The question comes up in the debrief at least once a week, usually from the player who’s just had the best hour of their holiday: “So… who makes all this?”
Us. Every room at Locked In Cornwall was designed and built in-house — no bought-in games, no franchise kit — and since people keep asking, here’s an honest look at how a room goes from an idea to a locked door with your name on the booking.
It starts with the story, not the puzzles
The rookie mistake in escape room design is starting with clever puzzles and wallpapering a theme over them. Those rooms feel like doing a quiz in fancy dress. We start the other way round: what’s the story, and what would it feel like to be inside it?
Pasty Escape began as exactly that kind of question — what’s the most Cornish predicament a room could hold? A stolen family pasty recipe, obviously, and piskies to blame. Once the story exists, the puzzles have a job: every single one should feel like something you’d genuinely do in that story. Recovering ingredients. Unpicking a curse. If a puzzle doesn’t serve the fiction, it gets cut, no matter how clever it was. Especially when it was clever. Those cuts hurt.
Puzzles are conversations, not exams
A good escape room puzzle isn’t “hard” — it’s fair. The answer should be reachable from what’s in the room, and the moment of getting it should feel like the room whispered it to you rather than a designer defeating you. In practice that means every puzzle needs three things: a clear question (even if finding the question is part of it), everything you need present in the room, and a click of satisfaction when it lands.
The variety matters as much as the fairness. A room needs searching puzzles for the rummagers, logic for the pattern-brains, physical bits for the fiddlers, and at least one moment where the youngest or quietest player is the hero. Mixed groups are the audience; the design has to score every seat.
Then playtesting breaks everything
Here’s the part nobody romanticises: the first version of every puzzle is wrong. Too obscure, too easy, or — the classic — perfectly logical to the person who built it and impenetrable to every human being alive. Playtesting is where a room actually gets designed. Friends, family and brave volunteers run the room while we watch where they stall, what they try that we never imagined, and which prop they attempt to dismantle that was never a puzzle at all. (There is always one. We reinforce it.)
A puzzle that stalls every team gets rebuilt. A clue that half the teams miss gets a nudge added. The room you play is version umpteen, filed smooth by everyone who got stuck before you.
The game master is part of the design
The last component isn’t in the room at all. The hint system — when to nudge, how much, in whose voice — gets designed as carefully as the locks. A hint that lands too early steals a victory; too late and the fun leaks out of the hour. Our game masters learn each room’s stall-points and each team’s temperature. That’s the invisible craft that turns a box of puzzles into a great hour.
Why we still do it this way
Building in-house is slower and harder than buying a game off the shelf. We do it because the alternative is playing the same room you could play in Leeds, and because rooms built here can be about here — there is no off-the-shelf game with piskies in it.
More of the story behind the venue — the longest-running escape rooms in Cornwall — is on our about page. Come play the current versions. The piskies have been reinforced.