock continues to plummet, facing heavy backlash from consumers over their overly “woke” games, which are designed to meet DEI and ESG targets. These games, combined with the dismal sales of their recent big-budget titles, have left the company in dire straits.
The once-dominant Ubisoft family dynasty is on the brink of collapse, with bankruptcy or a buyout by industry giants like Microsoft, Tencent, or Sony appearing almost inevitable in the coming years.
The overwhelming failure of Star Wars Outlaws, their latest AAA project, has further tarnished their reputation, even among gaming journalists supportive of progressive companies like Ubisoft. The negative sentiment among consumers was amplified when Ubisoft confirmed Assassin’s Creed Shadows, a move that validated rumors many gamers were dreading.
The rumor in question revolves around the game’s protagonist, Yasuke. For the first time in the Assassin’s Creed franchise, Ubisoft is featuring a “historical figure” as the main playable character. Shadows, set during feudal Japan, centers on Yasuke, a figure with scant historical evidence to support even his existence.
Yasuke being an African man who was abandoned in Japan, historical records only suggest he may have served as a retainer to Oda Nobunaga, nothing more than a sword bearer, a golf caddy.
However, Ubisoft, driven by Diversity, Equity, and Inclusivity (DEI) initiatives, has taken liberties with his narrative, depicting Yasuke as a fully-fledged samurai warrior.
This portrayal is seen by many as a blatant subversion of Japan’s history, with the company seemingly prioritizing DEI goals over historical accuracy by positioning a Black African man as the main protagonist in a game set in Japan during the Sengoku period.
Fans quickly saw through Ubisoft’s ploy, outraged by the company’s use of a supposedly historical figure to meet DEI criteria and secure funding from ESG-backed hedge funds. The protagonist, Yasuke, whose falsified Samurai heritage originates from the speculative writings of Jewish-English professor-turned-author Thomas Lockley, was viewed as a convenient scapegoat.
Lockley himself was exposed for editing Yasuke’s Wikipedia entries, citing his own unpublished papers to bolster claims of Yasuke’s Samurai background.
This revelation only intensified the backlash from gamers, many of whom had grown increasingly aware of DEI and ESG agendas in gaming and the perceived harm they cause to their escapism. Frustrated players revolted against Ubisoft, flooding Assassin’s Creed Shadows trailers and footage with negative feedback on YouTube, a reaction that spread to other titles like Star Wars Outlaws.
Gamers have taken their outrage further by creating a petition to ban the game in Japan, which has already amassed over 100,000 signatures. Meanwhile, Ubisoft continued to embarrass themselves by showcasing a replica sword from the wildly popular manga series One Piece, falsely presenting it as Yasuke’s actual sword in a convention exhibit.
Gamers have expressed outrage at Ubisoft for what they perceive as racial prejudice and an attempt to rewrite Japan’s heritage by pushing pro-Black fictional narratives as historical fact.
Ubisoft themselves admitted they deliberately chose a non-Japanese samurai for the game, sparking further backlash as game journalists defended the mega corporation after Ubisoft gave out a non-apology that proclaimed that Yasuke’s alleged Samurai background was a “matter of debate.”
The game’s narrative, penned by progressive feminists, is seen as an attempt to atone for “White guilt” while aligning with the interests of their financial backers at BlackRock.
Star Wars Outlaws, Ubisoft’s latest release and its most expensive in terms of marketing, featured a widely criticized ugly “Mary Sue” protagonist.
The game was heavily mocked by consumers before its launch for appearing bland and uninspired. Upon release, investors and analysts quickly dashed Ubisoft’s hopes of capitalizing on one of the world’s most lucrative franchises, slashing sales expectations of the mediocre Far Cry clone by millions.
The game received mixed to negative reviews, even from journalists, let alone actual gamers, of which there were far fewer than Ubisoft anticipated. One has to wonder if their refusal to release the game on Valve’s Steam store for PC contributed to the low player numbers.
Regardless, following Star Wars Outlaws‘ poor performance, Ubisoft is now pinning their hopes on Assassin’s Creed Shadows, though early signs, such as the reception to a recently uploaded trailer, suggest it’s shaping up to be another colossal failure.
The recently uploaded trailer has been bombarded with over 70,000 dislikes compared to a meager 16,000 likes within two days. Viewers quickly noticed a surge of blatantly botted comments from newly created accounts, artificially pushed to the top of the comment section.
Beyond that, the majority of genuine comments harshly criticize Ubisoft for what many see as their self-destructive commitment to diversity and inclusivity agendas. The game has been called both racist and of poor quality, with many accusing Ubisoft of actively sabotaging their own brand.
Visually, Assassin’s Creed Shadows does have some appealing aspects, particularly its overworld, which looks stunning in parts. However, this is overshadowed by glaring issues, such as the trailer showcasing poorly executed horseback riding animations.
The movement appears janky, with the horse seemingly gliding rather than walking, as its animation doesn’t align properly with its motion.
Ubisoft’s financial situation reflects these struggles, with their stock currently trading at just 11.72 euros. Over the past five days, Ubisoft’s stock has dropped 18.58%, fallen over 31% in the last month, and is down a staggering 50% since the start of the year.
Compared to five years ago, their shares have plummeted by more than 80%, reaching their lowest point since 2013—a troubling sign for the company.
