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Ghost Of Yotei Was A Hit, But Its Developer Is Reportedly Cutting Jobs

Ghost Of Yotei Was A Hit, But Its Developer Is Reportedly Cutting Jobs https://www.gamespot.com/wp-content/uploads/2026/10/ghost-of-yotei-official-release-date-trailer_r33k.1200-1130653485.png?w=300 Sony-owned studio Sucker Punch Productions is losing 24 employees in another round of layoffs in the games industry. The studio is behind Ghost of Tsushima and Ghost of Yotei , two first-party PlayStation titles that have been critical and commercial hits . An Aftermath report claims 24 Sucker Punch staff have lost their jobs. The studio is estimated to have between 190 and 230 staff, depending on the source, meaning Sucker Punch has lost at least 10% of its employees. "After carefully observing the challenges in the market and reviewing the team needs for our next project, we've decided to make some staffing reductions," an email from studio leadership quoted by Aftermath read. "Several positions across Sucker Punch will be eliminated as a result." ...

How Borderlands Ensures Character-Driven Storytelling Remains A Focus 14 Years Later

How Borderlands Ensures Character-Driven Storytelling Remains A Focus 14 Years Later https://ift.tt/GvgXNM4

The Borderlands franchise holds a peculiar place within the history of the gaming industry, kickstarting a genre that has gone on to become a different kind of beast. After all, though the concept of combining both RPG and first-person shooter mechanics was first seen in 2007's Hellgate: London, the loot-shooter genre owes its popularity to 2009's Borderlands. And yet, today, many of the most popular loot-shooters are also live-service games (like Destiny 2 and Warframe). Borderlands is not, having never adopted that format. It instead has multiple sequels--some of which diverge from the original game and don't feature any looting or shooting.

Like these other live-service game franchises, however, character-driven storytelling has been one of the main unifying pillars of Borderlands, which has been supported by a writer's room. "Gearbox is casually unique in the sense that we maintain a writer's room," Gearbox Entertainment associate director of narrative properties April Johnson told me. "So we don't just plunk you to work on a project and say, 'Okay, enjoy the two of you doing this--we have multiple things that we are working on, so we won't Voltron up as a full unit until later.'"

Having a constant writer's room is a strategy you usually see in story-driven live-service games where maintaining a narrative vision over multiple years--over a decade in the case of some games like Destiny--is important. It's not often seen in AAA franchises that feature several sequels and recruit a new set of writers from project to project. Gearbox Entertainment is not wholly unique in this strategy within the gaming industry, but it is a rare exception and the team points to this as one of the reasons for how the studio has managed to curate a specific narrative voice across all its projects.

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