Schell Games, the studio best known for co‑creating the three‑dimensional version of the wildly popular party game 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 by Game Developer magazine. The first public indication came from the studio’s principal engineering manager, who wrote that Schell Games experienced its inaugural round of layoffs on a Friday.
The manager emphasized that the reductions were not a reflection of any personal performance issues, noting, "This isn’t a result of any individual’s actions. Our sector is currently bleeding profusely." Further confirmation arrived from Dwayne Waite Jr., the company’s marketing director, who disclosed that the marketing department was among those affected. He listed four specific team members who were let go. In addition, the senior public‑relations manager shared the names of several colleagues from the art, design, and visual‑effects divisions who were also impacted.
Compiling the various posts suggests that roughly fourteen employees have been separated from the company. Schell Games’ LinkedIn profile indicates that its total workforce falls somewhere between 51 and 200 people, meaning the cuts represent a noticeable percentage of the overall staff. One of the affected public‑relations staff members expressed a mixture of disappointment and pride in a farewell message: "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 layoffs are especially striking given the public stance of Schell Games’ founder and chief executive officer, Jesse Schell, who has long spoken against reducing headcount. In a 2024 interview with GamesIndustry.biz, Schell articulated a philosophy that separates financial risk from the risk to employees. 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." Despite those assurances, the current economic climate appears to have forced the studio’s hand. The broader video‑game industry has been experiencing a period of contraction, with many publishers and developers reporting reduced revenue streams, delayed releases, and heightened competition for consumer attention. This environment has led to what insiders describe as a "hemorrhaging" of talent across the sector, as companies scramble to align payroll with shrinking budgets.
Industry analysts point to several contributing factors: rising development costs, especially for high‑fidelity experiences; the volatility of live‑service revenue models; and the lingering effects of the pandemic‑induced boom, which has now tapered off. For mid‑size studios like Schell Games—situated between indie outfits and large AAA publishers—the margin for error is particularly thin.
While the studio has a reputation for innovative, narrative‑driven titles that blend physical interaction with digital gameplay, sustaining a stable cash flow for such projects can be challenging. The impact of the layoffs extends beyond the immediate loss of jobs. Remaining staff may face increased workloads as projects continue, and morale can suffer when colleagues are let go under uncertain circumstances. Moreover, the public nature of the announcements—spanning LinkedIn posts, media coverage, and statements from senior leadership—means that the company’s brand perception could be affected among prospective talent and partners.
Schell Games has not issued an official press release addressing the situation, and GamesIndustry.biz reports that requests for comment have not yet been answered. The silence leaves room for speculation about the studio’s future direction. Some observers wonder whether the company will pivot toward more contract‑based work, seek external investment, or perhaps focus on smaller, lower‑budget titles to preserve its core team. In the meantime, the affected employees are navigating the transition in various ways.
Some have announced plans to freelance, leveraging their experience on the I Expect You To Die franchise and other high‑profile projects. Others are exploring opportunities at fellow developers who are actively hiring, especially in areas like user‑experience design, narrative development, and augmented‑reality experiences—fields where Schell Games has demonstrated expertise.
The broader lesson for the industry may be the importance of building resilient business models that can weather market downturns without resorting to layoffs. Jesse Schell’s earlier comments about protecting jobs highlight a philosophy that many studios aspire to, yet the reality of cash‑flow constraints can force even the most well‑intentioned leaders to make difficult personnel decisions. As the situation unfolds, stakeholders—including employees, investors, and fans—will be watching closely to see how Schell Games adapts. Will the studio double down on its signature blend of physical‑digital gameplay?
Will it seek new publishing partnerships to secure funding? Or will it restructure its operations to become leaner while preserving its creative core?
Only time will reveal the path forward, but the current episode serves as a stark reminder that even innovative, well‑regarded studios are not immune to the economic pressures reshaping the video‑game landscape today.