Schell Games, the studio best known for co‑creating the three‑dimensional version of the viral hit *Among Us* and for the critically acclaimed *I Expect You To Die* series, has reportedly begun cutting staff positions. The news surfaced after several employees posted about the layoffs on LinkedIn, prompting coverage from industry outlet Game Developer.
According to the report, the first wave of reductions started last Friday. One of the studio’s senior engineers, who identified himself as the principal engineering manager, shared a brief note that read, “Schell Games had their first ever layoffs today.” He clarified that his own role was not among those eliminated, emphasizing that the decision was not tied to any personal performance issues. The engineering manager’s post continued, “This has happened not because of anything you did or did not do.
Our industry (and beyond) right now is hemorrhaging.” The phrasing suggests a broader market downturn affecting many developers, rather than an isolated problem within Schell Games. Further confirmation came from Dwayne Waite Jr., the studio’s marketing director, who publicly acknowledged that the marketing department was also hit. He listed four colleagues who were let go, providing a human face to the numbers. In addition, the senior public relations manager posted a separate update that named several individuals from the art, design, and visual effects teams who were affected.
Compiling the various LinkedIn announcements, observers estimate that roughly fourteen employees have been impacted across multiple disciplines. The studio’s own LinkedIn page lists its headcount as ranging from 51 to 200 employees, indicating that the cuts represent a noticeable, though not catastrophic, proportion of the workforce. One of the affected public relations staff members expressed a mixture of disappointment and pride in a reflective comment: “I won’t pretend this isn’t a disappointing way to end this chapter, especially after almost six years.
But I’m walking away proud of what I accomplished during my time with the company, and I’m grateful for the people I got to build with.” The sentiment underscores both the personal toll of layoffs and the lasting sense of achievement that can accompany a tenure at a creative studio. The layoffs are particularly striking given the public stance of Schell Games’ founder and CEO, Jesse Schell, who has long spoken out against job cuts. In a 2024 interview with GamesIndustry.biz, Schell articulated a philosophy that separates financial risk from the risk to employees’ livelihoods.
He said, “At the heart of it all is choosing not to put jobs at risk. We’ll put cash at risk when we make a game, but we don’t put jobs at risk.” Schell elaborated further, noting that even if a self‑published intellectual property generated no revenue, the studio would still strive to keep its staff employed: “Even if our own IP brings in zero dollars, we still haven’t put any jobs at risk – we still have a path forward where we’ll be able to keep people on. So, in a lot of ways, it’s a choice.” This rhetoric has been a cornerstone of the company’s brand identity, positioning Schell Games as a developer that prioritizes employee security over short‑term financial pressures. The recent reductions therefore raise questions about how the studio’s leadership reconciles its stated values with the current market realities.
While the broader video‑game industry has been experiencing a slowdown—characterized by reduced consumer spending, higher development costs, and a cautious investment climate—Schell Games’ decision suggests that even studios with a strong ethical stance are not immune to external pressures. Industry analysts point out that the past few years have seen a wave of consolidation, delayed releases, and shifting platform priorities that have strained many mid‑size developers. The rise of live‑service models, subscription services, and the increasing cost of high‑fidelity production have all contributed to a more volatile financial environment.
In such a context, companies often must make difficult choices to preserve long‑term viability. The announcement also highlights the human side of corporate restructuring. Employees who have spent years building games, cultivating community relationships, and refining artistic pipelines now face the challenge of transitioning to new opportunities.
The LinkedIn posts reveal a community trying to support one another, with many former colleagues offering recommendations, networking assistance, and words of encouragement. Schell Games has not yet issued an official press release addressing the layoffs, and GamesIndustry.biz reports that attempts to contact the studio for comment have not yielded a response at the time of writing.
This silence leaves room for speculation about the company’s future direction, potential pivots, or upcoming projects that may require a leaner team. In summary, the recent workforce reductions at Schell Games reflect a confluence of industry‑wide financial strain and the difficult reality that even studios with a publicly declared commitment to employee stability may need to adjust staffing levels. While the immediate impact on the affected fourteen individuals is clear, the broader implications for the studio’s culture, project pipeline, and reputation remain to be seen.
The situation serves as a reminder that the video‑game sector, like many creative industries, is subject to cyclical economic forces that can challenge even the most well‑intentioned business philosophies.