Mason Young

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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Community Request: Analysis to Tease Out Year-over-Year Steam CCU Trends 🎮 What this is For a while now, folks have asked if I could break down Steam data to normalize the huge volume of annual new game releases and identify trends in breakout performance. The question: "Out of the 1,000… 5,000… now 20,000+ new games released each year on Steam, how many actually go big? And is that number increasing?" 📊 What I did • Pulled every game released on Steam by year (excluding 2025 since it's in progress). • For each year, I measured how many new titles hit specific peak CCU thresholds. • Then I calculated: 1. The number of new games by year that hit each threshold 2. The percentage of all games released that year that hit each threshold 3. The normalized rate, i.e., how many games per 10,000 releases hit those marks 📈 Key thresholds analyzed 100, 500, 1,000, 5,000, 10,000, 50,000, and 100,000 peak CCU 📌 A few interesting takeaways • Only 683 of the 20,584 new games released on Steam in 2024 even hit 100 peak CCU • Just 52 hit 10,000, only 16 hit 50,000, and a mere 7 reached 100,000 • In 2024, only: - 1% hit 1,000 peak CCU - 0.25% hit 10,000 - 0.03% hit 100,000 → In other words, only 0–3 out of every 10,000 new games hit 100,000 peak CCU in most years • Two of the middle years (2012–2013) are interesting outliers: only ~400 new games released each year and CS:GO and Dota 2 dominated 📊 The last 3 years (2022-2024) are very consistent in terms of % of new games hitting different peak CCU marks • ~3% of new games hit 100 peak CCU • ~1.5% hit 500 • ~1% hit 1,000 • ~0.4% hit 5,000 • ~0.25% hit 10,000 • ~0.075% hit 50,000 • ~0.03% hit 100,000 🧠 Bottom line Don’t stress too much about how many new games are released on Steam. In most years for new titles: • Only 500-600 even hit 100 peak CCU • Only 200–300 hit 500–1,000 peak CCU • Only ~50 hit 10,000 • And just ~5-7 hit 100,000 📝 One last note You might think there are more high-CCU titles, than what I am sharing here, based on the Steam Charts. You're right, but this analysis is only for new games by year of release. Games with ongoing success are only counted once, in the year they launched. Hope you enjoy digging into the data!

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🎉 Two New Career Resources Just Landed on Our Community Site - With Huge Thanks to Scott Millard and Tim C.! https://lnkd.in/d3z__2sV If you’ve ever wanted to understand how video game publishing actually works - not the surface-level stuff, but real, on-the-ground global strategy - you now have one of the best free guides in the world, permanently, thanks to Scott Millard. Scott is a veteran industry leader, best known for his time as Managing Director of Bandai Namco Southeast Asia and Korea. He helped launch Tekken, Dragon Ball Z, and even brought Skyrim to market in the region. His publishing knowledge spans regions, formats, and decades - and he’s gifted our community his Guide to Video Game Publishing for all to access at Amir Satvat's Games Community. Also, I’m thrilled to welcome Tim Cullings as a contributor - someone I’ve admired for years. You may know Tim from his leadership at Global Game Jam, Seattle Indies, or his earlier work with Oculus VR and in engineering. He’s kicked things off by sharing a curated list of top game dev events and jams - something many have requested. But this is just an amuse bouche. Tim has big ideas, and we’re excited to build this space with him and for him. We’ve heard your feedback loud and clear - you want more Tim in the community, and so do we. 🔹 In sharing these, I also want to recognize the 20 amazing individual contributors behind the career resources on our site, in addition to our Discord moderators and 2,400+ community coaches. I’m proud to say that 10 of the 20 are female - 50%, which is double industry gender representation. And we’re equally proud of the diversity across many other dimensions, which we take seriously in every aspect of our work. Here they are - please join me in thanking them: • Sarah Thomson (Mentorship Guide) • Alex Gombos (Interview Guide) • Jasmine Coppin (Art Portfolio Review Guide) • Hailey Rojas (#OpenToNetwork) • Mayank Grover (New Games Roles Partnership) • Eva Tucker (Support Your Indies) • Alexander Rehm (MVP Resources) • Johnathan Vance (Indie Marketing Guide) • Aïda Figuerola (Early Career Guide Lead) • Ali Farha (Early Career Guide Lead) • Chris Mayne (Games Art Resources) • Seth S. (Guide To Games Startups) • Corey Neuman (Homelessness Resources) • Michelle Fuzari (Mental Health Resources) • Jessica Lindl (Career Resources Suite) • Renee Gittins (Game Dev Foundry - External Resource Partnership) • Lex Parisi (Ask Lex Career Questions) • Tim W. (LinkedIn Premium Trials Resource Ownership) • Tim C. (Events And Jams; And More To Come) • Scott Millard (Guide To Video Game Publishing) • Thank you also to Fitzgerald Lewis, Tim Wood, Will Morgan, Max Bowser, Alex Gombos, and Michelle Voillot for their contributions to the Early Career Guide 💙 Never forget - this is a total team project of 10,000+ lifetime contributors. "We Help Gamers Get Hired. Zero Profit, Infinite Caring."

