Ubisoft has proposed closing its RedLynx studio in Finland, a move that could affect up to 52 positions, while 70 positions have been impacted at Ubisoft Singapore. Taken together, the two actions involve up to 122 jobs, though the RedLynx decision remains subject to Finland’s local change-negotiation process.

The two studios have very different histories inside Ubisoft, but both had recently been operating in support capacities and were placed within the company’s Creative Network division during a restructuring announced last year. The decision is therefore not simply the end of a single game team or the cancellation of a named project. It is a reduction in Ubisoft’s wider production network, affecting teams that have contributed specialist expertise to work led elsewhere in the organization.

Ubisoft said the Singapore reductions are intended to align the studio with upcoming production needs. The company added that Ubisoft Singapore remains an important part of its global production organization. At RedLynx, however, the proposal is more severe: a full studio closure rather than a reduction in headcount.

What has been proposed

The immediate numbers are straightforward, even if the status of each action is not identical:

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  • RedLynx, Finland: Ubisoft has proposed closing the studio. The proposal could affect up to 52 positions and is subject to a local change-negotiation process.
  • Ubisoft Singapore: 70 positions have been impacted. The studio has roughly 350 employees, putting the reduction at around one-fifth of its workforce.

That distinction matters. “Proposed closure” means RedLynx’s outcome is going through a defined local process and should not be represented as a completed closure until that process has run its course. By contrast, Ubisoft has said 70 Singapore positions have been impacted, while also explicitly stating that the studio will continue as part of its worldwide production setup.

Ubisoft said it recognizes the consequences for affected colleagues and intends to handle the process with care and respect. Those commitments do not lessen the practical impact on workers, but they clarify the company’s stated position as it proceeds with the Finland negotiations and the Singapore restructuring.

RedLynx’s place in Ubisoft

RedLynx is most closely associated with the Trials series. Ubisoft acquired the Finnish developer in 2011, bringing a studio known for motorcycle-based, physics-driven challenge games into the publisher’s network. The studio had already lost dozens of employees a year earlier, making this proposed closure a further reduction rather than an isolated change.

The last game RedLynx developed on its own was Gwen’s Getaway, a mobile decoration and puzzle game. It received a soft launch in 2023 before Ubisoft cancelled it a little more than a year later.

A soft launch is a limited release used to gather information before a broader rollout. Developers and publishers may use it to study player retention, engagement, technical performance, or the viability of a game’s business model. A soft launch is not a promise of a full release: if a project does not meet expectations, it can be changed, paused, or cancelled. In this case, Gwen’s Getaway did not progress to a continuing future at Ubisoft.

The proposed RedLynx closure also illustrates how the role of an established studio can shift inside a large publisher. A team may retain its name and history while moving from independently led releases into support work for projects based at other offices. Support work is still central to game development. It can encompass technical contributions, systems work, content production, quality support, or specialized design knowledge. But it can make a team’s future more dependent on the production plans and staffing needs of the larger organization.

Singapore remains open, but with a smaller team

Ubisoft Singapore began as a support studio in 2008. Its experience working on naval combat for Assassin’s Creed games later fed into Skull and Bones, the pirate-focused title that arrived in early 2024 after a lengthy and repeatedly delayed development period.

Skull and Bones gave Ubisoft Singapore a much more visible role than a conventional support assignment, but the new reductions show that a studio’s association with a major release does not guarantee stable staffing after launch. Ubisoft has not identified the specific projects, disciplines, or production changes behind the 70 affected roles. What is known is that the studio is staying open and that Ubisoft is framing the cut as an adjustment to forthcoming needs.

That phrase is notable because game development staffing is often planned around production stages. A project in early development can require a different mix of workers than a game approaching release or receiving post-launch support. “Aligning” a studio can mean moving its capacity toward the mix of skills and team size a publisher expects to require next. It does not, on its own, explain what work will follow or which projects Ubisoft Singapore will support.

The company’s statement therefore provides a narrow but important boundary for interpretation: Singapore is not being closed, and Ubisoft continues to describe it as strategically meaningful to global production. Beyond that, there is no confirmed public breakdown of its future assignments.

Part of a larger cost-cutting campaign

The RedLynx proposal and Singapore job reductions arrive during a year of substantial contraction at Ubisoft. The company’s cost-cutting drive has included the cancellation of at least half a dozen games and the closure of other studios, including locations in Winnipeg and Belgrade.

Ubisoft Halifax was also closed two weeks after workers there unionized. Elsewhere, job cuts have affected teams at Massive Entertainment, the developer of Star Wars Outlaws, as well as Ubisoft Stockholm and the company’s Paris headquarters.

Viewed together, the actions suggest a publisher reassessing both its project slate and the geographic footprint required to make it. Studio closures, cancelled games, and layoffs are connected by cost-cutting goals, but they are not interchangeable events. A game cancellation ends a particular piece of work; layoffs reduce a team’s capacity; a studio closure eliminates a local operation altogether. RedLynx faces the most permanent of those possibilities, while Ubisoft Singapore is being reduced but remains active.

For players, these changes do not establish any new confirmed plans for the Trials, Assassin’s Creed, or Skull and Bones series. It would be premature to infer product cancellations, updates, or sequels from the staffing news alone. Ubisoft’s announcement concerns its studio structure and positions, not a roadmap for individual games.

For employees and the development community, though, the stakes are more immediate. Teams carry institutional knowledge: familiarity with tools, production workflows, technologies, and the practical lessons of prior projects. When an office shrinks or closes, that knowledge can disperse along with the people who built it. In Singapore’s case, Ubisoft’s insistence that the studio remains important indicates that it intends to retain a presence and production capability there, albeit at a materially smaller scale.

Why the Creative Network detail matters

RedLynx and Ubisoft Singapore were both placed in the Creative Network division as part of last year’s restructuring. The label indicates an organizational grouping rather than a game genre or a single franchise team. In practical terms, it places both studios within a framework designed around collaboration across Ubisoft’s larger network.

That makes the current decisions a useful reminder that support studios are not peripheral to modern blockbuster development. Large games can be built across numerous offices, with separate teams contributing specialized pieces to a larger whole. The benefits can include access to broader expertise and the ability to scale work across regions. The risk for employees is that staffing becomes particularly sensitive to shifting company-wide plans, because a team’s workload may be tied to projects owned somewhere else.

Ubisoft has given no public indication that RedLynx or Singapore’s recent support responsibilities will disappear as categories of work. Rather, the company is changing where and by whom that work may be performed. The proposed Finland closure and Singapore reductions leave open practical questions about the redistribution of duties, but no confirmed answers have been offered.

Readers tracking the immediate developments can find a concise report on the proposed RedLynx closure and Singapore cuts. The central confirmed picture remains clear: up to 52 RedLynx positions may be affected if the closure proceeds, 70 roles have been impacted in Singapore, and Ubisoft’s continuing cost reductions are reshaping studios that have served different but significant functions in its production system.

What remains uncertain

Several crucial details have not been made public. Ubisoft has not specified the exact roles affected at Singapore, the production assignments the remaining team will undertake, or how RedLynx responsibilities may be handled if the closure is completed. Nor has it announced any new Trials game or stated what the proposed closure means for the series’ longer-term future.

The most accurate reading, then, is neither that every associated franchise is ending nor that these changes are routine. They are significant organizational actions within a broader year of cancellations, closures, and layoffs. RedLynx’s future rests on a closure proposal that must pass through local negotiations. Ubisoft Singapore has a continuing future within the company, but with 70 fewer positions and a stated mandate tied to upcoming production requirements.