PT Videogames Brasileiros - A história da fama, dos delírios e dos memes da indústria nacional

[Celestial Peace]

Vou cantar a bola antes que alguém fale, mas eu reparei alguns traços de esquizofrenia no Onofre.

Mas, será que chega a tanto? Pra mim, ele é só um narcisista.

 

[AfroMegan]

Mas, será que chega a tanto? Pra mim, ele é só um narcisista.

É bem possível, eu não saberia dizer qual transtorno mental ele tem, exatamente. Por traços de esquizofrenia, eu quis dizer o delírio de grandeza e o fato de ele não completar os raciocínios das frases, saltando de um assunto pra outro. Se você prestar atenção em qualquer vídeo de rant esquizofrênico, muitos deles botam coisas extraordinárias no meio da situação sem esclarecer sobre o que aquilo tem a ver com o assunto.

 

[Sparky Lurker]

Dark Crown : Darkest Dungeon de tabuleiro:

O meu hot take aqui é que o sucesso de Darkest Dungeon foi completamente acidental, nas DLCs do primeiro jogo o povo já tava reclamando que o balanceamento estava ficando ruim, qualquer apimentada/variação na fórmula é cagada na certa.

 

[Sparky Lurker]

Foi confirmado que um dos lançamentos do Zeebo 2.0 vai ser o Damned 2:

O primeiro jogo é um dos poucos casos de um jogo Brasileiro ter sido lançado cedo no mercado, 2 anos antes de Dead by Daylight, infelizmente o gênero de "Terror Assimétrico" é bem injusto, no final ganhou quem tinha o orçamento maior e conseguiu botar crossover com o Michael Myers no primeiro ano de jogo.
Damned 1 também não eram tão polido assim então foi facilmente sapateado pela concorrência que veio logo depois, estão aí tendo uma nova chance, mas agora duvido que mude muita coisa.

 

[Sparky Lurker]

Primeiros 20 minutos de Enigma do Medo:

Continua sem data de lançamento.

-Jogo já está com 2 anos de atraso.
-Site da Dumativa fora do ar desde final do ano passado.
-Demo da BGS ficou disponível pros apoiadores final de Dezembro, e só ocorreu por causa que choraram no Discord.
-Última menção do jogo nas mídias sociais foi 5 de Fevereiro.
-Dumativa não aparece na lista de empresas presentes na Gamescom Latam que ocorre final deste mês.
Estúdio nadando em dinheiro e o fa de e-celeb chupando o dedo.

 

[Celestial Peace]

Jogo já está com 2 anos de atraso.
-Site da Dumativa fora do ar desde final do ano passado.
-Demo da BGS ficou disponível pros apoiadores final de Dezembro, e só ocorreu por causa que choraram no Discord.
-Última menção do jogo nas mídias sociais foi 5 de Fevereiro.
-Dumativa não aparece na lista de empresas presentes na Gamescom Latam que ocorre final deste mês.
Estúdio nadando em dinheiro e o fa de e-celeb chupando o dedo.

Eu assisti o vídeo e achei o jogo meio merda: Eu não sei o porque da insistência de querer usar sprite em ambientação 3D e do naipe dos personagens e da história ser de algum esboço descartado pra alguma edição da Turma da Mônica Jovem. Sem a contar a dublagem padrão Disney.

Me deu a impressão de que o rítmo do jogo é bastante lento. Lento do tipo que entre você matar um inimigo e o próximo não acontece porra nenhuma enquanto o jogador fica uma cota correndo atrás de itens.

E essa porra de violão tocando de fundo num jogo que é supostamente de terror?

Gostei da parte em que toca um alarme que acaba atraindo inimigo pro jogador. Nem parece que pegaram isso do Left 4 Dead.

Mudando de assunto, Onofre continua metendo o louco:

 

[Sparky Lurker]

Eu assisti o vídeo e achei o jogo meio merda: Eu não sei o porque da insistência de querer usar sprite em ambientação 3D e do naipe dos personagens e da história ser de algum esboço descartado pra alguma edição da Turma da Mônica Jovem. Sem a contar a dublagem padrão Disney.

Me deu a impressão de que o rítmo do jogo é bastante lento. Lento do tipo que entre você matar um inimigo e o próximo não acontece porra nenhuma enquanto o jogador fica uma cota correndo atrás de itens.

E essa porra de violão tocando de fundo num jogo que é supostamente de terror?

Gostei da parte em que toca um alarme que acaba atraindo inimigo pro jogador. Nem parece que pegaram isso do Left 4 Dead.

