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 a round of layoffs that has sent ripples through its community of developers and fans. The news emerged after a series of LinkedIn posts from current and former employees detailed the cuts, which appear to have started on a Friday earlier this week.
The first public indication came from the studio’s principal engineering manager, who posted that Schell Games had experienced its "first ever layoffs" on that day. The manager clarified that they themselves were not among those let go, and they added a candid note about the broader context: "This has happened not because of anything you did or didn’t do. Our industry (and beyond) right now is hemorrhaging." The phrasing underscores a sentiment shared by many in the interactive entertainment sector, where rising production costs, shifting consumer habits, and macro‑economic pressures have forced several mid‑size developers to reassess staffing levels. Further confirmation arrived from Dwayne Waite Jr., Schell Games’ marketing director, who identified members of the marketing team among those affected and listed four individuals by name.
The studio’s senior public relations manager also contributed to the conversation, naming several colleagues from the art, design, and visual‑effects departments who were part of the reduction. When the various posts were aggregated, the consensus is that roughly fourteen employees have been impacted by the cuts. This figure is notable given that Schell Games’ LinkedIn profile lists the company’s headcount as ranging between 51 and 200 staff members, placing the layoffs at roughly 7‑15 percent of the workforce depending on the exact total.
One of the affected employees, the senior public relations manager, offered a reflective comment on the experience. "I won’t pretend this isn’t a disappointing way to end this chapter, especially after almost six years," they wrote. "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 tone of the message balances sorrow with gratitude, highlighting both the personal impact of job loss and the professional pride that can accompany a tenure at a creative studio.
The layoffs are particularly striking because they come at a time when Schell Games’ founder and chief executive officer, Jesse Schell, has publicly championed a philosophy of protecting employees from financial turbulence. In a 2024 interview with *GamesIndustry.biz*, Schell articulated a clear separation between the financial risk associated with game development and the risk to staff livelihoods. He explained, "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. 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." Schell’s remarks have been cited in industry discussions as an example of a leader attempting to prioritize employee stability in an environment where many studios resort to sudden downsizing when revenue projections fall short.
The recent cuts at Schell Games therefore raise questions about the practical limits of such a policy, especially when external market forces become overwhelming. Analysts suggest that even studios with strong leadership and a reputation for employee‑first policies can be forced into difficult decisions when cash flow dwindles, publishing schedules slip, or when investors demand cost‑containment measures. The broader gaming landscape provides context for these developments.
Over the past few years, the sector has seen a wave of consolidations, studio closures, and workforce reductions. The COVID‑19 pandemic initially spurred a surge in game sales, but as the market normalized, many companies found themselves with inflated payrolls and development pipelines that no longer matched consumer demand. Additionally, rising costs for high‑fidelity graphics, cloud services, and live‑ops support have strained budgets, prompting executives to reevaluate staffing structures.
For Schell Games, the timing also coincides with the release cycle of several projects. While the studio has not announced any upcoming titles that would be directly affected, the loss of staff in engineering, art, and design could influence the timeline and scope of future releases. The company’s public relations team has indicated that they remain committed to delivering high‑quality experiences, but the reduction in manpower may necessitate a shift toward smaller, more focused projects or increased reliance on external partners.
In response to the layoffs, the gaming community has expressed a mixture of support and concern. Fans of the *I Expect You to Die* series praised the studio’s past achievements and offered words of encouragement to those let go.
Meanwhile, industry observers are watching closely to see how Schell Games will navigate the post‑layoff period and whether the company will adjust its hiring strategy, explore new revenue streams, or perhaps seek additional investment to stabilize its operations. *GamesIndustry.biz* has reached out to Schell Games for an official comment on the situation, but as of this writing no response has been received. The lack of a formal statement leaves room for speculation, but the LinkedIn posts provide a transparent, albeit painful, glimpse into the internal realities of a studio that has long been admired for its creative output and employee‑centric culture. In summary, Schell Games’ recent workforce reduction reflects a confluence of industry‑wide financial pressures, the challenges of maintaining a stable employment base amidst uncertain revenue, and the difficult choices that even well‑intentioned leadership must sometimes make.
While the immediate impact on the fourteen individuals is personal and significant, the longer‑term implications for the studio’s projects, culture, and reputation will unfold over the coming months as the company adapts to its new reality.