The realities of working in game audio Ubisoft

After my experience at Virtuos Game and thinking about interactive storytelling, I started to look more seriously at what working in game companies actually means in reality. Now I feel like there are a lot of practical things I didn’t think about before.

When I look at companies like Ubisoft, the scale of production is much bigger than what I imagined. A game is not made by one person, but by large teams across design, programming, art and audio. This means sound design is only one part of a much larger system. It needs to fit into game mechanics, timing, technical limitations… rather than existing on its own.

From my own experience in game audio, I realised that a lot of the work is not about “creating freely”, but about solving problems. For example, how to make a sound respond correctly to player actions, how to avoid repetition, or how to make audio work in different environments in the game. It’s quite technical and requires a lot of testing and adjustment.

This made me understand that working in this industry requires more than just creative ideas. It also needs technical skills, communication, and the ability to work within constraints. Compared to exhibition work, where I could decide everything myself, here I need to adapt to a system and work with others.

At the same time, the advantages of working in big game company is attractive, the work can reach a much larger audience, and the result is part of a complete experience for players.

For me, this feels more realistic as a future career direction. It’s not as free as purely artistic work, but it is more stable and structured. I feel this shift from individual practice to collaborative production is something I need to develop further.