But it’s not that funny.” This is totally a good system. “So it becomes a little bit like people have to fight their experience, their instincts sometimes….This is totally a good system. “We had to get in this mindset where comedy matters maybe more than perfect game design philosophy. Chief among them was learning to ignore their better game design instincts to make for a more authentic, funnier experience. And all of a sudden.we were able to have a unified design language and jargon based off of board games and our common understanding of our campaign.”Īnd as the two companies synced up on the development of the game - South Park’s infamous production schedule meant time day-by-day to talk to Parker and the team could prove tough - Ubisoft SF faced challenges of its own. “We played Star Wars: Imperial Assault - Ken Strickland, our lead designer, me, and Trey and a couple of other people from his staff. “I think Trey saw a way of building common ground and said ‘Why don’t you come over to my house to play board games,’” Schroeder explained. The team found common ground in the game’s combat, which upgrades the original’s turn-based gameplay to include a grid-based system, thanks to a night of board games. “None of us had worked at South Park for 10 to 19 years….So there's nobody in the world that's as fast as making South Park stuff as South Park,” Schroeder said.There's nobody in the world that's as fast as making South Park stuff as South Park."īut in working so much with an outside team, and South Park co-creator Trey Parker writing the game, Ubisoft SF also had to find a way to make their disparate schedules and divergent ideas come together. That led to a collaboration with South Park Studios to create animations and assets for The Fractured But Whole without Ubisoft SF needing to triple or quadruple its staff. “South Park in the same way, we had to approach it differently from traditional ways, because we knew that if we were going to build all the content for South Park, it would have been impossible for us,” Higo said.
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Namely, learning how to work within a specific project and Ubisoft SF's limitations and giving each game a clear focus. "So when we made that transition into making South Park, all it meant was then supplementing that team with additional experts on making RPGs and RPG systems on top of the people that we already had," Higo said of Ubisoft SF's growth.Īnd in moving onto South Park, Ubisoft SF took what it learned from Rocksmith and Rocksmith 2014 and applied it to The Fractured But Whole. Starting in 2009 as, according to Higo, simply an office meant to work on game prototypes, Higo and Studio Design Director Paul Cross staffed up the team for Rocksmith with design experts in various fields, not just music gaming. But also we played it really smart,” Higo said, speaking specifically to budgetary limitations and the decision to give the game a unique teaching focus. “When we first started to talk even internally about Rocksmith, and people were saying ‘You guys are crazy, why are you doing this? Don't you know Rock Band and Guitar Hero are at the height of their popularity?’ We know that we had to be different and have that risk, and know what we're up against. Those risks are inherent in Ubisoft SF's DNA, going all the way back to its debut efforts breaking into the music scene with Rocksmith. Higo, speaking along with South Park Game Director Jason Schroeder to IGN, described the studio’s viewpoint as a “start-up mentality,” one in which risks can be taken with a team that began as 20 in 2009 and has now reached nearly 100.
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