Soft power—the ability of a country to shape global perceptions through cultural and economic influence—has long been associated with cinema and television. Hollywood’s worldwide reach and the global popularity of Japanese anime are classic examples.
The concept that video games can serve as a powerful conduit of soft power is comparatively new. In his recent work, *Power Play*, George Osborn argues that many Western democracies have been slow to recognize the strategic value of games for cultural outreach, whereas a handful of nations have already begun to harness this potential. Brazil is positioning itself among those forward‑thinking countries.
"Soft power is definitely on our agenda," declares Rodrigo Terra, president of Abragames, the Brazilian games industry trade association. Terra’s vision is bold: "We want to be among the top five game producers worldwide in less than ten years. That’s my wish—let’s see if we can make it happen." He adds, "In a decade I want the world to truly know our culture—our stories, our talented artists and writers, the skilled creators building outstanding games—so that people perceive Brazil the way they now perceive other cultures that have shaped video‑game narratives since the medium’s inception." Patricia Sato, executive manager of Brazil Games—an export initiative designed to open international business doors for Brazilian studios—notes that abroad, Brazil is still primarily linked to football, samba, carnival and, more recently, the internet‑famous capybara. She hopes games will broaden that image.
"When players see a Brazilian title, they might discover that the country also has arid, desert‑like regions, not just the Amazon," she explains. Sato stresses that developers are not being instructed to embed cultural references; they do so organically. She cites *Hell Clock*, a dark‑fantasy reinterpretation of the historic War of Canudos, as an example of a game that brings a lesser‑known chapter of Brazilian history to a global audience. Terra echoes this sentiment, emphasizing that he wants Brazil to be recognised for its diverse cultural values beyond football and samba.
He points to the success of *The Witcher*, which introduced worldwide players to Polish folklore and storytelling, as a model. "We want the same for Brazil: people should recognize how we tell stories, our symbols, our values, and the richness of our cultural tapestry through games." He already sees signs of this shift. "On TikTok, influencers from the US, UK, Europe and even Asia are constantly featuring Brazilian symbols.
People are rediscovering what Brazil is—or what they think Brazil is—on a global scale," he says. The country has taken concrete steps to nurture its gaming ecosystem. A few years ago, Brazil enacted a new legal framework that re‑defined video games in the eyes of the law, unlocking tax incentives for developers and creating fresh avenues for investment.
Recent policy updates have further legitimised the sector: the Ministry of Labour now recognises four distinct video‑game professions—producer, game designer, narrative designer, and game artist—where previously only generic software‑developer titles were accepted. These regulatory advances reflect a broader acknowledgement that games can act as an engine for economic development.
Abragames is also strengthening international ties. "We’re focusing more on Asian markets—Japan, Korea, China—and on Southeast Asian nations such as Thailand, Vietnam, and now Malaysia—to identify where we should intensify our outreach," Terra explains. He mentions a Korean company planning to establish a Brazilian operation, noting a growing interest from Korean firms eager to expand into the region.
All of these developments signal a rising trajectory for Brazil’s gaming sector, mirroring the broader Latin American boom. Newzoo’s latest Global Games Market Report projects a 4.7 % increase in the number of gamers across Latin America in 2026, reaching 394 million players. The region is also among the fastest‑growing markets for Steam usage, alongside the Middle East and the Asia‑Pacific.
Revenue forecasts reinforce this optimism. Newzoo expects Latin America’s game‑related earnings to surpass $9.3 billion in 2026. While this remains a fraction of North America’s $56.9 billion market, the growth rate is impressive—7.9 % year‑on‑year compared with 5.4 % in the United States and Canada. Industry analysts echo the sentiment.
Rob Fahey recently warned that the next decade’s biggest growth drivers will be developing markets in Southeast Asia, Latin America and elsewhere as they cultivate sizable middle‑class populations. Brazil’s ambition to climb into the global top‑five aligns perfectly with that forecast.
The transformation is palpable. Sato recalls how, years ago, discussions about Brazil’s job market often revolved around basic infrastructure challenges like drainage.
Today, the narrative has flipped: the conversation now centers on a burgeoning creative industry that exports culturally rich games worldwide. This shift underscores how a strategic focus on soft power through interactive media can reshape a nation’s global image and economic prospects.