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Want to help the environment as a sound designer, field recordist, or composer for games but don't know how? Here's part one from a resources page full of ways that folks in game audio can contribute to wildlife conservation. Part two is to come next month and will be focused on game developers/studios. #gamedev #indiedev #gameaudio #sounddesign #gamedev #indiedev #indiegame #wildlifeconservation #environment https://lnkd.in/g8ZfzC3f

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Why Independent Films Are Leaving California - new video: https://lnkd.in/gTAAwNGD - California just doubled its film tax credits to $750 million annually, but there's a problem - While the state courts big-budget productions, thousands of independent filmmakers making movies under $1 million are being left out entirely, impacting the entry point for new directors, writers, & crews - Independent filmmaker & professor Jeff Deverett breaks down why this matters for the next generation of Hollywood talent & what California risks losing if it doesn't act - plus Post-Production Film Workers Don’t Want to Be Left Out of the Tax Credit Conversation - article: https://lnkd.in/g-vyY4BB

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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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ALERT TO CALIFORNIA PRODUCERS: Major Film & TV Tax Credit Expansion & Key Dates   California has significantly expanded its Film & TV Tax Credit Program to boost local production and jobs.   Application Windows (Under New CA 4.0 Program): - Television Series (New, Relocating, Pilot, Limited, Recurring): July 7 – 9, 2025 - Independent & Non-Independent Feature Films: August 25 – 27, 2025   AB 132 (Funding) - Approved & Signed: Assembly Bill 132 was signed by Governor Newsom on Friday, June 27th, and takes effect July 1, 2025. - Funding: Annual cap increased from $330 million to $750 million for five years. This makes CA one of the most generous states for capped film incentives.   AB 1138 (Program Changes) - Expected Passage: This companion bill, expected to pass and take effect before July 4th, introduces significant improvements. While not signed as of today, July 2nd, reports indicate it's imminent.   Key Program Changes (Effective July 1, 2025, with AB 1138 passage):   - Enhanced Credit Rates: Base credit jumps from 20% to 35%. An additional 5% uplift (total 40%) for filming outside Los Angeles County.   - Expanded Eligibility (California Spend $1M+):   * Animated series/films   * Multi-camera sitcoms (animated, scripted, large-scale competition shows <30 min)   * Large-scale competition shows   * TV shows with episodes <30 minutes  Exclusions still apply for reality, documentary, game/talk shows, and above-the-line labor.   Workforce & Equity:  - 2% Bonus for Trainees: Additional credit for hiring 1-4 trainees from targeted programs serving underserved communities (in addition to union crew).  - Expanded Reporting: Productions must report ZIP codes and veteran status, in addition to race, ethnicity, and gender, for workforce inclusion. California Tax Credit Refundability (Major Change July 1, 2025):  - All qualified applicants can elect refundability.  - Electing refundability means receiving 90% of the credit paid over five years, regardless of tax liability.  - Non-refundable option still requires CA income/sales tax liability or independent producer transfer option. This significant investment is expected to support 40-50% more jobs, translating to roughly 4,400 to 5,500 new industry jobs, reclaiming California's position as a leading production hub. Entertainment Partners California Film Commission FilmLA California Production Coalition #StayinLA #StayinCA

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Expenses for VFX, editing and sound mixing are not currently eligible on their own for CA state tax credits — but industry insiders want to change that as their ecosystem is “bleeding out.” https://lnkd.in/ey6rUqts

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There’s been a lot of talk this week about SAG-AFTRA’s new Verticals Agreement, the first contract to officially recognize micro-dramas and mobile-first storytelling. As someone who works directly with talent, producers, and creators in this space, I see both the potential and the growing pains. On one hand, this agreement legitimizes a format that’s been driving engagement and discovery for sometime now, short, serialized stories designed for our phones. It gives actors a pathway to work under union protections in a space that’s been a bit of a gray area. But here’s the catch: this isn’t a “one-size-fits-all” solution. Budgets, distribution models, and creative ownership all look different in vertical content. What works for a traditional shoot might not translate to a 3 minute episodic series built for mobile viewing. For the actors, it’s about understanding what you’re signing. For the producers, it’s about rethinking how we build sustainable ecosystems for this kind of storytelling. And for everyone in between, it’s time we start talking about how to do this right, together. There’s a lot more to unpack from industry folks, talent, and their reps alike, but one thing’s for sure: vertical storytelling is here to stay. 😴 (More thoughts on Monday).

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With the state of the games industry (and tech in general), I’m hearing from fellow accessibility SMEs that they’re seeing pullbacks in accessibility investment. A lot of people are disheartened, especially because it felt like gaming accessibility was having a real renaissance just a few years ago. I get it. I feel that concern as well. I worry for the disability community, and for the advocates and experts who work hard to make play possible for more people. That said, I’ve been working in game accessibility for 24 years. Progress trends inclusive, but it’s never been a straight line. So for folks newer to the field, here’s what I want to say: don’t give up. We’ve come a long way in almost a quarter century. Adaptive controllers exist for each console. There are more training and education resources than ever. Games keep shipping with genuinely groundbreaking accessibility. Expectations (including legal and regulatory ones) continue to expand. And most importantly, our community of advocates and experts has grown massively. If you’re feeling this moment, don't hesitate to reach out to others. Ask for help. Take care of yourself. Keep moving forward. This is a tough cycle, but it will pass. I'm here to chat if people need to. #accessibility #a11y #gamingforeveryone

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