Rant:
Enigma do Medo é um jogo que quando anunciou lá em 2020 fiz pouco caso, joguinho de e-celeb basicão se lançar vai ser que nem 99 vidas e geral esquece.
Mas a cada ano que passa é um bagulho que me deixa mais dodói da cabeça, chega a ser o ápice da incompetência nacional a entregar um projeto superfaturado.

Enigma do Medo um jogo de terror indie isométrico com "pixelart" anunciado em Dezembro de 2020 para lançamento em Junho de 2022, o que lançou desde então?
Signalis em Outubro de 2022:

Crow Country em Maio de 2024:

Conscript em Julho de 2024:

Holstin, demo em Fevereiro de 2023, 8 meses antes da primeiro demo de Enigma do Medo:

Ser ultrapassado pela indústria multimilionária é uma coisa, agora até no meio Indie, PQP.

Direção de arte de Enigma do Medo é algo ridículo, o "pixelart" no cenário 3D parece até um Paper Mario que deu errado, Signalis, Conscript e Holstin apresentam alternativas bem melhores do que o jogo poderia ter sido, até Crow Country com seu gráficos a la FFVII tem uma direção de arte mais consistente que Enigma do Medo.
Pior, até o próprio meio indie Brasileiro consegue apresentar uma direção de arte melhor que Enigma do Medo.

Obviamente Haunted House naõ teve divulgação da mídia porque não tem e-celeb para puxar saco.

A temática tem crise de identidade, Resident Evil e Silent Hill, Enigma do Medo não é, jogos de terror tem que ter ambientações onde se põe tudo a perder, e nesse quesito Enigma do Medo é puro café com leite com seus personagens "tokens" (Samuel é negro, Agatha é trans, o cachorrinho não vao matar e por aí vai)
Então Enigma do Medo é um "Resident Evil Kids"? A primeira coisa que vem na cabeça com esse termo é Luigi's Mansion com os fantasmas com personalidade fazendo caretas em uma paródia de Ghostbusters, até Haunted House que já postei aqui consegue passar esse tipo de temática.
Mas obviamente Cellbit quer contar uma história séria, então "Resident Evil Kids" Enigma do Medo não é.
Então é aqueles jogos estilo RPGMaker abstratos de terror?
Para tu ver, até jogo estilo RPGMaker de terror evoluiu no nível de tosquice e Enigma do Medo parou no tempo.

Não é sério o suficiente para ficar com os grandões, não é abstrato o suficiente para ficar com os RPGMaker-likes e não é cômico suficiente para se vender como uma paródia do gênero.
Aquele negócio, Ordem Paranormal fez sucesso na pandemia, Cellbit quis esticar a expectativa da vida da IP e agora não sabe prosseguir com a mesma.

Então temos aí, um projeto superfaturado, propagado por celebridade, ultrapassado no meio indie por causa do longo período de desenvolvimento, direção de arte inconsistente até nos padrões nacionais e temática com crise de identidade.
O ápice de um projeto made in Bananil.

 

[Celestial Peace]

Não é sério o suficiente para ficar com os grandões, não é abstrato o suficiente para ficar com os RPGMaker-likes e não é cômico suficiente para se vender como uma paródia do gênero.

Se liga no Cellbit tentando justificar a demora do lançamento:

Eu não acompanho Cellbit pra dizer se é normal dele se enrolar todo pra formar uma frase completa, mas, dá pra ver que o cara ta in shokk kkkkkk

Só tem dois caminhos que o Enigma do Medo pode seguir:

1. O jogo continua perambulando no umbral do desenvolvimento igual 171 e, eventualmente, ou os fãs debiloides começam a questionar o Cellbit sobre o andamento do jogo ou alguém faz um exposed da empresa por trás do projeto e, consequentemente, a batata queima no colo do Cellbit pois, pelo pouco que eu sei, a empresa com certeza vai tirar o dela da reta ou sumir.

2. Cellbit e Dumativa param de tentar forçar uma vibe de terror séria e transformam o jogo numa espécie de jogo teenager pique seriado da Disney o que pode agradar a fanbase.

O ápice de um projeto made in Bananil.

Macaquileiro é demasiado pacóvio para ter a plena capacidade de aprender com os próprios erros e observar e aprender com quem sabe fazer e entregar resultados.

Eu tô cantando essa bola já faz uma cota: Tem esquema de lavagem de dinheiro nessas porra de jogo bosta captando dinheiro de edital e sendo lançando às pressas. É o caso do Engima do Medo? Não sei. Mas, não ficaria surpreso se fosse o caso.

