Ubisoft Proposes RedLynx Closure and Singapore Job Cuts

Ubisoft has proposed closing RedLynx, the Finnish studio behind Trials, in a move that could affect up to 52 positions. The company also says 70 positions have been affected at Ubisoft Singapore. RedLynx’s closure remains subject to Finland’s change-negotiation process; Singapore, Ubisoft says, remains part of its global production organization.

Those are two different decisions inside the same overhaul. Both studios were placed in Ubisoft’s Creative Network, a central group supporting other teams. One now faces a proposed shutdown after a push into mobile development. The other faces substantial cuts after years working on some of Ubisoft’s biggest games. Their histories help explain what changed, although Ubisoft’s current plans for each studio are the clearest signal of where the company intends to keep assigning work.

How RedLynx Got Here

RedLynx built its name on a wonderfully unforgiving idea: get a motorbike across an obstacle course without letting your throttle hand write cheques your balance can’t cash. The studio’s Trials series began on web browsers before reaching PC and consoles. Trials HD broke out on Xbox Live Arcade, and Ubisoft acquired the Helsinki developer in 2011. Subsequent releases included Trials Frontier, a mobile entry, and Trials Rising in 2019. That history is relevant to today’s decision because a studio can remain closely associated with a franchise long after its day-to-day work changes.

RedLynx also took on work outside Trials. It helped bring The Division 2 to Google Stadia and later supported the Switch 2 port of Star Wars Outlaws. On mobile, its puzzle-and-decorate game Gwen’s Getaway soft-launched in 2023 before shutting down in December 2024. Those projects show a team moving among its own games, platform work and support assignments. None, on its own, tells us what Ubisoft had lined up for the studio after its latest restructuring.

In October 2025, Ubisoft proposed cutting up to 60 RedLynx jobs while shifting the studio from multi-format development toward games for small screens. At the time, RedLynx said it was leading two unannounced mobile games. Managing director Celine Pasula described an ambition to develop technical expertise on mobile devices and cross-platform capabilities. That was a plan for what the studio could build next, not a guarantee that the projects would carry it through another company-wide overhaul.

The mobile work deserves a closer look than a label like “pivot.” RedLynx contributed to Rainbow Six Mobile alongside other Ubisoft teams, while Gwen’s Getaway was its own original game. A contribution to a large shared project and a studio-led title give a team different relationships to future work. Ubisoft has separately organized Ketchapp, Kolibri and the Hungry Shark games within its casual mobile division, Creative House 5. RedLynx, by contrast, sat in the Creative Network. The company’s structure therefore separated at least some mobile brands from a studio Ubisoft had recently asked to specialize in small screens.

RedLynx had no current project when Ubisoft assessed it, and the company judged a smaller version of the studio unsustainable. RedLynx had no sustainable standalone titles. Those are reported assessments of its position at this decision point, rather than a full explanation of what happened to the two mobile games discussed in 2025. Ubisoft has not detailed their fate in its closure announcement.

The sequence is stark: a proposed reduction and mobile focus last year, followed by a proposed closure now. It would be tempting to make mobile the culprit. The known sequence supports a narrower reading. Ubisoft had described mobile projects as part of RedLynx’s next chapter; by the time of this review, the studio reportedly lacked a current assignment or a standalone title Ubisoft considered sustainable. Whether the earlier strategy failed on its own terms, lost priority, or ran into changes elsewhere in Ubisoft’s plans remains an open question.

Singapore Has a Different Problem

Ubisoft Singapore offers a useful comparison because its work also outgrew a simple studio label. Founded in 2008 as part of Ubisoft’s production network in Southeast Asia, it supported Assassin’s Creed games and developed naval combat work that led toward Skull and Bones. The studio led that game through a long development and its eventual 2024 release. In the new structure, Singapore too has been placed in the Creative Network.

Ubisoft says the 70 affected Singapore positions reflect “upcoming production needs” and calls the studio “an important part” of its global production organization. Seventy roles amount to roughly a fifth of the studio’s workforce, GamesIndustry.biz reported. That is a major workforce reduction even as Ubisoft describes continuing work for the studio. Its history leading Skull and Bones did not protect every role; its assigned place in the production network has, so far, produced a different outcome from RedLynx’s proposed closure.

The two studios are comparable on their placement in the Creative Network, but their project histories diverge. Singapore began as a support studio and took on lead development of a major game. RedLynx arrived at Ubisoft with a hit series, later worked across support assignments and mobile projects, and now faces closure. That contrast suggests Ubisoft is judging what work it expects to need from each team next, rather than simply rewarding whichever studio has the stronger back catalogue. It cannot tell us everything about the company’s internal criteria or what assignments Singapore will receive after the cuts.

Ubisoft began moving to its Creative Houses structure in January, with the stated aim of making the company more focused and agile and sustaining future releases. It has also closed studios in Belgrade, Halifax, Stockholm and Winnipeg this year and cancelled six games. The two decisions this week belong to that wider reduction in costs and reshuffling of production. For workers, the immediate distinctions are concrete: a Finnish closure proposal still facing negotiations, and 70 affected positions at a Singapore studio Ubisoft says it intends to keep.

For Trials players, RedLynx’s proposal raises a question about the people who made and supported the series; it does not announce what Ubisoft will do with the games themselves. For anyone watching mobile development, the more useful question is what becomes of a studio’s proposed new projects when its place in the production pipeline changes. Last year RedLynx was being positioned to build for small screens. This year Ubisoft is proposing to close it. The missing assignment between those two decisions is where the story turns.