Empowering Change through Play: The Vision of Sea Monster Entertainment

You can find all our coverage of South Africa Games Week on this page. As a cornerstone of the South African video game industry, Sea Monster Entertainment stands out for its distinctive approach as a work-for-hire studio specializing in marketing and 'serious' games. According to CEO Glenn Gillis, the studio is best described as an 'impact gaming company,' driven by the belief that purposeful play can be a powerful catalyst for change. This vision is realized through collaborations with major brands to create authentic, impactful gaming experiences. Gillis emphasizes the potential of game-based learning, highlighting its vast applications and the preference for interactive learning. With over 12 years of experience and a team of 38 core members, plus an additional 14 developers, Sea Monster is one of the larger studios on the continent, with a deep passion for contributing to and showcasing African talent. The studio's versatility is evident in its work across animation, apps, games, AR/VR, and more, demonstrating a broad range of capabilities from its roots in animation to developing games on platforms like Roblox. Gillis notes that visual storytelling has a unique ability to transcend cultural boundaries, and when combined with player agency, it becomes an even more potent tool. This approach has led Sea Monster to work with public benefit organizations, NGOs, and corporates to tackle some of the world's most pressing challenges through the power of game and visual design. Projects like Swipa, which teaches children about the impact of their actions, and The Last Maestro, a VR project aimed at helping those suffering from PTSD through the therapeutic benefits of classical music, exemplify this mission. The Last Maestro has undergone successful trials, including at a children's cancer hospital in Oakland, where it has been shown to reduce stress in nurses and first responders. Gillis sees this as a prime example of how VR technology can be matured and scaled into a significant business. As a founding member and chairperson of Games for Change Africa, established in 2021, Gillis is committed to promoting games as a tool for social change. He values the diversity that Games for Change embodies, believing that it is a real strength, especially with representation from eight African countries on the advisory board. The focus is on growing sustainably, adding value to existing efforts rather than duplicating them. Despite the challenges of running a games business in Africa, which Gillis humorously describes as 'fully insane,' he emphasizes the importance of strong support systems. While acknowledging the lack of government support as a challenge, Gillis prefers to focus on what can be controlled, such as defining what constitutes an African game and how to grow the industry. He approaches this through four key lenses: what is inspired by Africa, made in Africa, sold in Africa, and owned by Africa. Each of these aspects has its unique challenges, and Gillis advocates for a demand-led approach, emphasizing the need for projects, partnerships, and co-productions to genuinely grow the industry. The concept of the 'missing middle' is crucial, referring to the need for production capacity and industrial creative capacity to be developed within Africa. This also applies to talent, where career progression can be limited by the scarcity of senior roles. Gillis highlights the importance of projects inspired by Africa, not just in terms of art and music, but also in how technology is innovatively used. The ultimate goal is to achieve a state where African games are not just made in Africa but also owned by Africans, generating annuity income and creating a sustainable flywheel for further development. Despite the challenges, Gillis is optimistic about South Africa's potential for game development, citing the joy of empowering people to tell their own stories and the importance of building careers in the industry. He believes that games can provide a means for people to find their voices, especially in the context of colonialism, and that the diversity and inclusion inherent in African perspectives can unlock new creativity and results. Practically, South Africa benefits from being an English-speaking country in the same timezone as Europe, with a strong work ethic, which has contributed to the success of its work-for-hire studios. Gillis concludes that the African continent undoubtedly represents a significant opportunity for the games industry, with the question now being how to unlock this potential. With the maturing of the industry and the establishment of new organizations, the future looks promising, especially considering the vast opportunities that have yet to be realized in gaming compared to other creative industries.