Bostileiro só é bom empreendedor se tratando de boteco, igreja evangélica, farmácia e ótica. Pra fazer um jogo que presta tem que ter habilidades que não são valorizadas aqui.

 

[Razz]

Produtores brasileiros.

https://store.steampowered.com/app/732510/Rise_of_the_Foederati/

https://www.youtube.com/watch?v=vGdxGoj01o0

 

[AfroMegan]

Produtores brasileiros.

https://store.steampowered.com/app/732510/Rise_of_the_Foederati/

https://www.youtube.com/watch?v=vGdxGoj01o0

Vai shillar seu jogo em outro lugar.

 

[Razz]

Vai shillar seu jogo em outro lugar.

Desculpe, não sabia que não podia postar videogames brasileiros num tópico de videogames brasileiros.

 

[Retarded of the Month]

Desculpe, não sabia que não podia postar videogames brasileiros num tópico de videogames brasileiros.

Please, consider the following:

https://gamejolt.com/

 

[Sparky Lurker]

É hora de fazer o bingo card com remaster de Incidente em Varginha, Capoeira Legends 2 e preços incondizentes com a realidade nível PS3 2006:

 

[Celestial Peace]

É hora de fazer o bingo card com remaster de Incidente em Varginha, Capoeira Legends 2 e preços incondizentes com a realidade nível PS3 2006:

Recebo a notícia com as mesmas gargalhadas de um pobre fudido sem um cruzeiro no bolso que assistiu a matéria na íntegra sobre o Plano Collor.

a cara de pau de mostrarem um" Zeebo 2.0"

@Sparky Lurker, tu és o profeta maldito!

Será que a TecToy viu a quantidade de jogo merda sendo feito por indie brasileiro e resolveu tentar entrar de novo na indústria dos consoles?

Corporativismo tupiniquim como sempre tomando ótimas decisões.

 

[Sparky Lurker]

Começa com 7 minutos de punhetação da história da Tectoy, 2 modelos de portátil (Ayn Loki Zero e Ayn Loki Max) com Windows 11, mostraram mouse, teclado e um controle de Xbox xingling, CEO da Tectoy larga a empresa na mão do Pedro Caxa e muitos jovens dinâmicos, anunciaram um curso de games e um time de e-sports, 12 jogos no showcase:
-Atomic Picnic
-Mullet Madjack
-MARS 2120
-Deathbound
-Mark of the Deep
-Zet Zillions
-Gaucho and the Grasslands
-Adore
-Wolfstride
-Bem Feito
Publicado pela Tectoy:
-Damned 2
-Master Lemon the Quest for Iceland (único que não postei aqui ainda, jogo de puzzle pixel art de aprender línguas em homenagem ao falecido amigo do dev)
E para encerrar com chave de ouro, não anunciaram o preço.

 

[Celestial Peace]

Começa com 7 minutos de punhetação da história da Tectoy, 2 modelos de portátil (Ayn Loki Zero e Ayn Loki Max) com Windows 11, mostraram mouse, teclado e um controle de Xbox xingling, CEO da Tectoy larga a empresa na mão do Pedro Caxa e muitos jovens dinâmicos, anunciaram um curso de games e um time de e-sports, 12 jogos no showcase:
-Atomic Picnic
-Mullet Madjack
-MARS 2120
-Deathbound
-Mark of the Deep
-Zet Zillions
-Gaucho and the Grasslands
-Adore
-Wolfstride
-Bem Feito
Publicado pela Tectoy:
-Damned 2
-Master Lemon the Quest for Iceland (único que não postei aqui ainda, jogo de puzzle pixel art de aprender línguas em homenagem ao falecido amigo do dev)
E para encerrar com chave de ouro, não anunciaram o preço.

Sparkao, no seu ponto de vista, o quanto que esse console vai vender e qual o rumo que a TecToy deveria ter tomado?

 

[Sparky Lurker]

Sparkao, no seu ponto de vista, o quanto que esse console vai vender e qual o rumo que a TecToy deveria ter tomado?

Dependendo do preço, o console pode se tornar uma alternativa viável ao Steam Deck, principalmente que muitos normies ainda vão preferir mexer em uma interface da qual entendem, mas ainda acho que tem muitos fatores que podem mudar completamente o destino do console, a empresa que criou os portáteis já descartou.

O rumo que a TecToy devia ter tomado era ter virado uma publisher de jogos Brasileiros séria nos anos 2000, assim como a 1C Company foi para os Russos, talvez hoje teríamos devs experientes e algum jogo de destaque como King's Bounty e Space Rangers 2 e não uma década inteira desperdiçada.

