Adam Edgmond

Puget Bench for Creators licensed users we have some exciting news for you! Today our Puget Labs team has published the latest Public Beta of Puget Bench for Premiere Pro and Puget Bench for DaVinci Resolve. Both benchmarks now include three new real-world workflow tests: 🔹 YouTube Gamer: Mixed res/FPS, HEVC VFR + H.264 greenscreen, 2x multistream, nested sequences, MOGRTs, PNGs, FX, transitions, text → H.264 UHD 50Mbps. 🔹 Behind the Scenes: H.264 + HEVC 4:2:2 10‑bit, VFR, up to 5x multistream, color, time remap, stabilization, FX, text → H.264 UHD 50Mbps. 🔹 Behind the Scenes (ProRes): Same timeline, multiple ProRes flavors → ProRes 422HQ UHD. Labs has also included additional checks to ensure all media is fully relinked before tests begin, resolving edge cases where exports could take much longer than they should, skewing results. If you edit or grade in Premiere or Resolve and want scores that match real-world performance, check out the new update and tell us what you think!

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User Generated Content, Platforms, and Community From my conversations with publishers and developers in 2025, at DICE, GDC, and even with those who attended Gamescom, it is apparent that the industry is aligning around a cautious but clear set of priorities. Publishers are under pressure to validate demand earlier, lower risk, and build toward models that sustain communities long after launch. A major theme is user generated content. UGC is no longer niche, it is mainstream. Publishers and developers see value in games that naturally generate its own content, clips, streams, and viral moments because they cut down marketing spend and keep communities active. Bain’s 2025 global gaming report reinforces this, noting that younger audiences now prioritize customization, creativity, and social connection over visual fidelity. Yet in my own discussions, publishers repeatedly stressed that while UGC is important, the OWNERSHIP of the platform is the real goal. The titles that become platforms for creativity and social interaction capture double-digit annual user growth and become the center of gravity for both players and creators. Publishers want to be in control of that ecosystem, not just supply content for someone else’s. Market testing through trailers was another recurring point. Instead of building a full vertical slice, teams are creating strong trailers to measure early traction. If wishlists follow, development continues. If not, the project is cut. This aligns with Bain’s finding that traction matters more than originality. Without proof of demand, even the most creative concepts rarely move forward. Sequels remain strong bets, but publishers expect them to evolve. Nostalgic IPs are also being revived in new forms, which is part of a broader trend of franchises expanding across media. Cross-media IP has measurable impact, with acclaimed film or television adaptations lifting game engagement by nearly 70 percent. New IPs are still possible, but the bar is higher. They need a fresh mechanic or a theme that resonates immediately. Publishers are blunt that traction must be visible through wishlists, demo data, or community activity. Discovery has also shifted. 24% of players find games through influencers compared to just 12 percent through storefronts, pushing developers toward direct-to-consumer distribution. The broader context matters. The global market reached $219 billion and is to grow 4 percent annually through 2028, but growth is concentrated among titles that act as platforms. Independent studios, moving faster and with fewer legacy costs, are thriving, while traditional AAA teams are weighed down by budgets and tighter margins. Taken together, the message is consistent. UGC is mainstream, but publishers are prioritizing platform ownership. For new IPs, innovation, clarity, and tangible traction are no longer optional, they are requirements.

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I want to demystify how ASGC tracks games industry job cuts so you understand what goes into the numbers The way we track industry reductions is far more rigorous than most people realize. I occasionally see comments wondering if we only use public announcements, WARN notices, or that we miss contractors, co dev teams, and non traditional roles. I understand why people might assume that, but that is not how our system works. Collecting jobs data is the most resource intensive process in our community because it shapes our support too. Step one is public information. We monitor news reports, company statements, WARN filings, and government notices. That is just the starting point. Step two is direct community reporting at scale. Every year I receive 5-10K+ messages, just related to job cuts, across LinkedIn, Discord, and email from people sharing what happened to them, their teammates, or their organizations. Much of this never appears in the press. It includes contractors, co dev partners, support studios, and indirect roles, not just FTEs at major publishers. Step three is individual signal tracking. I regularly review posts from professionals who are suddenly open to work or referencing team changes. These signals confirm patterns or reveal cuts that were not announced. All of this flows into a large internal tracking system that helps me understand not just how many roles were affected, but who was impacted, where, and when. That context allows our community to reach out and design support that matches reality rather than headlines. Is it perfect? No. I am still working to improve visibility in regions where transparency is lower. But I can say sincerely this process goes far beyond public records and is more comprehensive than any single external source. You may notice that, for a few years, I no longer publicly name organizations when cuts happen unless they request a Games Org support post. That is intentional. My goal is to avoid errors and avoid shaming, because I recognize that not every reduction comes from bad intent. Sometimes funding ends, contracts fall through, or projects conclude despite leaders trying to do right by their teams. Also, my approach is to build bridges and encourage quiet, meaningful accountability. I regularly hear that organizations know ASGC tracks layoff decisions and understand their actions will reach me, even with smaller or less visible cuts. That awareness, even without public callouts, can influence how situations are handled. Most importantly, workers know their experience is not invisible. Individual data is never shared publicly. People trust me with personal information, and I take that seriously. What I share are patterns, totals, and insights that help us mobilize support. So when we talk about industry cuts, please know this is not casual scorekeeping. It is the result of thousands of conversations and careful tracking to make sure every affected games person counts.

