Soft power—where a nation influences the world through cultural or economic appeal—is a concept most of us associate with cinema and television. Hollywood’s global reach and the worldwide popularity of Japanese anime are classic examples of cultural soft power at work. The recognition that video games can serve as a similarly potent 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 appreciate the strategic value of games for spreading cultural influence, whereas a handful of countries have already begun to harness this potential. Brazil is among those early adopters. "Soft power is definitely on our agenda," declares Rodrigo Terra, president of Abragames, the trade organization that represents Brazil’s games industry.
Terra’s vision for the sector is bold: "We want to be one of the top five game‑producing nations worldwide within the next ten years. That’s my personal wish—let’s see if we can make it happen." He adds that, in a decade, he hopes the world will recognize Brazil’s cultural richness through its games.
"I want people to encounter our stories, meet our talented artists and writers, and see the creativity of our developers. I want the global audience to perceive Brazil the way they have come to perceive other cultures through video games since the medium’s inception." Patricia Sato, executive manager of Brazil Games—an export‑promotion program designed to open international business doors for Brazilian studios—points out that most people abroad still associate Brazil with a narrow set of stereotypes: football, samba, carnival, and, more recently, the internet‑famous capybara. She would like to broaden that perception by letting players discover other facets of Brazilian life through interactive experiences. For instance, a player who explores a desert‑like region in a Brazilian‑made title might learn that the country is not only home to the Amazon rainforest but also contains arid landscapes that many outsiders never imagine.
Sato emphasizes that the industry is not being instructed to embed cultural references; developers are doing it voluntarily. She cites *Hell Clock*, a dark‑fantasy game that reimagines the historical War of Canudos, as an example of a project that brings a lesser‑known chapter of Brazilian history to a global audience. Terra echoes this sentiment, stating that in ten years he wants Brazil to be recognized for a broader array of cultural values beyond football and samba. He references the success of *The Witcher* series, which introduced worldwide players to Polish folklore and historical perspectives.
"We aspire to achieve the same for Brazil—showcasing how we tell stories, our symbols, and the depth of our cultural heritage," he explains. He already sees signs of this shift. "On TikTok, influencers from the United States, the United Kingdom, Europe, and even Asia are constantly featuring Brazilian symbols," Terra notes.
"People are rediscovering what Brazil represents, or at least what they think Brazil represents, on a global scale." The country has taken concrete steps to nurture its gaming ecosystem. A few years ago, Brazil enacted a new legal framework that redefined video games in the eyes of the law, unlocking tax incentives for developers and creating fresh avenues for investment. More recently, the Ministry of Labour expanded the list of officially recognised gaming‑related occupations. Previously, professionals had to register under generic titles like "software developer"; now, they can be listed as game designers, producers, narrative designers, or artists, providing clearer career pathways and legitimising the sector.
Beyond policy, institutions are beginning to view games as a catalyst for economic development. Abragames is actively seeking partnerships across Asia, targeting markets such as Japan, South Korea, China, as well as Southeast Asian nations like Thailand, Vietnam, and Malaysia. Terra mentions that a Korean company is planning to set up an operation in Brazil, reflecting a growing interest from Korean firms eager to tap into the South American market.
All these signals point to a burgeoning games industry not only in Brazil but throughout Latin America. Newzoo’s latest Global Games Market Report predicts a 4.7 % increase in the number of players in Latin America by 2026, reaching 394 million users. The region is also among the fastest‑growing areas for Steam activity, alongside the Middle East and the Asia‑Pacific. Revenue projections are equally encouraging.
Newzoo forecasts that Latin America’s games revenue will exceed $9.3 billion in 2026. While this figure remains a fraction of North America’s $56.9 billion market, its growth rate—7.9 % year‑on‑year—outpaces the 5.4 % growth observed in the United States and Canada. Industry analyst Rob Fahey recently highlighted that emerging markets in Southeast Asia, Latin America, and elsewhere, which are witnessing the rise of a sizable middle class, will become the primary engines of growth for the global games sector over the next decade. The transformation is stark.
"I remember years ago when we talked about jobs in Brazil, the conversation was about drainage projects," Sato recalls. "Now the narrative has flipped; we’re talking about game development as a key employment driver." In summary, Brazil’s strategic push—combining policy reform, cultural ambition, and international outreach—aims to position the nation as a major player on the world stage, both economically and as a conduit of soft power through the medium of video games.