Amanda Kruse Named VP of Business Development at Blumhouse Games

6 minutes Kevin Leye

Blumhouse Games has named industry veteran Amanda Kruse as its new VP of Business Development, a move that signals a bigger push into partnerships, licensing, and cross-media collaborations that blend film, TV, and interactive experiences. With a background that spans well-known franchises and creative IP matchmaking, Kruse’s hire hints at a future where scrappy, atmospheric horror games get the kind of strategic support—and spotlight—that turns cult hits into cultural moments.

What a VP of Business Development really means for games In film, business development is often about lining up the next hit by connecting the right creators, budgets, and partners. In games, it’s similar—but with a few extra boss fights. A role like Kruse’s sits at the intersection of scouting developers, securing licenses, structuring deals, and building long-term relationships with platform holders, co-publishers, and brands. Think: discovering the next standout horror prototype, pairing it with a compelling IP or original identity, and then assembling the right funding, marketing, and distribution plan so it reaches the right players on the right platforms.

Why Blumhouse plus games is a potent combo Blumhouse built its reputation in film by backing bold, tightly scoped projects with strong creative hooks—then letting those ideas scale through word of mouth and smart marketing. That same DNA is a natural fit for horror games, where mood, pacing, and mechanical invention matter more than a nine-figure budget. A studio that thrives on tension and psychological storytelling is well-positioned to support teams making the next breakout chiller, whether it’s a single-sitting narrative experiment, a roguelike with unpredictable scares, or a co-op experience with social deception at its core.

Kruse’s track record and why it matters Kruse has been involved in projects that span licensed worlds and original ideas, from stylized action and tactics to atmospheric horror. That mix is important: it shows an ability to guide teams through the tricky dance of working with known universes while still carving out a unique identity. It also suggests she understands how to make partnerships feel additive—whether that’s integrating a recognizable character into a live game in a way that sparks community interest, or building a fresh story that can stand alongside a film counterpart without feeling like a tie-in afterthought.

What it could mean for developers

  • More doors open: Expect clearer paths for indie and mid-sized studios to pitch horror-forward concepts, both licensed and original.
  • Flexible deal models: From co-funding to milestone-based support, there’s room for creative structures that keep teams focused on craft.
  • Cross-media amplification: Stronger chances for alignment with film and TV activations, especially around launches and seasonal beats.
  • Brand-safe but creator-first: Guardrails for IP holders that still leave teams room to experiment with mechanics and tone.

What it could mean for players

  • Sharper curation: A pipeline of horror games with distinct aesthetics and strong hooks rather than me-too clones.
  • Seasonal events and surprises: Expect well-timed releases, expansions, or collaborations that sync with spooky season and genre moments.
  • Better accessibility to scares: Wider platform support and smart pricing that lowers the barrier to entry for trying something new.

What it could mean for license holders

  • Thoughtful adaptations: Games that capture the mood and rules of a universe rather than just the logo.
  • Sustained engagement: Ongoing content beats that keep a property alive between film or TV releases.
  • Community-first strategy: Activations designed to spark streaming, fan art, and social chatter without overburdening dev teams.

Strategic bets to watch over the next 12 months

  • Limited-scope, high-concept projects: 4–8 hour experiences with strong replay hooks that are built to be streamer-friendly.
  • Experimental co-op: Small-team multiplayer that leans into communication, asymmetry, and emergent tension instead of raw spectacle.
  • Licensed crossovers done right: Integrations that feel like meaningful encounters—think bespoke mechanics and environments, not just skins.
  • Discovery-focused marketing: Demos, festivals, and influencer-first campaigns that let the scares speak for themselves.
  • Multi-path funding: A blend of platform partnerships, co-investment, and rights-sharing to derisk new IP while preserving studio identity.

How studios can get on this radar

  • Lead with the core scare: In your pitch deck, the first slide after the title should define the primary fear loop. What does the player dread, anticipate, or misinterpret? How do systems reinforce that feeling?
  • Show a slice, not a spreadsheet: A five-minute vertical slice—or a tight prototype of your unique mechanic—says more than a thousand KPI projections.
  • Prove the ceiling with the floor: If you’re scoping lean, highlight where extra budget would go and what that buys in terms of feature depth, art polish, or marketing beats.
  • Clarify your audience: Who is this for? Streamers? Co-op fans? Narrative horror enthusiasts? Tie that to discoverability tactics you can execute.
  • Respect the schedule: Horror has calendar gravity. Show how your milestones align with seasonal windows without crunch.

The cross-media opportunity—without the pitfalls Transmedia can be a buzzword, but when handled carefully it’s powerful. The key is to let each medium do what it does best. Games shouldn’t summarize movies; they should explore corners of the universe only interactive systems can reach. Expect initiatives that treat film and game as companions with their own arcs, rather than one being subordinate to the other. Kruse’s mandate likely includes protecting that creative balance while ensuring the business side—licensing, timelines, approvals—moves smoothly.

Risks and realities

  • Oversaturation: Horror is hot, which means the marketplace is noisy. Differentiation through mechanics and tone is non-negotiable.
  • Live ops fatigue: Not every project needs a battle pass. Smart content cadence beats perpetual obligations.
  • Platform shifts: Discovery mechanics on stores change constantly. Teams need publishing partners who can pivot fast with data and narrative instincts.

Why this appointment matters now We’re in a moment where smaller horror projects can punch far above their weight if they land with the right audience at the right time. Pairing a film-first brand known for championing daring ideas with a business development lead who understands how to bridge creators, licenses, and platforms could be the catalyst for a new wave of memorable, shareable horror games. It’s a bet on curation and craft—and one that players and developers alike stand to benefit from.

Bottom line Amanda Kruse stepping in as VP of Business Development at Blumhouse Games is more than a personnel move—it’s a signal that the label intends to build a slate that’s strategically assembled, creatively forward, and primed for impact. If you’re a developer with a scary-good prototype or a license holder looking to do right by your universe, now’s a smart time to knock on the door.