In the indie game development scene, Patrones y Escondites stands out as a studio that redefines traditional workflows. Founded by Daniel Calabuig and Beatriz Osorio, the team operates with a unique approach—bringing together external collaborators for each project rather than maintaining a fixed in-house structure.
Instead of simply outsourcing tasks, they seek true creative partnerships, ensuring that every programmer, artist, and designer contributes meaningfully to the project. This philosophy has allowed them to craft narrative-driven experiences like Unmemory, blending storytelling with interactivity in a fresh and engaging way.
In this interview, we dive into their creative process, project management strategies, and how they maintain artistic consistency while working with changing teams.
Before going deeper, here’s a look at the key insights from our conversation. Axel García (CEO of Brave Zebra) sat down with Daniel Calabuig, co-founder of Patrones y Escondites, to discuss their journey, their unique development model, and what it means to build games with a dynamic, ever-evolving team.
Dani Calabuig, interviewed by Axel García at Valencia Interactive
Introduction
Axel García: Alright, let’s get started. I wanted to cover several things.
First, because there’s a lot of interesting stuff to discuss, I initially thought about focusing more on the narrative side, but I’ll see if I have time to touch on both aspects. To start, how many people make up Patrones y Escondites?
Daniel Calabuig: We’re a two-person company—Beto and myself. We operate on a project-based model. When we secure funding or need to develop a prototype, we assemble a team that best fits the project’s needs, because not all projects are the same. Depending on the idea, concept, and complexity, we seek out different profiles. We build the team, and once the project is done, we part ways until the next one.
Axel García: Neither you nor Beto are programmers or artists. You’re the creative lead, and she handles the business side, right?
Daniel Calabuig: Exactly. She’s more of a project manager, handling production and project management, while I take care of the creative aspects. Neither of us programs or creates art directly.
How Does a Game Start in Such a Small Team?
Axel García: How do you go from an initial idea to a structured project without an in-house technical or artistic team?
Daniel Calabuig: We usually put the idea down in an initial document. From there, we focus on two things: securing funding and finding the right team. We approach an artist, show them the concept, and ask if they’d like to be part of it. The same goes for programmers—we present the idea and make it clear that we’re not just hiring them to execute tasks, but to build the project together. We look for people we enjoy working with, who get excited about the project. If they’re not motivated, we’d rather wait for the right moment. The process is collaborative from the very beginning.
Axel García: So, instead of growing your internal team, you rely on external partners in more of a work-for-hire or co-production model?
Daniel Calabuig: Exactly. We don’t want the relationship with collaborators to be just a client-provider dynamic; we want to build something together. We don’t just tell people what to do—we want them to be part of the creative process.
Finding and Managing External Partners
Axel García: How do you find the right collaborators? What criteria do you use to filter and select external programmers, artists, and designers?
Daniel Calabuig: The most important thing is their previous work. When it comes to artists, we often look outside the gaming industry—advertising, animation, film, or graphic design. We like bringing fresh perspectives into video games. For programmers, since we don’t have as much expertise, we rely more on recommendations and contacts.
Axel García: Do you always rely on your network, or do you also proactively search through platforms like LinkedIn, Behance, or ArtStation?
Daniel Calabuig: We use both approaches. We stay connected to what’s happening in the industry, but we also look beyond video games to find inspiration and talent that might be a good fit for our projects.
Example: Finding the Right Artist
Daniel Calabuig: For Pineapple, we had a very specific art style in mind—something that looked like messy, hand-drawn sketches. We searched for illustrators who matched that style. We even went to a comic art exhibition in Barcelona, where we found Conchita. We loved her work, but when we explained the project, she told us she could illustrate but not animate. So we kept looking until we found David Octane, an artist who fit perfectly and was genuinely excited about the project.
Axel García: So the key to your process is having a clear concept and then taking your time, exploring different sources until you find the right person.
Daniel Calabuig: Exactly. The most important thing is defining the concept before assembling the team. If you’re clear about what you’re looking for, it’s much easier to find the right person.
Supervising and Aligning External Teams
Axel García: Once you have your external team, how do you ensure quality and keep everyone aligned with the project’s vision?
Daniel Calabuig: There’s no foolproof method. You can trust someone and still not get the results you expected. The key is setting clear expectations from the start. We make sure everyone understands what we’re looking for and what we expect from them. Some people fit in naturally, and others don’t. It’s all about experience and learning to manage the team. If something isn’t working, it’s important to recognize it early so we can make adjustments.
Axel García: How do you spot when someone isn’t the right fit? What signs tell you a partner isn’t working out?
Daniel Calabuig: You can tell when someone isn’t engaged. For example, we’ve had artists or animators say, “Yeah, yeah, I’ll do it,” but then deliver something that didn’t meet expectations. That’s when we realize they weren’t the right person. Communication is also key—if someone doesn’t respond well to feedback or doesn’t seem committed to the project’s vision, it’s better to look for someone else.
Creative Pillars as a Guiding Tool
Axel García: You once mentioned creative pillars. How do you use them to maintain the project’s direction?
Daniel Calabuig: Our creative pillars act as a guide for decision-making. Before starting, we define what we want the game to express. For example, if we want to evoke surprise, then every mechanic, every visual element, and every narrative decision must support that goal. If an artist proposes something that doesn’t align with that pillar, we know it’s not the right fit for the project.
Axel García: So those pillars remain unchanged, even as the team grows and the project evolves?
Daniel Calabuig: Exactly. When you share an idea with a team, it inevitably changes. But if your pillars are clear, you can ensure the core essence remains intact. It’s like planning a trip to Ibiza but ending up in Formentera instead of Mallorca. You didn’t make it to Ibiza, but you still stayed true to the spirit of the journey.
Creative Pillars as a Guiding Tool
Axel García: You once mentioned creative pillars. How do you use them to maintain the project’s direction?
Daniel Calabuig: Our creative pillars act as a guide for decision-making. Before starting, we define what we want the game to express. For example, if we want to evoke surprise, then every mechanic, every visual element, and every narrative decision must support that goal. If an artist proposes something that doesn’t align with that pillar, we know it’s not the right fit for the project.
Axel García: So those pillars remain unchanged, even as the team grows and the project evolves?
Daniel Calabuig: Exactly. When you share an idea with a team, it inevitably changes. But if your pillars are clear, you can ensure the core essence remains intact. It’s like planning a trip to Ibiza but ending up in Formentera instead of Mallorca. You didn’t make it to Ibiza, but you still stayed true to the spirit of the journey.
Final Thoughts and the Future of Their Work Model
Axel García: Will you continue with this fully externalized model?
Daniel Calabuig: Yes, that’s our plan. We’ve tried other approaches in the past and realized that maintaining a fixed structure is riskier. We feel comfortable working with external teams and managing projects this way.
Axel García: It’s a slower-paced model, but a continuous one.
Daniel Calabuig: Yes, it’s like “slow cooking.” We’re always connected to potential partners and ideas, constantly looking for funding and opportunities. Sometimes, we work on multiple projects simultaneously with different teams. It’s a demanding rhythm, but it allows us to maintain quality and creative control.
Axel García: Well, thank you so much for the chat. It was super interesting.
Daniel Calabuig: Thank you! Let’s keep in touch.
