Revitalizing Behold Studios

"When I first started, nobody knew it was possible to create games in Brazil." Saulo Camarotti founded Behold Studios over 15 years ago, making it one of Brazil's longest-running game development studios. The studio gained recognition for its 2012 RPG Knights of Pen & Paper and the 2017 sequel Galaxy of Pen and Paper. However, when the studio first began, the concept of a games business in Brazil was unconventional. "We attempted to participate in international events like GDC and Gamescom, pitching our games to publishers, which often caught them off guard," Camarotti recalls. "They were hesitant to work with new studios, and the gaming industry in Brazil was still in its infancy. As a result, we faced some prejudice, making it challenging for them to invest in our country." "Even 15 years later, I believe some investors still view investing in Latin American game production as unconventional. Nevertheless, over the past five to ten years, publishers have become more accustomed to the scene and have grown more comfortable collaborating with Brazilian developers, which is a positive development." Camarotti notes that Brazil lacks a AAA game industry, although it does have large studios. These studios, however, tend to focus on free-to-play mobile games rather than AAA content. If they do work on AAA projects, it's often as a work-for-hire basis with Western studios. "We don't have a workforce that transitions from AAA companies to other studios, enhancing the quality of game productions," he explains. "For instance, I reside in Toronto, Canada, where I see university graduates joining AAA studios like Ubisoft, gaining experience, and sometimes establishing their own studios. In Brazil, we often start our own studios out of necessity, as there are limited job opportunities." "This was my situation 15 years ago, when I graduated with a degree in computer science and wanted to work in the game industry in my hometown of Brasilia, a city with three million people. Since there were no game development companies or job openings, I had to establish my own studio." The studio's initial iteration as a work-for-hire developer was launched in 2009 but ceased operations in 2011. It later reopened and evolved into its current form. "At the time, everyone advised us to focus on work-for-hire projects," Camarotti recalls. "So, we started creating 'advergames' and serious games, as well as attempting to co-develop projects. Although it was manageable for the first two years, it wasn't sustainable, leading us to close the studio." Camarotti eventually formed a new team of four with former employees who were passionate about continuing to create games. They adopted an indie approach to game development, which led to the creation of Knights of Pen and Paper. "Six months later, we reached the top of the App Store and Google Play charts. This success made us realize that we could develop our own games and create our own IPs, which became our primary focus." According to Camarotti, the key to their success was shifting their focus towards projects they were genuinely passionate about, rather than pursuing trends for financial gain. "That change in approach made all the difference. Whenever we start a new project driven by external motivations, it doesn't yield the desired results. However, when we focus on projects that genuinely excite us, that's when we produce our best work. I believe this is the most important lesson we've learned." The studio's latest project, Cosplay Club, is a turn-based RPG that revolves around the theme of cosplay. It was released in Early Access in December 2023, after a successful Kickstarter campaign in 2022 that reached its funding goal within two hours. "Our goal is to cater to a niche audience," Camarotti says. "We want to attract cosplayers and individuals who are enthusiastic about cosplay, as well as those who aspire to become cosplayers but lack the necessary skills. We're aiming to create a wholesome and heartwarming RPG experience." "We plan to release the game on consoles and explore the mobile market. Although we don't have specific expectations in terms of numbers, our primary focus is on having fun and finding partners to help us bring the game to consoles." Behold Studios has maintained a small team of eight members, split between Canada and Brazil. "We identify as a Brazilian studio," Camarotti says. "While being present in both countries has its benefits, such as access to tax credits in Canada and participation in events, our team consists entirely of Brazilians. We prioritize hiring Brazilian talent, which is a deliberate choice." The introduction of a new legal framework in Brazil is expected to bring about changes, such as access to tax credits. The game development industry in Brazil has undergone significant growth since the early days of Behold Studios. "The talent pool in Brazil is impressive," Camarotti notes. "The people are incredibly hardworking and resourceful. Although we've always had limited resources, we've learned to be creative and adaptable. I appreciate the unique aesthetic that Brazilian artists bring to the table, and many of them are working with top studios worldwide." However, the industry in Brazil still faces challenges, such as suboptimal internet broadband connections. "Although the internet connectivity is not the best, it's sufficient for us to stay connected. It's not the most affordable option, but a significant portion of the population has access to it." Regarding the practical aspects of running a studio in Brazil, Camarotti highlights the widespread adoption of remote work. "With remote work, the need for commuting and using public transportation is eliminated. Many Brazilians are securing jobs in other countries, earning salaries in US dollars while living in Brazil. This arrangement provides them with valuable experience and a better quality of life." Historically, Brazil has been a significant exporter of talent globally. "I'm a prime example of this, having moved abroad to be with my family and explore new opportunities. While it's beneficial to be abroad, the current remote work opportunities in Brazil are also attractive. The cost of living in Brazil is relatively low compared to North America and Europe, making it an interesting proposition for companies to hire Brazilian talent." On a personal level, Camarotti reflects on the challenges he faced while running Behold Studios since the success of Knights of Pen & Paper. "During the first ten years, I dedicated 60% of my time to the studio and 40% to the indie scene. I volunteered to host game jams, brought in publishers, and served as a regional director for the Brazilian trade association. My goal was to promote the independent game development scene, which required a lot of effort without any direct returns. However, it was a crucial part of my role." Brazil boasts the fifth-largest market globally in terms of active gamers, with a particular affinity for online titles like PUBG, Free Fire, and Fortnite. "The audience is massive and well-connected," Camarotti says. "I believe there are ample opportunities in free-to-play games, especially those that perform well on low-end devices. This is the core audience in Brazil." He adds with a laugh, "However, this isn't the path I've chosen. Instead, I'm focusing on high-end games and premium titles, which is the opposite approach." In conclusion, Camarotti emphasizes that the global game industry is currently facing challenges, making it an ideal time to explore thriving markets like Brazil. "Over the past two years, the industry has struggled, and I think investors and publishers should look to countries like Brazil, Argentina, or Uruguay for inspiration and unique perspectives. This could be a game-changer for the industry. By tapping into different talents, including BIPOC and queer individuals, and creating games that showcase diverse voices, we can bring about positive change. I believe it would be wonderful to see more games that reflect the diversity of the world we live in."