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Project DNA is a new MMO RPG set in a post-apocalyptic Earth from AAA Korean Developer SUPERVOID "Survivors pushed the boundaries of biotechnology, giving birth to humans with psychic powers"

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PDMA Seattle is having its first in-person event exactly one month from today. Chapter president Banu R. will be joined by other members of the leadership team and Brian Pulliam to answer your questions about all things product. Strategies for future-proofing your product career in the age of AI will likely be a main focus, but feel free to propose other topics when you sign up! https://luma.com/wk90w540

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Gossip Harbor makes over $3.5 Million a day in IAP revenue. By selling only time? In merge games like Gossip Harbor, many assume players pay simply to skip annoying cooldown timers. We group everything under “convenience monetization.” This is a misconception. Cooldown skips are high-friction. They don’t solve the real problem. You pay → and still face RNG. Still chase the same item. Still get blocked again. That’s why they skew toward whales. Because the value is uncertain. Now compare that to bubbles. A completely different behavior. Bubble purchases are impulsive. They solve an immediate pain point. Exact item. Instant progress. No randomness. They also save: Energy Board space Decision fatigue This is where most revenue comes from. Because it converts intent at the exact moment of friction. Then comes the third layer most designers underestimate: Inventory expansion. Unlike bubbles, This isn’t impulsive. It’s a calculated decision. Players don’t buy space for now. They buy it to reduce future friction. Because the real pain in merge games isn’t just time. It’s board suffocation. Top-grossing merge economies don’t rely on one trigger. They stack three: Time pressure Completion pressure Space pressure Each hits a different player mindset. Most games make the mistake of offering all three… …but optimizing for none. The winners? They tune each layer with a clear role in the economy. Not all friction should convert. But the right friction must. How are you balancing these completely different psychological triggers in your game’s economy? P.S. The revenue insights in this post were pulled using AppMagic. If you do game market research, they are an invaluable data partner. DM me if you need an economy audit or are building one from scratch.

