Jade Raymond: Triple-A videogames can still be innovative

Alex Hern speaks to the all-star producer and lead of the upcoming Splinter Cell: Blacklist about upstart indie gamers, the polygons of emotion - and the new Spies vs Mercs mode.

When the Splinter Cell series returns on 20 August with Splinter Cell: Blacklist, it brings the groundbreaking "spies versus mercenaries" mode back with it. The mode, first featured in 2006's Splinter Cell: Double Agent, is an asymmetric multiplayer game. Two people play as spies - fast, agile, and with a wealth of gadgets enabling them to sneak their way through levels; the other two play as heavily armed mercenaries, slow and clumsy but making that up with firepower. Even the objectives were different for each team. The spies had to hack encrypted files from terminals scattered around the levels, while the mercenaries had to stop them.

"Spies v Mercs" was quietly revolutionary in its asymmetry, so I asked Jade Raymond, the Managing Director of Ubisoft's Toronto Studios which produced Blacklist, whether there was anything as groundbreaking in the new game. "I certainly hope so," she says. "The thing about our multiplayer is that we haven't spoken about all of it yet, because we do want to save some surprises." But in the new game, distinguishing multiplayer from single is harder said than done: "what we've done with Blacklist is blur the line between all the modes." The metagame doesn't distinguish between single- and multiplayer missions. Instead, it dishes out the same rewards for winning a multiplayer match, beating your friend's score in a single-player mission, or for continuing the overall story. "No matter which mode you're playing, you're accumulating money which you can spend on Sam's upgrades, on upgrading the plane, on upgrading your Spies v Mercs characters. It's just a single experience and anything you do in any mode helps the global economy."

It's an interesting proposition, although slightly scary to someone like me who is, on a fundamental level, a bit crap at multiplayer games. But it doesn't feel like the same breakthrough that the original was. Does Raymond still think the big console games are innovative? Might the excitement not be in mobile gaming, where whole new genres are being invented? Or even in board gaming?

Following a short digression where we swap stories of rolling dice – "I love board games!" – she defends her turf against the upstarts. "You're seeing a lot of interesting stuff going on in the indie scene, but there's certain types of innovation which can only happen with an HD level of realisation. Like, I think the Last of Us had a big impact in terms of storytelling, and emotional connection with the players, and you can't really do that with a mobile game."

But sometimes it can feel like that the ability to make that connection is wasted. Reading previews of Blacklist in the gaming press, lines like "visually, Splinter Cell still has some of the best shadows seen this generation" jump out. It's uncomfortably reminiscent of Heavy Rain designer David Cage's comment at the launch of the PlayStation 4, that the machine's ability to render "30,000 polygons" let them "go further to create subtle emotions". Raymond defends the preview, arguing that "in Splinter Cell, shadows do have a little bit more meaning than in any other game, because that dictates whether you're hidden or not . . . I agree, talking about shadows is kind of pointless if there's no gameplay mechanic associated with it."

Raymond is upbeat about the state of the gaming press – even though it has frequently been less-than-reasonable back. Such as the time a Kotaku writer said: "I'm personally hoping she announces a new game where you just move the camera around a 3D model of her person for hours at a time". Throughout her career, the community has not allowed her to forget her gender.

In the run-up to the launch of Assassin's Creed, the first AAA title she produced, the abuse got particularly bad. Someone spread false rumours that she would be posing for Maxim; a popular webcomic artist drew her into a pornographic scene. "That was the first time that I really had that kind of thing happen. Obviously it was pretty . . . it was pretty difficult, to be honest, because even though . . . you can't take that kind of thing personally, it has nothing to do with you, but obviously it does affect you."

But unlike some women working in gaming, Raymond doesn't think the industry as a whole has a problem. "Working in the game industry I've never felt that there was really sexism. I feel like I've been respected for what I bring to the table. I started out as a programmer, so, you know, you're either a good programmer or you're not a good programmer."

Her analysis is more positive than that of many others in similar positions. Between critical studies like Anita Sarkeesian's Tropes vs women project, which assessed the role of female characters in gaming, and movements like the #1reasonwhy campaign, which passionately detailed all the reasons why there are so few women in gaming, many women are speaking up.

I ask Raymond what she thinks about these movements. "Well, I definitely see a lot more people talking about it, so I think that that is probably healthy. I guess, you know, I would look forward to a time when it's not a topic of discussion. 'Oh, you make games, and you made this super-successful game . . . tell me what it's like to be a woman.'"

Jade Raymond.

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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Indie band The 1975 want to “sue the government” over the Electoral Commission’s latest advert

Frontman Matt Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

How do you make registering to vote in the EU Referendum cool? It sounds like something  from The Thick of It, but judging by the Electoral Commission’s latest TV ad for their new voting guide, this was a genuine question posed in their meetings this month. The finished product seems inspired by teen Tumblrs with its killer combination of secluded woodlands, vintage laundrettes and bright pink neon lighting.

But indie-pop band The 1975 saw a different inspiration for the advert: the campaign for their latest album, I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It (Yes, a title perhaps even more cumbersome than “The EU Referendum - You Can't Miss It (Phase One)”).


Lead singer Matt Healy posted a picture of the guide with the caption “LOOK OUT KIDZ THE GOVERNMENT ARE STEALING OUR THOUGHTS!!” back on 17 May. The release of the TV spot only furthered Healy’s suspicions:

Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

The 1975’s manager, Jamie Oborne, was similarly outraged.

Oborne added that he was particularly “disappointed” that the director for the band’s video for their song “Settle Down”, Nadia Marquard Otzen, also directed the Electoral Commission’s ad. But Otzen also directed the Electoral Commission’s visually similar Scottish Referendum campaign video, released back in September 2014: almost a year before The 1975 released the first promotional image for their album on Instagram on 2 June 2015.

Many were quick to point out that the band “didn’t invent neon lights”. The band know this. Their visual identity draws on an array of artists working with neon: Dan Flavin’s florescent lights, James Turrell’s “Raemar pink white”, Nathan Coley’s esoteric, and oddly-placed, Turner-shortlisted work, Bruce Nauman’s aphoristic signs, Chris Bracey’s neon pink colour palette, to just name a few – never mind the thousands of Tumblrs that undoubtedly inspired Healy’s aesthetics (their neon signs were exhibited at a show called Tumbrl IRL). I see no reason why Otzen might not be similarly influenced by this artistic tradition.

Of course, The 1975 may be right, in that they have helped to popularise this particular vibe, moving it out of aesthetic corners of the internet and onto leaflets dropped through every letterbox in the country.  But if mainstream organisations weren’t making vaguely cringeworthy attempts to jump on board a particular moment, how would we know it was cool at all?

Anna Leszkiewicz is a pop culture writer at the New Statesman.