Soft power – a nation’s ability to influence others through cultural and economic appeal – is a concept most of us associate with cinema and television. We think of Hollywood’s global reach or the way Japanese anime has introduced worldwide audiences to the nuances of Japanese culture.
The notion that video games can serve as a similarly powerful conduit 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 as a vehicle for cultural influence, while a handful of countries have already begun to harness this potential. Brazil is positioning itself among those forward‑thinking nations. "Soft power is definitely on our agenda," asserts Rodrigo Terra, the president of Abragames, Brazil’s trade organization for the games industry.
Terra’s aspirations are bold: "We want to be one of the top five game producers in the world in less than ten years. That’s my wish – let’s see if we can make it happen." Beyond sheer production numbers, Terra envisions a future where global audiences associate Brazil with a rich tapestry of stories, artistic talent, and innovative game design.
"In ten years I want the world to know our culture, to discover the diverse narratives we create, to recognise the skilled artists, writers, and developers building remarkable games, and to perceive Brazil the way we now perceive other cultures that have shaped the video‑game landscape since its inception," he explains. Patricia Sato, executive manager of Brazil Games – an export‑focused programme that cultivates overseas business opportunities for Brazilian studios – notes that most people outside Brazil still picture the country through a narrow lens: football, samba, carnival, and, more recently, the internet‑famous capybara. She hopes that video games can broaden that perception. "When players encounter a Brazilian title that showcases our arid, desert‑like regions, they begin to understand that Brazil isn’t just the Amazon.
It’s a land of varied ecosystems and histories," Sato says. Sato stresses that the industry isn’t being forced to embed cultural references; developers are doing it 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 an international audience.
Terra echoes this sentiment, stressing that he wants Brazil to be recognised for "cultural values beyond football or samba." He points to the global impact of *The Witcher*, which introduced worldwide players to Polish folklore and storytelling techniques. "We aim for a similar breakthrough: a worldwide appreciation of how we narrate our myths, our symbols, and the complexity and beauty of Brazilian cultural values," he says.
He already sees early signs of this shift. On platforms like TikTok, influencers from the United States, Europe, and even Asia are increasingly featuring Brazilian icons, music, and slang, creating a perception of Brazil as "cool" and contemporary. "People are rediscovering what Brazil is, or what they think Brazil is," Terra observes. The country has taken concrete steps to nurture its games sector.
A few years ago Brazil introduced a new legal framework that re‑defined video games under the law, unlocking tax incentives for developers and opening fresh channels for investment. More recently, the Ministry of Labour expanded the list of recognised video‑game‑related professions.
Where previously only software developers could be formally registered, now game designers, producers, narrative designers, and artists enjoy official status. Terra notes, "Having four recognised professions – producer, game designer, narrative designer, and artist – legitimises the industry and signals to investors that we are serious about growth." Institutions across Brazil are beginning to view games as a catalyst for economic development.
Abragames is actively seeking partnerships beyond the domestic market, turning its attention toward Asia. "We are deepening ties with Japan, Korea, China, and Southeast Asian nations such as Thailand, Vietnam, and Malaysia," Terra explains. He mentions a Korean studio that plans to establish a Brazilian branch, reflecting a broader surge of interest from Korean firms eager to tap into the region’s emerging market. All these initiatives point to a vibrant upswing not only for Brazil but for Latin America as a whole.
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 Asia‑Pacific. Revenue forecasts anticipate that Latin American game sales will 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 for Latin America compared with 5.4 % for the United States. Industry analyst Rob Fahey recently highlighted that developing markets in Southeast Asia, Latin America, and elsewhere – regions where a burgeoning middle class is emerging – will become the primary engine of growth for the global games industry over the next decade.
The transformation is palpable. Sato reflects on how, not long ago, conversations about employment in Brazil often revolved around basic infrastructure projects like drainage systems. Today, the dialogue has inverted: "Now we’re talking about game development, creative talent, and cultural export," she remarks. In summary, Brazil’s strategic push to leverage video games as a vehicle for soft power, combined with supportive legislation, professional recognition, and proactive international outreach, positions the nation to potentially join the elite ranks of global game producers within the next ten years.
If these trends continue, players worldwide may soon associate Brazil not only with football and samba but also with compelling interactive narratives, innovative design, and a vibrant cultural voice that resonates across digital landscapes.