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🤝 𝗧𝗲𝗮𝗺𝘄𝗼𝗿𝗸 𝗠𝗮𝗸𝗲𝘀 𝘁𝗵𝗲 𝗗𝗿𝗲𝗮𝗺 𝗪𝗼𝗿𝗸: 𝗧𝗵𝗲 𝗦𝗶𝗹𝗲𝗻𝘁 𝗘𝗻𝗴𝗶𝗻𝗲 𝗼𝗳 𝗟𝗶𝘃𝗲 𝗢𝗽𝘀 Behind this cheesy tagline lies the most underrated pillar of live operations, the one studios only notice when chaos strikes. 𝗪𝗵𝘆 𝗱𝗼𝗲𝘀 𝘁𝗲𝗮𝗺𝘄𝗼𝗿𝗸 𝗺𝗮𝘁𝘁𝗲𝗿❓ Live Ops thrives on coordination. When processes fail, the cracks show: 🚨 Launching non-critical maintenance during a FOMO driven event 🚨 Hosting a free weekend to attract players… only to see servers crash because infrastructure teams weren’t looped in. 🚨 Debating toxic player bans endlessly because moderation, community, and data teams lack aligned guidelines. 🚨 Communication breaking down during server outages because your community team is left in the dark not knowing what is being done and when they can expect a return of services. 𝗧𝗵𝗲𝘀𝗲 𝗮𝗿𝗲𝗻’𝘁 𝗵𝘆𝗽𝗼𝘁𝗵𝗲𝘁𝗶𝗰𝗮𝗹𝘀-𝘁𝗵𝗲𝘆’𝗿𝗲 𝗿𝗲𝗮𝗹-𝘄𝗼𝗿𝗹𝗱 𝗳𝗶𝗿𝗲𝘀, 𝗶𝗴𝗻𝗶𝘁𝗲𝗱 𝗯𝘆 𝘀𝗶𝗹𝗼𝗲𝗱 𝘁𝗲𝗮𝗺𝘀. ✅ 𝗧𝗵𝗲 𝗳𝗶𝘅: 𝗕𝘂𝗶𝗹𝗱𝗶𝗻𝗴 𝗮 c𝗼𝗵𝗲𝘀𝗶𝘃𝗲 𝗟𝗶𝘃𝗲 𝗢𝗽𝘀 𝗧𝗲𝗮𝗺 𝘄𝗵𝗲𝗿𝗲 𝗽𝗿𝗼𝗰𝗲𝘀𝘀𝗲𝘀 𝗯𝗲𝗰𝗼𝗺𝗲 𝗵𝗮𝗯𝗶𝘁𝘀: 🪄𝗗𝗲𝗱𝗶𝗰𝗮𝘁𝗲𝗱 𝗖𝗼𝗼𝗿𝗱𝗶𝗻𝗮𝘁𝗶𝗼𝗻 𝗥𝗼𝗹𝗲 Live Ops Managers, coordinators, Product Managers … whatever the name… you need an air traffic controller, ensuring all teams: devs, community, marketing… share aligned roadmaps and priorities. 💬 𝗦𝘁𝗿𝘂𝗰𝘁𝘂𝗿𝗲𝗱 𝗖𝗼𝗺𝗺𝘂𝗻𝗶𝗰𝗮𝘁𝗶𝗼𝗻 Adopt cross-functional frameworks: ▪️ 𝗗𝗮𝗶𝗹𝘆 𝘀𝘆𝗻𝗰𝘀 to surface blockers (e.g., server scaling needs before a free weekend). ▪️ 𝗦𝗵𝗮𝗿𝗲𝗱 𝗰𝗼𝗹𝗹𝗮𝗯𝗼𝗿𝗮𝘁𝗶𝗼𝗻 𝘀𝗽𝗮𝗰𝗲𝘀 for real-time updates (no more “When will maintenance end?”). ▪️ 𝗘𝘀𝗰𝗮𝗹𝗮𝘁𝗶𝗼𝗻 𝗽𝗿𝗼𝘁𝗼𝗰𝗼𝗹𝘀 𝗳𝗼𝗿 𝗰𝗿𝗶𝘀𝗲𝘀 (toxicity, cheating, exploit bans). 📙 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗲𝗱 𝗣𝗹𝗮𝘆𝗯𝗼𝗼𝗸𝘀 ▪️ Clear guidelines for events, sales, and outages. ▪️ Pre-approved responses and action for common issues. ❓𝗛𝗮𝘀 𝘆𝗼𝘂𝗿 𝘁𝗲𝗮𝗺 𝗳𝗮𝗰𝗲𝗱 𝗮 𝗟𝗶𝘃𝗲 𝗢𝗽𝘀 𝗯𝗿𝗲𝗮𝗸𝗱𝗼𝘄𝗻 𝗱𝘂𝗲 𝘁𝗼 𝗺𝗶𝘀𝗰𝗼𝗺𝗺𝘂𝗻𝗶𝗰𝗮𝘁𝗶𝗼𝗻❓ 𝗛𝗼𝘄 𝗱𝗶𝗱 𝘆𝗼𝘂 𝗳𝗶𝘅 𝗶𝘁❓ 👇 Share your war stories or wins below! #LiveOps #GameDev #Teamwork #ProcessOptimization #LifeFlowArchitect