 

[Sparky Lurker]

Changer Seven:
Hack n' slash sentai que acontece nas ruas de Sunny Point:

Saborus:
Jogo stealth de galinha no abatedouro:

 

[Sparky Lurker]

Nested Lands:
Do mesmo criador de Spirit of the Island, jogo de sobrevivência medieval:

Já teve boa recepção:

Wedgetail:
Flight Simulator de e-sports do cabelo colorido:

Horla:
Jogo de terror puzzle:

Delic:
Resident Evil 4 Piauí:

Heart Dungeon:
Roguelike com mais estilo que substância:

Turi-Kaapora:
Hack n' slash de índio #372 Caipora:

A Flux Games, do incrível Walking Dead: Destinies, anunciou que virou publisher de games com o nome "Short n Sweet":

Estou incrédulo que até 2020 tínhamos nenhuma publisher de games no Brasil, desde a pandemia já surgiram 8.

 

[Sparky Lurker]

Documento para Inglês ler:

The Golden Opportunity: How Brazil Can Leapfrog into a Global Leader in Video Games

https://www.brazilgames.org/uploads/5/6/8/0/56805537/abragames_nordicity_-_the_golden_opportunity_whitepaper__revised_.pdf

15 páginas de abobrinhas falando de números de empresas gigantes no exterior e dando exemplos de como o dinheiro público em outros países financiaram jogos como Angry Birds, Dead by Daylight e Life is Strange.

As pérolas começam na página 17:

3. An Orientation for Brazil
3.1 The Situation in Brazil
Brazil has the largest game industry in Latin America, both in terms of development capacity and player spending. What sets Brazil apart is its massive local market, considered to be the 5th largest in the world in terms of online population, with an estimated 103 million players. 27 More generally, the Brazilian video game market is the 10th largest in the world. The Brazilian ecosystem interacts through global value chains and includes major studios, small and medium developers, selfemployed developers, external development studios, specialized service providers, support companies (publishers and distributors), educational institutions, investors, and business and professional associations. Although the Brazilian video game ecosystem is large and structured, there are still challenges, like funding and interinstitutional coordination, that need attention in order to fully take advantage of the industry’s momentum.
The video game market in Brazil has seen a tenfold increase in the number of game development companies over the last decade. According to the AbraGames' 2023 report on the Brazilian gaming industry, there are an estimated 1,042 video game developers in the country, the majority SMEs, mostly concentrated in the Southeast region, with 57% of the developers based there, particularly in São Paulo and Rio de Janeiro. The industry employed about 13,225 people in 2023, with outsourcing being the predominant work regime for developers. Moreover, Brazilian video game companies generated an estimated revenue of USD 251.6 million in 2022. Entertainment games are the main source of revenue (86%), although studios generate revenue from multiple types of games, such as educational games and advergames.28

Começou bem, reconhecendo que parte da indústria trabalha exclusivamente com jogos advergames e edutainment, porém podia reconhecer também que a maior fatia do bolo vai para jogo de celular que é abandonado depois de um ano, mas não se pode todas né?

The United States and Latin America continue to be the primary markets for Brazilian companies selling abroad. Some of the biggest players in the Brazilian video game market are Wildlife, one of the 10 largest mobile gaming companies in the world, with over 800 employees and offices in Brazil, the US, and Argentina, and Aquiris, which was bought by the American giant Epic Games. Other large studios focused on outsourcing and co-development include Kokku, PUGA, and Diorama. Outstandingly, the vast majority of Brazilian studios (92%) developed their own IP, with 64% of developers exclusively using their own IP.

Os grandes exemplos:
-O maior estúdio de games do Brasil é um estúdio de games mobile que lucra com excesso de propaganda e microtransações abusivas.
-Titio Sweeney comprando estúdio para usar como buxa para por coisas Brasileiras no Fortnite.
-3 empresas de outsource, uma delas nem existe mais (PUGA se mergeu com a Room 8 em Fevereiro).
-Fala de IPs mas não cita nenhuma.

Brazilian studios focused on external development are meeting international demands with quality. Brazil has been recognized for its artistic, engineering, and co-development capabilities. Moreover, there is a growing development of culture-oriented content, with many developers in more remote regions creating games related to Indigenous mythology, the Amazon jungle, renewing lands, old tribes, old folklore, and more. These developments are often not done with commercial intent or viability, although there are support structures or incubators like GameJam+ which are for profit entities. In that sense, the strategic direction for Brazil’s video games industry can play a key role in the economic integration of these region by nurturing and leveling talent and encouraging innovation and investment across the country.