Ubisoft remains relentlessly focused on diversity and inclusivity, going so far as to drastically alter the appearance of attractive actresses to fit their vision of dimorphic, androgynous characters, as seen with the protagonist of Star Wars Outlaws.
Despite this, the company shows no signs of course correction, continuing down a path that many see as leading to disaster. If Assassin’s Creed Shadows turns out to be as large a commercial failure as Star Wars Outlaws, which seems likely, given the wave of criticism and negativity from the gaming community over its racist nature, Ubisoft may find itself looking for a buyer by 2025.
Investors are already urging the company to go private to salvage their poor investments.
Despite their financial struggles and a string of recent commercial failures, Ubisoft remains steadfast in prioritizing DEI initiatives. In line with their mission to “empower and support under-represented genders,” the company is set to accept applications for the 2024 edition of their ‘Develop at Ubisoft’ mentorship program.
This initiative, which I’d call more of a bootcamp, has industry veterans teaching college students or fresh graduates (with less than two years of experience) the fundamentals of game design and programming. Ubisoft’s dedication to this program seems to underline their continued focus on progressive agendas, even in the face of financial collapse.
While the Develop at Ubisoft program may sound like a standard company initiative, the application guidelines reveal its true intent. Applicants are only eligible if they are women or “non-binary,” with the program’s stated objectives being to “build the most creative, diverse, and inclusive teams” and to “empower and support under-represented genders.”
Those familiar with BlackRock, ESG, and DEI initiatives understand why these programs often exclude White individuals, particularly White men, from industry opportunities. The DEI principles that influence hiring practices align with tax incentives for affirmative action and diversity hires, which prioritize women, non-White individuals, and those who are transgender or non-binary.
These practices, while controversial and arguably illegal, continue unchecked, as enforcing such ideologies is seen as integral to maintaining the current DEI framework.
Develop at Ubisoft appears to focus on women and non-binary students, reflecting the broader trend of prioritizing these groups under DEI initiatives.
The idea is to address the supposed “privilege” of men in the workforce, despite the growing number of female game developers. This program aims to provide aspiring college graduates with practical experience and skill development, but only if you’re queer or weren’t born with a penis.
However, Ubisoft’s focus on DEI has coincided with their products struggling in the market, leading to a significant decline in their stock value. By concentrating solely on training and mentoring women and non-binary developers, Ubisoft are exacerbating its challenges rather than addressing them.
This mentorship program isn’t new, it has been in place for at least four years, as indicated by a blog post where previous mentees and mentors share their experiences from Ubisoft’s Ivory Tower, Singapore and Quebec branches.
For the past four years, Ubisoft has been intentionally steering aspiring female and non-binary creators into the industry while excluding male applicants.
This is based on the notion that men are overrepresented in gaming, despite the fact that the VAST majority of game consumers continue to be male, even as the industry has worked to globalize and broaden its appeal.
It’s striking how many Western game development studios have shifted their focus to hiring progressive female employees around the time the modern feminist movement gained momentum post-2010, leading to a notable replacement of their male workforce.
For example, here’s a group photo of Ubisoft’s Montreal team from 2016, taken to celebrate International Women’s Day. If you look closely at the back center of the image, you can spot the snout of Kim Belair, CEO of Sweet Baby Inc, peeking out.
With game companies increasingly hiring women, who often hold left-leaning political views, it’s no surprise that Ubisoft’s products are facing commercial failures. Many of these employees seem out of touch with their primary audience, such as male gamers and their focus on enforcing diversity and inclusivity overshadows the poor quality of the products.
As a result, gamers are pushing back against these politically charged offerings, such as Ubisoft’s upcoming attempt to feature the world’s first “Black Samurai.”
Ubisoft has prioritized gender equality for some time, aiming to boost female representation within the company and support women’s advancement in leadership roles.
However, the current wave of progressive, dyed-haired feminists lacks the talent of the pioneering women who previously excelled in the “male dominated” industry. Icons like Amy Hennig, Roberta Williams, Naoko Mizuno, Christy Marx, and even Ubisoft’s own Karen Laur, who served as a producer on the Assassin’s Creed franchise during its early days were known for their skill and understanding of their core audience.
In contrast, today’s female developers are nothing more than feminists focused on pushing their ideological agendas upon consumers. Many are entitled, using their positions to infuse progressive messaging into beloved franchises.
This trend is not surprising given a Wall Street Journal report from late June, which revealed that diversity policies do not necessarily drive growth. A 2015 McKinsey study that highlighted the benefits of such policies has not been replicated.
Companies embracing ESG agendas are experiencing financial losses, with ESG-backed hedge funds closing rapidly. As a result, companies are increasingly showcasing their inclusivity and progressiveness in a desperate attempt to capture a shrinking market.
Ubisoft remains steadfast in its commitment to ESG and DEI protocols, even as financial losses mount. The company is dedicated to elevating so-called “marginalized” voices in the industry, focusing exclusively on female and non-binary applicants for their development mentorship programs.
Their hiring practices prioritize gender over merit, leading to a workforce where female employees are chosen for the fact they own a vagina rather than their qualifications. This has contributed to the decline of established franchises, as modern gaming increasingly reflects the influence of these politically driven agendas.
The political and social power wielded by these progressives is significant, and their impact on the gaming industry is profound. With no sign of course correction, companies like Ubisoft are increasingly resembling ticking time bombs.
The question remains: how many more financial failures can they withstand before collapsing?