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Pres Obama, Tim Schafer, me in San Francisco's Chinatown for GDC Festival of Gaming. Alright, so we weren't there at the exact same time, but we were in the same places on the same street: Jackson St in Chinatown, since you're wondering. This is one way I go about Remixing Reality. I have a serendipitous moment and say to myself, "I wanna remember that my fave dim sum is next to the dive bar that Project: Reds is named after." For those that don't know, Tim and the folks at Double Fine Productions named many project codenames after dive bars in San Francisco's Chinatown. I did not know this until I sponsored Broken Age aka Double Fine Adventure aka Project: Reds and watched the documentary (link in the comments). If you are at GDC or ever think you want to make games, go watch the documentary episodes for Broken Age and Psychonauts 2. They taught me so much. People ask, "How do you do so much with just yourself?" And my answer is "The folks at Double Fine taught me very well." (link to DFTV in the comments, go watch 'em) I wanted to show just how close Reds was to Great Eastern Restaurant, the place Pres Obama ate at. It's not literally across the street, but a few doors down from each other. I knew Remixing Reality, my spatial computing app, would be able to attach text to the restaurant, then Reds and then across the street. However, I wasn't 100% sure it would remember it well enough for me to walk between the two spots since people were moving, cars were moving, etc. However, as you can see, I put the text in the real world, then made my video and bam, it all worked like magic. Spatial Computing is here people and it even works on your phone, which I bet many of you didn't even realize. If you have an iPhone , you can dip your toes in today with my Remixing Reality app. My fearless and wise leader, Mitu Khandaker 💫 GDC (Director of the NYU Game Design Future Lab), and others have helped me see I need to show the world what purpose I'm building Remixing Reality for. Therefore, I'm going to try to spend the week remixing reality to help you all understand what I envision for my product. I'll drop links to the bar, restaurant, the "Codename: Reds" video, the DF Documentary library, and my Remixing Reality app in the comments. If you are around GDC, let's meetup. You can use Remixing Reality in front of me, so I can see what I can do to make the user experience better. Plus, you can tell me how you'd like to remix your reality, so I can build features to enable what you want. #SpatialComputing #GDC #AR #Mobile #Chinatown

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As we work on the B2B conference SLICE, set to coincide with PAX West, and after numerous conversations on behalf of Seattle Indies, I’ve realized there’s a significant disconnect in terminology—one that might have a subtle but meaningful impact. What exactly is "indie"? At a time when the industry is reinventing itself and the coming years are widely proclaimed as the era of smaller markets—an insight I have gathered from discussions with VCs, publishers, and B2B/SAP companies shifting their focus to smaller businesses—the term "indie" has become increasingly ambiguous. Indie, double-I, triple-I, double-A, premium indie, prestige Indie, garage indie, startup, micro studio. The list goes on. Borrowing from Robert Wynne, who inspired me to start this conversation, "Schrödinger’s indie." What does "indie" actually mean? Is a team of seasoned industry veterans with decades of experience still considered indie? (Looking at you, Ric Neil, Irena Pereira 🔜 GDC 🎉🐉, Oksana Kubushyna, Carlos Sanchez, and many, many others.) Are hobbyist developers creating games with no intent to commercialize part of the indie ecosystem? If a company has received venture capital or private investment, can it still be classified as indie?  Or is it only those who choose crowdfunding that maintain the indie label? (Hello, Terry Redfield 🔜 KickstarterEndingThurs, Heather Cerlan, Patrick A.!) And what about teams of 50+ people who are bootstrapping their own IP while keeping the lights on with work-for-hire—are they indies or service providers? I've been part of conversations where people assumed an indie and AA-focused conference was primarily for students. At the same time, I’ve heard arguments that a company with $50M+ in investment is still considered indie. This ambiguity can lead to gatekeeping, where certain groups or companies are excluded based on subjective interpretations of what "indie" really means. It makes setting clear expectations difficult, leads to missed opportunities, weakens professional positioning, and even results in lost connections. If the future truly belongs to indies, what kind of indies are we talking about?

