Ripstone Thrives as Independent Publisher by Avoiding Rapid Expansion

The Liverpool gaming industry has its roots in Psygnosis, a company that made a name for itself by publishing titles like Shadow of the Beast and Lemmings before becoming a subsidiary of Sony Computer Entertainment in 1993. After being renamed Studio Liverpool in 1999, the company continued to leave its mark on the industry, with its game Wipeout being one of the first killer apps for the original PlayStation. Ripstone co-founder and creative director Phil Gaskell shares his experiences during a media visit to the Liverpool-based studio. Having started his career at PlayStation and Psygnosis in the late 90s, Gaskell is part of the Psygnosis heritage, along with fellow co-founder and managing director Leo Cubbin. Gaskell explains that the idea to start Ripstone came about during a casual conversation with Cubbin, where they both expressed their desire to set up their own company. With experience in digital distribution and working on PSN games, Gaskell wrote the business plan for Ripstone while on paternity leave with his second child. Establishing Ripstone in 2011 proved to be a wise decision, especially after Sony announced the closure of Studio Liverpool the following year. This led to the formation of smaller studios, including mobile studio Playrise Digital and VR studio Firesprite, which was later acquired by Sony. Ripstone has endured for over a decade, and one of the key factors is its ability to maintain independence. This approach reflects the company's original "punk attitude" to its business model, which may not be immediately apparent given its reputation for publishing games like Chess Ultra and its latest title, The Queen’s Gambit Chess, in partnership with Netflix. However, Cubbin emphasizes that the studio is not solely reliant on this project, stating that working with Netflix has been a positive experience, but they remain cautious about their dependence on the streaming giant. The Queen’s Gambit Chess also marks the debut of Rockwater Games, Ripstone’s internal development team. Formed around five years ago, the team initially supported existing games but is now capable of developing its own titles. Gaskell stresses the importance of Rockwater having its own identity, allowing it to maintain its autonomy within Ripstone. The company has another team based in Birmingham, known as MagmaWorks, and the Liverpool studio has a headcount of around 40, with 30 of those being part of Rockwater. Gaskell expresses his concern about rapid growth, stating that it can lead to a loss of culture and sight of the company’s goals. When asked to define culture, he simply says, "We’re not dicks." He elaborates that studio culture goes beyond providing free benefits, such as a company psychologist, and involves radical candour, where team members can be brutally honest with each other without causing offense. Cubbin adds that as companies grow, it becomes increasingly difficult to maintain this level of intimacy and honesty among team members. The company heads sit alongside the rest of the Rockwater team, and they have always been cautious about growing too quickly, recognizing that there are ways to expand without sacrificing their culture. Gaskell shares anecdotes of his experiences working 100-hour weeks and learning from mistakes. He, Cubbin, and finance director Amy Wall have worked together to build a studio culture that is authentic and genuine. This approach has earned Ripstone the award for Best Places to Work two years in a row. Wall believes that Ripstone’s success lies in its ability to maintain its culture while growing organically. The company knows its direction and doesn’t get distracted by what others are doing, allowing it to be quick and nimble when needed. The partnership with Netflix is a significant milestone for Ripstone, but Cubbin doesn’t expect it to change the studio’s long-term approach. Having experienced the consequences of rapid expansion and layoffs, the company is committed to maintaining a fun and enjoyable work environment, recognizing that making games should be an enjoyable experience.