Schell Games, the studio best known for co‑creating the three‑dimensional version of the viral hit Among Us and for producing the critically acclaimed I Expect You to Die series, has recently been forced to cut its workforce. The news emerged after several employees posted about the layoffs on LinkedIn, prompting coverage by Game Developer and other industry outlets.
The first public indication of the reductions came from the studio’s principal engineering manager, who wrote that the company experienced its inaugural round of layoffs on a Friday. The manager emphasized that the decision was not tied to any personal performance issues, explaining that the broader gaming sector—and even adjacent markets—are experiencing a severe downturn. "This has happened not because of anything you did or did not do. Our industry (and beyond) right now is hemorrhaging," the post read.
Further confirmation arrived from Dwayne Waite Jr., Schell Games’ marketing director, who disclosed that the marketing department was among those affected. He listed four individuals who were let go, and the studio’s senior public relations manager added names from the art, design, and visual effects teams.
By tallying the various announcements, observers estimate that roughly fourteen employees have been impacted in total. This figure is notable given that Schell Games’ LinkedIn profile lists its headcount as falling somewhere between 51 and 200 staff members.
The public relations manager, who also shared a personal reflection on the situation, expressed a mixture of disappointment and pride. "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." This sentiment underscores the emotional weight that layoffs can carry, especially in a creative environment where collaboration and long‑term relationships are central to success. The layoffs are particularly striking because they run counter to the public stance of Schell Games’ founder and CEO, Jesse Schell, who has long positioned the studio as a bastion against job cuts.
In a 2024 interview with GamesIndustry.biz, Schell articulated a philosophy that separates financial risk from the risk to employees. He argued that while a game development project might jeopardize cash flow, it should never jeopardize the livelihoods of the people who create the games. "At the heart of it all is choosing not to put jobs at risk," Schell said.
"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." Despite these assurances, the current economic climate appears to have forced the studio’s hand.
The gaming industry has been grappling with a series of headwinds over the past year, including declining consumer spending, rising development costs, and a slowdown in the pipeline of high‑profile releases. Many mid‑size studios, which often operate with tighter margins than larger publishers, have found themselves vulnerable to market fluctuations.
Schell Games, which sits in the middle of that spectrum, is not immune. Analysts suggest that the layoffs may be a pre‑emptive measure to preserve the studio’s financial health and ensure that it can continue to deliver high‑quality experiences in the future. By reducing headcount now, the company may be aiming to avoid more drastic cuts later on, such as shutting down entire projects or, in the worst case, closing its doors entirely. This strategy, while painful in the short term, could be viewed as a pragmatic response to an industry‑wide cash crunch.
The reaction from the broader development community has been one of empathy and concern. Many developers have voiced support for the affected employees on social media, offering assistance with job leads and networking opportunities. The situation also reignites a larger conversation about the sustainability of the current game development model, where studios often rely on a handful of blockbuster titles to fund the rest of their pipeline.
Critics argue that a more diversified revenue structure, perhaps through service‑based models or stronger publishing partnerships, could mitigate the need for layoffs during downturns. For the individuals who have been let go, the transition may involve navigating severance packages, unemployment benefits, and the search for new roles in a competitive market. Some may choose to leverage their experience at Schell Games—a studio known for innovative gameplay and immersive storytelling—to secure positions at other indie or mid‑size studios, while others might explore opportunities in adjacent fields such as virtual reality, educational technology, or interactive media, where their skill sets remain highly valuable.
Schell Games has not issued an official statement beyond the employee posts, and GamesIndustry.biz has reached out for comment. The lack of a formal corporate response leaves room for speculation about the studio’s longer‑term plans. Will the company double down on its existing IPs, or will it pivot toward new ventures to stabilize revenue?
Only time will tell. In the meantime, the episode serves as a stark reminder that even studios with strong leadership philosophies and a track record of creative success are not insulated from macro‑economic pressures. As the industry continues to evolve, developers, publishers, and investors alike will need to reassess risk management strategies to protect both financial stability and the people who bring games to life. The layoffs at Schell Games, while unfortunate, may ultimately become a catalyst for broader industry reflection on how to build more resilient development ecosystems.
For now, the affected employees and their colleagues must navigate this challenging period, hoping that the next chapter brings renewed opportunities and a more secure environment for creative talent.