Parágrafo reconhecendo excesso de jogo de índio.

There are other notable organizations rallying support, such as AbraGames, ApexBrasil, MinC, and BNDES (Business Development Bank of Brazil), with most of the industry coordination happening through AbraGames. However, there is still a lack of governmental organization and stability to sustain this momentum. Additionally, as the number of studios increases and their geographical distribution widens, coordinating joint actions that benefit the majority of industry companies becomes more challenging. There are certain avenues for bolstering the video game industry via public sector initiatives, recreating the success of Brazil’s other Ministry-led arts and culture programs (for example, FNC-funded Ponto de Cultura initiatives, prioritizing country-wide access to media production and cultural creation centers and collaborations).

Tem apoio governamental, mas ainda não é o suficiente.

With over half a million social media influencers (those with more than 10,000 followers on social media), Brazil's influencers wield the most power over people's purchasing decisions. In 2022, nearly half of consumers in Brazil reported choosing a brand or product based on endorsements from online celebrities.30 31 India and China follow closely in this trend, though China's influencer scene has declined since its peak in 2019.
Internet celebrities in Brazil are not only shaping consumer behavior but also driving brands to invest more in influencer marketing. By 2024, Brazil is ranked fifth among the largest countries by number of social network users, a figure that has grown by 23% to over 176 million people between 2019 and 2024. During the same period, spending on influencer advertising in Brazil surged by over 160 percent. With the userbase expected to keep growing, companies and influencers are set to further expand this thriving market in South America.32
As trusted social proof of products and lifestyles, influencers have a tremendous capacity to set trends and enhance market potential. Some of the world’s top Twitch streamers and YouTubers are based in Brazil. Popular online game streamers on Twitch include Gaules, with over 30 million followers and often ranking among the top streamers of various events, loud_coringa, known for streaming Grand Theft Auto, with over 19 million followers, and Minecraft streamer Cellbit, with over 13 million followers. Similarly, streamers like NOBRU on YouTube attract over 120K views for a single esports event in Brazil.33 In this sense, Brazil has significant potential in the media by leveraging the reach and engagement of these content creators.
These influencers are not just confined to Brazilian audiences, they have a broad appeal and collaborate with global brands, enhancing their international presence. While local influencers have hyper-targeted audiences and are often perceived as more authentic, global influencers like Anitta, Whindersson Nunes, Tatá Werneck, and Dani Alves have a vast reach, partnering with popular brands and leveraging trends and quality. Granted, the global influencer marketing market has experienced significant growth, more than tripling since 2019, and by 2024, it is projected to reach a record value of 24 billion U.S. dollars.34 In this sense, the established influencer scene in Brazil could serve as a gateway to promote Brazilian video games not only locally, but globally.
Furthermore, with a diverse and flourishing media and entertainment industry, Brazil could be an ideal fertile ground for video games projects to secure financing. Large media companies can play a strategic role in making sure that Brazilian creative companies remain funded domestically, while expanding their reach beyond linear media (i.e., film and TV).

1 parágrafo citando estúdios Brasileiros, 5 parágrafos chupando celebridade, prioridades em dia.

While Brazil's ecosystem and market have many advantages, there are also limitations in infrastructure, effective use of funding, and managerial and administrative capacity. For instance, almost half of the studios rely on their own company’s and entrepreneurs’ resources (46%), with international publishers' investment representing only 16% and other private investments 10%. Although there are some public and private funding sources available, the lack of funding results in difficulties financing initial projects (mainly for their own IP) in start-up and medium-sized studios, leading the partners of these companies to work part-time in other studios or companies outside the industry. The lack of funding also means that for many emerging studios, the creation of new products depends on the revenue from previous games, and that a significant portion of companies rely mostly on personal investments.

Dá até para concordar que é dificil se sustentar no meio de games sem um plano B, o problema é que não detalha a forma como o Brasileirinho médio opera e a falta de planejamento em geral.

