Digital Dragons 2026 - ES Digital and the search for talent around the world

In a global video game industry shaken by mass layoffs, wild restructurings, and the constant, suffocating fear of economic risk, there are those who have decided to make counter-trend their banner. If the trend of large corporations is to standardize products to chase algorithms and financial safe zones, independent publishers find themselves at a crossroads: succumb or evolve into true cultural "talent scouts."

In the corridors of Digital Dragons 2026 in Krakow, we met and chatted with Ilia Svanidze, marketing manager and the grey eminence of scouting for ESDigital. On paper, a Slovak publisher; in reality, a liquid entity that shifts its borders from Iceland to China, passing through the creative forges of our own country. We sat down to understand how to survive, and how to thrive, while leaving the freedom of development studios intact, as the perfect storm rages outside.

Q: Hello Ilia and welcome to Gamesurf. Let's break the ice right away: ESDigital presents itself to the public as a Slovak entity, but a quick look at your portfolio reveals that geographical boundaries are definitely too narrow for you. Who are you and, above all, what is your philosophy in this historical moment so schizophrenic for the industry?

Ilia: Hello! Look, to simply call us a "Slovak publisher" is almost an understatement. We are a global label in every sense. Our reach spans the entire world: we work with teams from Iceland, Kazakhstan, China, and, of course, Italy. For us, a studio's nationality has never been a selection criterion. The core of everything is what we call the game's "hook": if the concept captivates us, if the gameplay entertains us, and if we see that spark of uniqueness, the deal is closed. I manage marketing, communication, and social media, but here in Krakow, I'm in the role of a scout, hunting for that spark.

Q: On your programmatic manifesto, there's a phrase that, these days, sounds almost utopian: you declare that you want to give maximum creative freedom to software houses. So, let's get real: how do you reconcile safeguarding artistic independence with the brutal necessity of making ends meet, especially now that budgets are tightening and the public is increasingly ruthless?

Ilia: It's all a matter of clear agreements and respecting roles. Each team comes to us with different needs: some need a pure injection of liquidity, some only need porting to various consoles (we work on PC, PlayStation, Xbox, Switch, and cloud), and some are looking for structured marketing positioning. If the initial economic framework is solid, ESDigital's golden rule is never to interfere with the developer's creative engine.

We have 25 years of experience in the publishing sector: we don't impose changes or overturn the original vision. We analyze the market, study competitors, offer targeted feedback and suggestions, but the final word always belongs to those who are creating the game. We never force their hand. An example? Steel Seed by Storm in a Teacup: the deep structure of the game has remained exactly identical to the very first pitch deck they showed us two or three years ago. That's how trust is demonstrated.

Q: You mentioned Steel Seed, and as an Italian, I can't help but perk up. The Roman team at Storm in a Teacup is certainly no stranger to high-impact artistic visions, but with this title, they seem to have raised the bar. You, who have followed the project closely, what is the real "extra gear" of this production?

Ilia: Steel Seed is visually extraordinary, a 3D action-adventure with strong stealth elements that makes a powerful visual impact from the very first glance. The setting is a dystopian underground world, made necessary by the fact that the Earth's sky has been completely obscured. The combat system is extremely fluid, dynamic, and layered, which demonstrates how much fine-tuning has gone into the game loop.

But the true soul of the game, its beating heart, lies in the narrative and the symbiotic relationship between the protagonist, Mira, and her drone Kobi. That dynamic is not just a simple gameplay embellishment, but the cornerstone of the entire cinematic experience. It has a technical caliber that nods to Triple-A productions, while maintaining the sensitivity and audacity typical of indie projects.

Q: What's it like working with a team with such a distinctly Italian temperament as Storm in a Teacup? Often abroad, we are seen as passionate but "chaotic"; what is your perception?

Ilia: I can only tell you that the relationship is nothing short of exceptional. We're talking about incredible professionals with very clear ideas. Carlo Ivo Alimo Bianchi, the Creative Director, puts a visceral, almost totalizing passion into the project, which is reflected in every single shot and every detail of the world-building. When we bring the game to a fair, the audience's reaction is always the same: they are literally captivated by the oppressive underground atmosphere and the way the drone is integrated into the game's tactics. There's a very strong identity.

Q: Looking generally at your portfolio, one notices an almost schizophrenic eclecticism: you move from rarefied atmospheres to oriental productions. How does your scout radar move here at Digital Dragons? What are the metrics or feelings that make you say, "Okay, this is an ESDigital title"?

Ilia: I play constantly, I devour video games every day, and this has allowed me to develop a very sharp instinct. We don't rely on a single pattern. There are projects that come to us having already done the "dirty work" on social media: excellent wishlist numbers on Steam or viral videos on TikTok; in that case, you already know there's a community ready to respond.

In other cases, however, we bet on raw potential starting from scratch. This happened with Island of Winds, a project by a tiny Icelandic software house that we managed to get selected for the ID@Xbox Accelerator program. Or again with Awaken: Astral Blade, intercepted thanks to the PlayStation China Hero Project. Being among the very few chosen in such a selective incubator of Sony's Asian division opened up preferential channels for us to explore other "Hero" projects in emerging territories like India or China. We go where talent is found, without physical barriers.

Q: Let's conclude with a macroeconomic reflection. The global scenario is frightening: industry giants are cutting heads and canceling intermediate projects because they are terrified of not reaching billions of dollars in revenue. In this desolate land, is there still vital space for independent publishers, or do you risk being crushed?

Ilia: The market is brutally changing its skin, it's undeniable, and staff contraction is the most painful proof of this. But it is precisely in this fracture that our role becomes vital. Mammoth publishers need frightening numbers to justify their existence, and this forces them to produce standardized, identical, soulless titles.

However, there is a huge segment of gamers who are tired of this homogenization and desperately seek more refined, intimate, and authorial experiences. We maintain our position precisely because we act as a bridge between the most visionary developers and this demanding audience. We don't want to stop: the goal is to continue to grow and consolidate ESDigital as the safe harbor and absolute benchmark for high-quality indie gaming.

Q: A courageous vision, Ilia. We at Gamesurf will continue to closely monitor your steps and, of course, the evolution of Steel Seed. Thank you very much for the chat and good luck!

Ilia: Thank you, Domenico! It was a real pleasure to talk with you. Greetings to all your readers!