“Since that day, every time we hear that a dana is coming, we tremble,” confesses María Lara, producer and co-founder of the Valencian animation studio Inspira, while pointing out the traces of the flood in the company’s warehouse: on the black curtains that divide the spaces of the studio the marks of the mud can still be distinguished, and on the walls you can still see the mark left by the mud: almost a meter high.

A little less than a year ago, the flood caused by the Dana devastated the industrial estate where the studio was located, just 200 meters from the Poyo ravine, the epicenter of a tragedy. which caused more than 200 deaths and left more than 17,000 million euros in losses. “The door collapsed due to the pressure of the water. When we finally entered, there was a meter of mud and a desolate silence,” recalls Javier Tostado, director of the studio. However, a year later, a note of hope filters into the air: the song Born To Be Alive sounds at full blast during the visit carried out by EL PAÍS. It is the melody of the video clip that the studio has made for Just Dancethe largest dance video game franchise in the world, with more than 90 million units sold. The 2026 edition goes on sale today. And, with it, the studio has risen from its ashes.

“When we saw how the studio had turned out, we considered closing it,” they remember. Javier and María’s voices break as they narrate the tragedy of a year ago. “It looked like a disaster movie: Cars piled up, alarms ringing, police warning of robberies. They told us: ‘Take everything that has value, because they are coming in to loot,” says Tostado. For days they could not access the studio, and when they entered they saw that the electronic equipment, the cameras, the sets, everything had been left unusable. Also the dolls created over the years. “We lost close to 200,000 euros in material,” Lara estimates. “The animation teams, the motion controlthe cameras… not one of them survived.” They looked for boots and shovels to clean themselves, but they were sold out throughout Valencia. “It took four days for help to arrive, because it couldn’t even be accessed here. They were the hardest four days of my life. We were alone, without electricity or water. “I thought it was all over,” she says.

Help appeared little by little: family, friends, neighbors, even volunteers from all over Spain. “Without them it would have been impossible,” Lara’s voice breaks. Even with the solidarity and energy of the community, the feeling was one of defeat. Just two weeks before the flood, the studio had presented a project on climate change in Sitges, Pangea. “We told it in fiction, but suddenly we saw its effects firsthand,” reflects Tostado. They were difficult days, but from that darkness an unexpected spark emerged: three weeks after the flood, when they were still removing mud from the workshop, they received a call from the video game company Ubisoft. The French production company wanted to count on them to Just Dance 2026. “We thought the projects would fall through, but with Ubisoft that wasn’t the case,” says Tostado. “They offered us a new song, and it was the light we needed to continue.”

From the mud to the set

The Inspira studio has a long history with Just Dance. Before its creation in 2016, its founders They worked under the name Clay Animation, responsible for the series Clay Kidsco-produced with TVE and broadcast in more than 50 countries. “Ubisoft noticed us because of that series,” explains Tostado. “They asked us to do one of the songs in 2018. Since then, we have had several collaborations with them.” His specialty is stop motionthe artisanal technique with dolls in which each second of animation requires 25 photographs. “The patience you have to have is immense. But the result is magical,” details Iván Sarrión, animation director.

The new video clip that Inspira signs for Just Dance 2026 accompanies the topic Born To Be Aliveby Patrick Hernandez, reinterpreted with a Halloween aesthetic. The protagonist is Lizy, a young daughter of Frankenstein surrounded by monsters with unexpected characteristics: a vegan Dracula, a werewolf who tends sheep, and a chorus of ghosts, bats and dancing sheep. “We wanted to turn clichés on their head, make a dark but adorable universe,” explains María Tamariz, concept artist of the study. “We are inspired by Hotel Transilvania, Wednesday y Coralinebut looking for its own point, with a lot of color and a touch of humor,” he adds.

The design of the character, says Tamariz, was a joint process with the Parisian team. “We iterated many versions with Ubisoft: we tested hair colors, makeup, hairstyles….” Once the concepts were approved, the Inspira workshops began to build the physical dolls. “Just making one that can be animated takes three months,” says Sarrión, with the protagonist’s doll in hand. “Then comes the storyboardthe choreography and, finally, the filming, which lasts another three months. Everything, at 25 images per second.” While they were recreating the new map, the studio continued repairing the damages caused by the dana. “There were days when we cheered in the morning and in the afternoon the electrician came to change plugs,” says Tostado. “It was crazy, but it was also a way to heal us.”

Kendra Meserve, Product Manager, Just Danceremembers the decision to continue counting on Inspira after the tragedy. “We knew what they had been through, and that is precisely why we wanted them to participate,” he explains during the visit to the premises. “They are a studio with a special sensitivity. Their work in Born to Be Alive fits perfectly with the spirit of Just Dance: diversity, joy and improvement.” Just Dance has more than 1,500 choreographies created in 20 games and collaborations with artists like Billie EilishAriana Grande, Disney or Eurovision. The new title, which launches today, includes songs by Lady Gaga, Bluey and Dua Lipa. “The one from Valencia fits in the category family friendly. It is a fun, bright map, but with soul. Something that players have always liked,” adds Meserve.

‘Born To Be Alive’

In the Inspira workshop, clay is now history. The tables are once again filled with dolls, light bulbs and tiny pieces. “Now we have 10 permanent people and up to 25 when there are large projects,” says Tostado. “For Born To Be Alive We reached 40 workers. It was once again feeling that we could do something big.” The team, including Lara and Tostado’s own son, now moves between sets that look like dream models: a haunted house, a colorful cemetery, Dracula’s castle or the werewolf cave. “Each setting has its tricks,” explains Sarrión. “We use plasticine, multiplane techniques, handmade lighting… Everything you see is real, built by hand. There is nothing to replace that.”

But the memory of the dana does not disappear completely. “In Valencia, When they announce a storm, our hearts shrink“Lara admits. “We have also learned to value what we have. We lost material things, yes, but we gained a new way of looking.” Tostado agrees: “When you have to start from scratch, you learn who you really are. And this is what we are: mud, plasticine and a great desire to continue creating.” The studio has started up again, with new projects and the hope that this time the water will not wash everything away. “To animate is to resist,” says María Lara, while observing Lizy, the daughter of Frankenstein whom they themselves gave life to. “When you see her dancing on the screen, you think: after all, we are still here. And that is already a miracle.”

In recent months they have received other great news: Derek Frey, producer of many Tim Burton filmshas been interested in producing Pangeathe project they presented in Sitges. “We still can’t quite believe that someone like that wanted to get involved in our project,” says Tostado, unable to suppress his happiness. Outside, the sun falls on the polygon. No one would say that less than a year ago the tragedy devastated everything. Inside the ship it continues to ring Born to Be Alive. The studio has already turned it into the soundtrack of its own resurrection.