The Game Awards are facing pushback from developers who feel the industry’s priorities have shifted away from workers and towards spectacle. In a personal opening speech, host Geoff Keighley shared that 2025 had brought him personal tragedy—the LA fires damaged his home and his father passed away—but he found solace in games, underscoring how the medium can offer comfort, connection, and a sense of purpose. He reminded the audience that the event is meant to celebrate artists, technicians, and storytellers who push the medium forward. Yet outside the glamorous venue, many people felt unseen and undervalued.
Recently, Game Developer reported that the Future Class, an initiative designed to spotlight and nurture rising industry professionals who symbolize a diverse and innovative future for gaming, has effectively been paused. The announcement followed a quiet period after Future Class members pressed for more from Keighley and organizers—requests for better travel support, funding, networking opportunities, and transparent statements about the broader issues plaguing the industry, such as layoffs and the ongoing Palestine crisis. The absence of public acknowledgement from The Game Awards on these matters fueled additional frustration.
Outside the Peacock Theater in Los Angeles on Thursday, tensions surrounding the Future Class and the dismissive handling of awards trophies at The Game Awards coalesced into a protest led by United Videogame Workers (UVW-CWA), the union open to anyone affected by layoffs. The strike-like demonstration, announced earlier in the year at GDC, called for industry changes and highlighted how workers continue to be sidelined even as executives bask in ceremony and praise. The protest carried the theme “The Industry Is Dead,” with around fifty developers voicing their discontent. Some participants donned grim reaper costumes, and others bore tombstone-shaped signs, including a message reading “RIP Future Class, Died Of Performative Allyship.” Anna C. Webster, a freelancer, writer, and former Future Class member who chaired UVW, explained to Aftermath that the Future Class’s fate remained unclear because organizers failed to communicate any plan, leaving members in the dark until their questions forced a response.
Former Future Class member Younès Rabii echoed the sentiment, noting that the treatment of the program suggested that the industry values appearances over real change. Rabii recounted a tense moment from the 2023 meeting when he pressed Geoff Keighley on an open letter about Israel’s treatment of Palestinians, and Keighley reportedly replied, “This is my show, and nobody gets to tell me how I should use my platform.” He described the subsequent unraveling of trust and the sense that the Future Class had outlived its usefulness as a diverse showcase.
Inside LA Live, outside the theater, roughly 40 game developers associated with @videogameworkers shared grievances and called for accountability. UVW organizer Kaitlin “KB” Bonfiglio highlighted the discrepancy between the event’s trailer costs—rumored to range from $450,000 to over $1 million—and what workers receive in terms of fair pay, healthcare, and long-term security. Security personnel initially resisted the protest, but organizers prepared legal documentation to establish their right to assemble on the venue’s terrace, ultimately gaining access.
The protest built on a history of demonstrations surrounding The Game Awards, including two SAG-AFTRA-led walkouts tied to the broader voice-acting strike. Several SAG members joined this year’s protest in solidarity. UVW treasurer Sherveen Uduwana explained that the action represents a strategic escalation—workers are ready to address mass layoffs, healthcare erosion, and the rise of AI tools that threaten jobs. Attendees shared personal stories of layoffs and their impact on careers and health, with many noting how difficult it is to maintain stability in an industry prone to sudden shutdowns.
Amid the criticisms, some participants saw a constructive path forward. Webster described UVW as a more authentic vehicle for industry reform than the paused Future Class, insisting that the movement would continue to push for better conditions even without Geoff Keighley’s endorsement. UVW’s leadership emphasized that their organization has grown to 560 members and offers a real-world platform for meaningful dialogue and mutual support, free from the constraints of corporate branding. A number of attendees, including Emma Kidwell, a Future Class alum, praised the solidarity shown by UVW and the broader community, believing such alliances can sustain efforts toward a healthier, more equitable gaming industry.
Beyond activism, individual organizers are taking action to rebuild the industry from the ground up. Timothy Staton-Davis, who participated in the protest, recently founded Melanated Game Kitchen, a worker-owned studio focused on inclusive storytelling and culturally resonant experiences. He described the enterprise as a step toward a more sustainable, equitable landscape where creatives—especially those from underrepresented backgrounds—can lead and collaborate.
As ongoing discussions around the Future Class’s future continue, The Game Awards introduced a new honor called “Game Changer” to recognize efforts that support laid-off workers. While this added feature was celebrated by many in the audience, critics questioned whether it could compensate for the absence of a clear pathway for Future Class participants. The broader takeaway is that even as the awards celebrate achievement, a critical conversation persists about how the industry treats its people, rewards its executives, and handles the social responsibilities that come with growth.
What do you think about the balance between industry celebration and worker advocacy? Should large events like The Game Awards prioritize visible philanthropy and public statements, or should they focus on structural reforms—such as robust support programs and transparent accountability—regardless of prestige? Share your thoughts in the comments.
