Soft power—where a nation influences the world through cultural or economic appeal—has long been associated with cinema and television. Hollywood’s global reach and the worldwide fascination with Japanese anime are classic examples. The notion that video games can serve as a powerful vehicle for soft power, however, is a relatively recent development.
In his recent work *Power Play*, author George Osborn argues that many Western democracies have been slow to recognize the strategic importance of games for projecting cultural influence, whereas a handful of countries have moved quickly to harness this potential. Brazil is among those early adopters. "Soft power is definitely on our agenda," declares Rodrigo Terra, president of Abragames, the Brazilian games industry trade organization.
Terra’s vision for the sector is bold: "We want to be one of the top five game‑producing nations 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 understand our culture—our stories, our talented artists and writers, and the creators building outstanding games. I want people to perceive Brazil the way they have come to see other cultures through video games 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 many people still equate Brazil solely with football, samba, carnival, and occasionally the quirky internet‑famous capybara.
She hopes that gamers will begin to associate the country with a broader cultural palette through interactive experiences. For instance, a player might discover Brazil’s arid, semi‑desert regions after seeing them depicted in a game, challenging the stereotype that the nation is only the Amazon rainforest. 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 title that brings a little‑known chapter of Brazilian history to a global audience. Terra echoes this sentiment, emphasizing that he wants Brazil to be recognized for "cultural values beyond football and samba." He points to the success of *The Witcher*, which introduced worldwide players to Polish folklore and storytelling traditions. "We aspire to achieve the same for Brazil—showcasing how we narrate our myths, our symbols, and the richness of our heritage," he says.
He already sees signs of this emerging perception. On platforms like TikTok, influencers from the United States, the United Kingdom, Europe, and even Asia are increasingly featuring Brazilian motifs, suggesting that the country is being rediscovered as something "cool" and multifaceted.
Significant policy shifts have supported the industry’s expansion. A few years ago Brazil enacted a new legal framework that re‑defined video games under the law, unlocking tax incentives and attracting investment. More recently, the Ministry of Labour broadened official recognition of gaming‑related occupations.
Where once a professional needed to be listed as a generic software developer, now titles such as game designer, producer, narrative writer, and artist are formally acknowledged, providing clearer career pathways for talent. Terra notes that institutions are beginning to view games as a catalyst for economic development. Abragames is also strengthening ties with overseas markets, especially in Asia.
"We are focusing on Japan, Korea, China, and Southeast Asian nations like Thailand, Vietnam, and now Malaysia," he explains, mapping out where Brazil will concentrate its outreach. Interest from Korean firms is already tangible; a Korean company is planning to open an operation in Brazil, and several others are exploring expansion into the region, drawn by its growing consumer base. Overall, Brazil’s trajectory mirrors a broader surge across Latin America.
Newzoo’s latest Global Games Market Report predicts a 4.7% increase in the number of gamers in Latin America for 2026, reaching 394 million players. The region is also one of the fastest‑growing markets for Steam usage, alongside the Middle East and the Asia‑Pacific. Revenue projections reinforce this optimism.
Newzoo expects Latin American gaming revenue to exceed $9.3 billion in 2026—still a fraction of North America’s $56.9 billion but expanding at a 7.9% annual rate, outpacing the 5.4% growth seen in the U.S. market.
Rob Fahey, a veteran analyst, recently highlighted that emerging markets in Southeast Asia, Latin America, and elsewhere—where a burgeoning middle class is taking shape—will become the industry’s primary growth engine over the next decade. The shift in perception is palpable. Sato recalls a time when discussions about Brazil’s job market focused on basic infrastructure challenges like drainage.
Today, the narrative has flipped: the conversation now centers on a vibrant, creative sector poised to export its cultural stories worldwide through the medium of video games.