Previously, the biggest legal support had come from the Paulo Gustavo Law (LPG), Complementary Law 195/22, which allowed for more funding for audiovisual productions. Moreover, in terms of education of developers, there is a wide offer, with 4,000+ undergraduate courses registered with the Brazilian Ministry of Education. However, it is concentrated in private higher education institutions (99.73%) or in readily available online courses, with over 40% of these institutions located in the Southeast.35

Reconhece que a Lei Paulo Gustavo abriu as torneiras de modo demasiado, a mídia irá jogar holofotes em Entre as Estrelas e Mark of the Deep, mas jogará para debaixo do tapete merdas como Glitchers e Biscats.
Falando em Glitchers, o jogo foi lançado meses antes de captarem 1 milhão no edital (https://store.steampowered.com/app/2557460/Glitchers_Hack_em_Up/), ninguém que organizou essa merda verificou o estado dos jogos.

Evidently, the industry ecosystem in Brazil is robust and driven by passionate individuals, but it requires additional support, particularly in funding and government agency coordination. Compared to other countries, Brazil boasts a massive local market and a strong influencer base, as well as an organizing ecosystem that can be leveraged. The main challenge then lies in organizing the various public and private players to capitalize on the industry's momentum and to fill existing gaps in the ecosystem, such as the need for more accelerators and funding for early-stage projects.

Esses indivíduos irão ser jogados de lado em favor de jogo de favela, índio e e-celeb.

3.2 Drawing Lessons and Setting Objectives
The jurisdictional analysis of support programs around the world provided valuable insights that can inform a strategic direction of Brazil's video games industry. By examining successful initiatives and policies from various countries, Brazil can adopt best practices that have been tested and proven effective. This approach not only helps in leveraging strategies that have yielded positive results but also in avoiding the pitfalls and mistakes encountered by other jurisdictions. Considering the recently adopted policy framework, one can identify the most relevant and impactful ideas that align with Brazil's unique cultural, economic, and technological landscape, ultimately drawing an outline of what could be a path towards fostering a thriving video games industry.

Temos que analisar a mamata de outros países para aplicar de forma eficiente no Brasil.

The overall strategy of any plan supporting the development of the video games industry should be to create a sustainable and competitive industry. In this context, sustainability means:
 Economic viability: creating an ecosystem where Brazilian developers, publishers, and other stakeholders are given the opportunity to achieve long-term profitability without relying solely on external funding or temporary market trends, and where these profits are captured and reinvested by Brazilian companies.
 Local talent development and upskilling: through education and training programs, as well as partnerships with academic institutions, developing a skilled workforce capable of producing and promoting high-quality content, employed and retained by Brazilian companies.
 Cultural influence: producing culturally relevant content that resonates with both local and global audiences, incorporating unique Brazilian cultural elements, which would help to distinguish Brazil's offerings in the competitive global market.

Cursinho de games para inflar os números e muito circlejerk cultural.

A robust strategy for the Brazilian video games industry must be intricately tailored to both the structural and specific needs of the sector. This approach involves understanding the value chain, current trends, and market dynamics that drive the global video games industry while also considering the unique attributes of Brazil's market and industry. It is crucial that a strategy aligns with and draws from the specificities of Brazil discussed in Section 3.1. Consequently, the strategic direction for Brazil should harmonize and integrate the two frameworks introduced in this report: the developer's journey and the threefold policy framework.

"Tem que ver as tendências do mercado." Fala isso pro povo fazendo jogo de Souls-like e Crafting/Survival em pleno 2024.

By embracing the developer's journey, which highlights the stages of development from conception to market, and incorporating the threefold policy framework that addresses video games as cultural, commercial, and innovation products, Brazil could create a holistic and supportive ecosystem and unlock the significant potential of its video games industry.

Temos que abraçar a jornada do desenvolvedor.

Step One: The Journey Begins
The strategic direction for Brazil's video games industry starts with solidifying entrepreneurship skills. Entrepreneurship in the video games industry is distinct, requiring a blend of diverse skills that encompass creative, technical, and business aspects. While many aspiring developers possess strong creative and technical abilities, there is often a significant gap in business acumen.
This necessary and valuable training could be delivered by an existing or new organization dedicated to teaching entrepreneurship to communities across the vast country. This organization will serve as the foundational support for the initial phase of the developer's journey, providing crucial resources and education to emerging developers.
To address this gap, the organization's training programs should focus intensively on business skills specific to the games industry, including project management, marketing, finance, intellectual property management, competitive analysis, community development, and strategic planning. These programs should be designed to be accessible and relevant to diverse communities, ensuring that aspiring entrepreneurs from various backgrounds can participate and benefit.
Besides the crucial entrepreneurial skills, there are opportunities for concerted effort to build transferrable knowledge in more technical skills through state-of-the-art game design courses. In fact, Articles 15 and 16 of the Legal Framework indicates that the training of video games human resources should be done through various educational avenues, including professional and technological education courses, higher education courses, professional workshops, and technical training courses. The framework also emphasizes encouraging research and development and creating educational games platforms.
One significant challenge for game education in Brazil is the shortage of senior game professionals returning as instructors. Currently, many professors come from other fields, such as generic tech programming or art, or have outdated knowledge. Incentives for experienced industry professionals to teach and develop curricula that reflect current industry standards and innovations would help address this issue.
Additionally, the organization should offer mentorship opportunities, connecting budding entrepreneurs with experienced industry professionals who can provide guidance and support. Workshops and seminars could be part of the curriculum, enabling widespread reach and flexibility for participants. Fostering a strong foundation in entrepreneurship (with a focus on business skills, viable IP and audience analysis) will empower individuals across Brazil to navigate the initial stages of game development, from concept to early-stage business planning, setting the stage for a robust and sustainable video games industry.