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I think the most asked question that keep coming to me is: “How do I become a Technical Artist?” and while its a very simple one and super direct but its not easy to answer because the truth there’s no single door into Tech Art. Most of us arrived here by curiosity, frustration, and problem-solving. But I think if you pay attention for some points you could find yourself there Here’s what actually matters. 🧠 1. Start as an Artist (Seriously) Before tools and code, understand the craft: Modeling, environments, FX, lighting, or animation Be very carious about Why the artists struggle and Where is the time is wasted always notice What been breaks under pressure The main point Great Technical Artists are artists who got tired of repeating the same problems. 🔧 2. Learn One DCC Deeply Pick one tool and go deep: Houdini, Unreal Engine, Maya / Blender Know it beyond the UI: Data flow Attributes Evaluation order Performance costs Depth > breadth at the beginning. that is how you will see the task from the software POV not just as an artist 🧩 3. Think in Systems, Not Assets Stop asking: “How do I place this object?” Start asking: “What rules place any object?” I believe its fare to say Procedural thinking is the core of Tech Art. 🧮 4. Learn the Math That Matters You don’t need advanced calculus — but you do need good understanding for: Vectors & dot product Sine / cosine Noise Interpolation Distance & falloff Math is what makes art predictable and controllable. 🧠 5. Learn to Script (That will come slowly and you will find yourself talking to the software) You don’t need to be a software engineer. Start with: Python (pipelines, tools, automation) VEX (Houdini logic) Blueprint / nodes Write bad scripts. Break things. Fix them. dont worry that’s the path and we all came throw. 🛠 6. Build Tools for Others The moment you build something another artist actually uses, you’re already a Technical Artist. Small scripts Simple HDAs Batch tools Debug helpers Impact > complexity. 📦 7. Understand Pipelines Learn how things move: Assets → shots DCC → engine SOPs → USD → render Keep in your mind Tech Artists connect departments, not just nodes. 🎯 8. Communicate Like a Human This skill is very underrated: Listen before solving Explain simply Document clearly Don’t show off The best Tech Artists are bridges, not bottlenecks. 🔥 Final Torch of Truth Tech Art is not about code, It’s about enabling creativity at scale. If you: Love solving problems Enjoy mixing art and logic Care about other artists’ workflows …you’re already on the path. now this is question for the TechArtist who crossed the gates: What was the moment you realized you were moving toward Tech Art? #TechnicalArtist #TechArt #Houdini #UnrealEngine #Proceduralism #PipelineTD #VFX #GameDev #3DArt #CareerAdvice #CreativeTech #OpenToWork

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Hey folks, if you are looking for work, it's because you haven't embraced AI. **Edit - I have met a lot of people who are in the AI industry. Some of them, are reasonable people, offering cogent points and a sense of humour. However, most of my interactions with AI hypesters has been less than positive. They are often rude, arrogant and dismissive to anyone who buys into narrative. Nothing like hearing you are doomed by people who had nothing to do with coding, LLMs, or even tech until a year or two ago. Then they wonder why people are not jumping up and down for AI being shoehorned into everything.

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For this experiment I have a few MIDI scripts running from Logic Audio's MIDI scriptor plugin to create these complex almost Autechre like MIDI rhythms to all of the tines, while I have various objects, metal, magnets, metal rods, tin foil, springs, coils, and some extra Solenoid triggers to help create some interesting interactions and new sounds with the Phase 8

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Ok GDC is fast approaching. Lets do a how to approach people for funding at GDC 101 (from a funders perspective) for those that are new to this, and some who frankly should know better. The do's: Get a meeting on the calendar someplace quiet. If at all possible. Undivided attention is the best attention. People are swamped busy all week, its likely you will end up on a vid call either before or after the conference. Accept it with grace, there is only so many hours in the day and energy to go around. Trust me when I say its not personal. Make sure you have your pitch script down. Have your elevator pitch memorized. Your first impression is key in a high pace, high volume environment like GDC. Don't smell, I know it can get sweaty running around, bring extra deodorant, do not bathe in axe body spray. BREATH MINTS. Research who you are pitching to, understand their background, understand their business culture (are you shaking hands, business card ritual, hugging), understand what their studio typically funds. Tailor your pitch script to the person and place. Have your tech charged, bring back up batteries so you can charge in-between meetings or in transit. If you are using a laptop, make sure you have a PDF backup on your phone. Video with sound always fails, optimize for video that has an easy to read visual language to get your point across. Give your self time to be on time. It always takes longer to get places, avoid back to back meetings unless people are coming to you. Even if its a short walk, take time to decompress, evaluate what went well and what bombed in the room, and make adjustments. Networking is key, face to face meetings are great. But if you are good at networking you can 2x to 3x your total meetings. Keep your LinkedIn app on the QR code, or have a business card easily available, make it super easy to lightweight swap information. Then make sure you follow up post conference with people. The Donts: Dont try to pitch people you do not have a scheduled meeting with in hallways/ corridors/ restaurants/ elevators/ in the bathroom (yes this has happened to me). This will piss off, and alienate the people you want to fund your project. Lightweight swapping of information and follow up is the goal. Just not at the urinals please. Is the sun down? Then shut it down. Look GDC is a social event for everyone, and the evening time is typically the time folks devote to their friends. Dont pitch people after dark. They are not going to remember it fondly even if they are polite enough to not stop you outright. Look if its late I will buy you a cola/coffee/ cocktail ect... but lets keep it light and social until the proper time. This goes double for anywhere there is a fucking DJ playing music (why is this still a thing?) Or when people are eating.

