Schell Games, the studio best known for co‑creating the three‑dimensional version of the hit social deduction game Among Us and for developing the critically acclaimed I Expect You to Die series, has confirmed that it is cutting staff positions. The news surfaced after several employees posted about the layoffs on LinkedIn, prompting Game Developer to compile a report based on those public statements. The first indication of the cuts came from the studio’s principal engineering manager, who posted on LinkedIn that the company experienced its inaugural round of layoffs on a Friday. The manager clarified that they themselves were not among those let go and emphasized that the reductions were not a reflection of individual performance.
“This isn’t a result of anything you did or didn’t do. Our industry (and beyond) right now is losing talent at an alarming rate,” they wrote, echoing a sentiment that many in the broader gaming sector have expressed amid a period of financial strain. Further confirmation arrived from Dwayne Waite Jr., the studio’s marketing director, who acknowledged that the marketing department was directly affected.
He went on to name four colleagues who were part of the layoff list. In addition, the senior public relations manager at Schell Games shared additional names from the art, design, and visual effects teams, illustrating that the cuts were not confined to a single function but spanned multiple disciplines within the company.
Based on the aggregate of these posts, observers estimate that roughly fourteen employees have been impacted by the reductions. The exact number is difficult to verify, but it aligns with the studio’s publicly listed headcount range of 51 to 200 staff members on its LinkedIn profile. One of the affected employees, the senior public relations manager, posted a reflective message that captured both disappointment and gratitude.
"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 layoffs are particularly noteworthy because they run counter to the public stance taken by Schell Games’ founder and CEO, Jesse Schell, who has long positioned the studio as a company that avoids putting jobs at risk. In a 2024 interview with GamesIndustry.biz, Schell explained his philosophy regarding financial risk versus personnel risk.
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.
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 highlighted a commitment to protect employees even when projects fail to generate revenue, a principle that resonated with many industry observers who view job security as a rare commodity in game development.
However, the recent cuts suggest that the reality of operating a mid‑size studio in a volatile market may force even the most well‑intentioned leaders to make difficult decisions. The broader context of these layoffs reflects a trend across the video game industry, where studios of all sizes have been grappling with rising development costs, shifting consumer expectations, and a post‑pandemic market correction. After a period of rapid expansion fueled by the surge in gaming during the COVID‑19 lockdowns, many companies are now experiencing a contraction phase. Revenue streams that once seemed inexhaustible are being scrutinized, and publishers are tightening budgets, which in turn pressures developers to streamline operations.
For Schell Games, the timing of the cuts coincides with a period of transition in its product pipeline. While the studio continues to support its existing titles, including updates for the I Expect You to Die franchise, it is also exploring new intellectual properties and partnerships. The need to reallocate resources to these upcoming projects may have contributed to the decision to reduce headcount, especially if projected cash flow from future releases does not yet justify the current staffing levels.
Industry analysts suggest that studios often resort to layoffs as a last‑resort measure to preserve cash reserves, rather than pursuing alternative cost‑saving strategies such as reduced hours, temporary furloughs, or salary adjustments. In Schell Games’ case, the public statements from affected staff indicate that the company chose a direct reduction approach, perhaps to provide clarity and allow those impacted to begin seeking new opportunities without prolonged uncertainty.
The response from the gaming community has been mixed. Long‑time fans of Schell Games praised the studio for its innovative gameplay experiences and expressed concern for the displaced employees. Some commentators noted that the layoffs underscore the importance of diversification in a studio’s portfolio; relying heavily on a few flagship titles can make a company vulnerable when market conditions shift. Looking ahead, Schell Games has not issued an official press release addressing the layoffs, and GamesIndustry.biz reports that attempts to contact the studio for comment have not yet yielded a response.
Observers will be watching closely to see how the studio restructures its teams and whether it can maintain its creative momentum while navigating the financial realities of the current market. In summary, Schell Games, a studio celebrated for its creative contributions to titles like Among Us 3D and the I Expect You to Die series, has announced its first round of layoffs, affecting an estimated fourteen employees across engineering, marketing, art, design, and visual effects.
The cuts come despite the CEO’s previously stated commitment to protecting jobs, highlighting the challenging environment that game developers face today. As the industry continues to adjust to post‑pandemic economic pressures, the situation at Schell Games serves as a reminder that even well‑established studios must sometimes make hard choices to stay viable.