Primeiro passo, cursinho de games :
Feito por quem, não se sabe, baseado em que, também não se sabe, o que importa é inflar os números.

Step Two: To the Vertical Slice
Once aspiring game developers have received foundational entrepreneurship training, the next step in the strategic direction is securing prototyping funding to advance their projects to a "vertical slice". A vertical slice is a critical juncture in the development process that allows companies to create a polished segment of their game that demonstrates key features and potential, serving as a proof of concept.
This funding phase should cater to both cultural projects and commercially viable audiovisual products (as defined by the policy framework). More specifically, artistically oriented projects with limited commercial viability would receive funding to complete the production of a fully-fledged game. On the other hand, projects with a commercial ambition would receive funding to develop a vertical slice, a prototype to validate the viability of the game and capabilities of the team.
This type of funding, as illustrated by the examination of programs around the world, should be available through grants. This funding will enable developers to conduct essential market analysis and cover initial development costs. In states with established cultural funding agencies at the state or municipal levels, the grant money can be allocated through these existing structures, leveraging local expertise. In regions lacking such agencies, developers could apply directly at the federal level through an organization familiar with the creative industries to ensure equitable access to funding across the country.
By supporting a diverse range of projects, the initiative can foster a vibrant video games industry and support the emergence of unique production reflecting the Brazilian and regional perspectives.
Additionally, this stage should include targeted incubation and mentorship opportunities. Teams would benefit from access to experienced mentors who can provide guidance on both technical and business aspects, helping them refine their projects and prepare the most promising projects for the next stages of development.
This second phase would be the point where funding for projects with limited commercial viability (i.e., cultural productions) concludes, focusing resources on ventures with clear commercial potential. By supporting entrepreneurs-developers through this second phase, Brazil could cultivate a robust pipeline of innovative and high-quality video game projects, laying the groundwork for a competitive and sustainable industry.

Segundo passo, abrir a torneira:
Agora que todo mundo saiu com o seu diploma de shovelware, dá para justificar o fluxo do dinheiro público em investimento desse grande mercado, ainda terão direito a auxílios de mentores experientes no ramo, que mentores são esses também não se sabe, devem ser o Pedro Caxa e o veterano da Southlogic que trabalhou em Moira.

Step Three: Acceleration
With a validated vertical slice in hand, the next step would be to enter the acceleration phase. During this phase, developers can apply for a larger pool of funds, administered by a governmental (or publicly funded) organization with advanced knowledge of the video games industry and scaling companies. This organization must have the expertise to make informed commercial bets, ensuring that the funding supports high-potential projects. Over time, as the program demonstrates success, the industry will attract private capital. As private capital flows into the industry, it is important that a significant share of, if not all, investments originate from Brazil, thereby ensuring that profits remain within the country. Promising video games ventures should be accompanied through a more intense and specialized acceleration program, potentially run by knowledgeable industry associations. This program would provide comprehensive support, including advanced training, mentorship, and resources to refine and complete the game. Additionally, collaboration with federal and state organizations with dedicated export programs would facilitate participation in international missions to prominent industry events such as GDC (Game Developers Conference) and Gamescom. These missions are crucial for developing international market opportunities and establishing Brazil's presence in the global video games industry.

Terceiro passo, agir que nem um mendingo:
Faça que nem os criadores de Tower of Samsara e Tiny Little Bastards, participe de inúmeros eventos de games ao longo dos anos para achar uma publisher que dê umas migalhas pro seu jogo defasado.