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Excited to share the latest progress on ProKmama Engine, our modular WebAssembly-based 3D game engine built in Rust, paired with a intuitive Svelte-powered editor. Designed from the ground up to outperform native web engines like Three.js and PlayCanvas, ProKmama leverages Rust's performance advantages and WebGPU for superior rendering efficiency, PBR shading, frustum culling, and advanced material systems. Key updates in v0.1.0: Core Architecture: Seven modular WASM crates handling everything from entity management and ECS to glTF/GLB asset loading and hierarchical interactions. Rendering Pipeline: Primary WebGPU backend, supporting up to 8 lights, infinite grids, gizmos, and debug visualizations for optimized development workflows. Editor Enhancements: Real-time hierarchy panel, inspector for PBR materials and lights, and drag-and-drop asset management, as showcased in the attached screenshot of a boat model in action. Performance Focus: Built-in stats overlay tracking FPS, draw calls, and culling metrics, ensuring high-frame-rate experiences even in complex scenes. For founders and companies exploring high-performance web-based 3D solutions, whether for gaming, simulations, AR/VR, or interactive visualizations, ProKmama offers a robust, extensible alternative without the overhead of JavaScript-heavy frameworks. We're pushing boundaries to make web 3D more accessible and powerful. If you're building innovative products and need a performant engine, let's connect! I'd love to discuss collaborations or early access. #GameEngine #WebAssembly #Rust #3DEngine #WebGPU #TechInnovation

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Incidents like this are a strong reminder of how essential real, human QC is — even on rush jobs. A proper review on both sides would have caught this instantly. But in an age of automation and AI-driven workflows, mistakes like these can slip right through and derail all the hard work that should be the focus. Instead of celebrating the restoration or the quality of the show, everyone ends up talking about what should never have been visible in the first place. https://lnkd.in/gkX9SaPf

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🚀 Day 15 — How to Get Started With Zyntrio in Just a Few Steps Powerful software doesn’t need complicated setup. At Zyntrio, getting started is designed to be fast, simple, and stress-free. 🧭 Getting Started in 5 Simple Steps 1️⃣ Sign Up Create your Zyntrio account in minutes. 2️⃣ Choose What You Need Select only the modules relevant to your business (CRM, Tasks, Projects, Documents, AI, etc.) 3️⃣ Smart Setup AI-guided onboarding helps you: ✔ Import data ✔ Create workflows ✔ Set automation rules ✔ Invite team members 4️⃣ Go Live Start using Zyntrio the same day — no long training or setup delays. 5️⃣ Improve With AI Zyntrio continuously: 📊 Learns your workflow ⚙️ Suggests optimizations 🤖 Automates repetitive work 🧑‍💼 Dedicated Support (Early Users) Early users receive: ✨ Personalized onboarding ✨ Direct support ✨ Fast issue resolution ✨ Feature priority 🎯 The Result From day one, users experience: ✔ Better organization ✔ Less manual work ✔ Clear visibility ✔ More time to grow This completes our 15-day launch journey. But for Zyntrio, this is just the beginning. Thank you for being part of our story. 🚀 #Zyntrio #Day15 #Onboarding #SaaS #AI #Automation #StartupJourney

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Amazing article by Brandon J. Huffman about how to set up protections when working with publishers. Super useful and important for indie devs! https://lnkd.in/g7tBK9C5 #gamedev #indiedev

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The pulse from GDC is clear. The industry is settling into a new baseline. Studios are rethinking scale. Growth by headcount is no longer the default solution. The teams that survive this cycle will be the ones built on production systems, not just hiring momentum. Pipelines, documentation, and technical discipline matter more than ever. When those systems are weak, adding people only increases friction and burn. Recent layoffs are also removing a lot of institutional knowledge. The people who knew how to actually close the tickets are often the ones leaving. Sustainable studios will be the ones built around the work itself. Scale only works when the system can support it. #GDC #GameDev #GameProduction #GameIndustry

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