The primary goal of this phase is to secure sufficient production funding to develop and publish a fully-fledged game. Emphasis should be placed on partnering with national publishers or experimenting with self-publishing, ensuring that all intellectual property (IP) and value remain within Brazil. By avoiding dependency on international publishers, the Brazilian video games industry will be able to retain greater control over its creative output, financial returns, and audiences. This Brazil-centric approach helps curb a certain economic neo-colonialism where publishers from the global North would benefit from Brazilian labour and brains.

O parágrafo mais esquizo desse documento:
-No começo exaltou a compra da Aquiris e 3 estúdios de outsource, agora fala que estamos sendo explorados pelas publishers do exterior.
-A primeira publisher de games no Brasil só surgiu em 2020, que é a Qubyte. A mesma fica abraçando a primeira merda que vê pela frente para publicar/fazer port (Port de Punhos de Repúdio, Willy Wonderland, Port de 171, Sonho Trapstar, etc.). Não é a toa que o Feperd fechou contrato com um estúdio Britânico para fazer port do Spark 3 pro Switch, nenhum desenvolvedor que quer ser levado a sério que ver seu jogo ao lado de merdas como Punhos de Repúdio e Sonho Trapstar.

At this stage, video games companies should be encouraged to leverage Brazil's robust media and influencer community, which can play a pivotal role in promoting and marketing games domestically and internationally. Efforts would likely be best spent on creating these valuable connections with Brazilian influencers rather than spending time and resources on securing potential support from an international publisher.
By fostering strong domestic partnerships and utilizing local resources, the acceleration phase aims to build a self-sustaining and globally competitive video games industry in Brazil. The idea output of this acceleration phase would be a portfolio of self-published games finding their domestic (and international) audience through a network of influencers. As noted in Section 1, this type of audience building is increasingly required by potential funders (e.g., project financiers, games platforms) to secure resources.

Caso tudo falhe, chupe o saco das celebridades, mais de 20 anos e ainda não saímos da fase "Metal Gear do Sandy e Junior".

Step Four: Unlocking Brazil’s Potential
The next step would be to further support Brazilian high-potential ventures with scaling up. Establishing an equity investment fund dedicated to financing Brazilian-made games would further catalyze the growth of the Brazilian video games industry.
Similar to what has been observed in other jurisdictions (e.g., Canada), this “Brazil-first” fund would provide critical financial support to projects that have demonstrated a strong business case, either through previous steps or by with proven market potential.
In fact, investors in the video game industry are seeking concrete metrics to place evidence-based bets on specific projects. Increasingly, developers must think about making and marketing the game at the same time. As such, they can show that their game has traction and a growing community that can generate buzz and potential sales before private partners decide to come on board (e.g., publisher, VCs, distribution deals, etc.).
Initially, the fund would be primarily fueled by public money, recognizing that private investors might be hesitant to engage due to the perceived risks of investing in games and to their desire to assess the potential of a game on concrete data and success metrics. As a first step, the support of public bodies can send a strong signal to private investors and help derisk, to some extent, the participation of private capital. However, the fund would remain open to any Brazilian investor, creating an inclusive investment opportunity. As the industry matures and successful projects emerge, akin to successful titles like Dead by Daylight in Canada, the attractiveness of the fund would increase, gradually drawing more private investment.
Over time, the balance of investment is expected to shift from predominantly public funds to a mix with a growing proportion of private money. Crucially, all investments would originate from within Brazil, ensuring once again that economic benefits stay within the country. This model not only sustains the industry's growth but also reinforces Brazil's economic sovereignty and cultural heritage, positioning the nation to seize this golden opportunity. In fact, the end goal of the strategic direction is to unlock Brazil's potential as a powerhouse in the global video games industry. Brazil possesses several unique strengths that can propel its emergence as a key player in the sector. Firstly, the country boasts a large and youthful population, providing a significant talent pool and consumer base for video games. Moreover, Brazil has a rich history of creativity and innovation, with a burgeoning community of game developers who have demonstrated their ability to produce compelling content.
One of Brazil's greatest assets lies in its cultural and creative prowess. The ability to create and cultivate audiences for cultural products is pivotal. By leveraging its diverse cultural heritage and vibrant creative industries, Brazil can position itself as a hub for innovative and culturally resonant video games. This strategic approach not only enhances Brazil's global competitiveness but also strengthens its cultural identity and innovation ecosystem
To achieve this, continued support is essential. Investment in infrastructure, education, and industryspecific policies must be sustained to nurture local talent, facilitate market access, and promote the export of Brazilian-made games. Collaborations between government agencies, industry associations, and educational institutions will be crucial in fostering a supportive ecosystem that fosters creativity, entrepreneurship, and technological advancement. Furthermore, initiatives should focus on building international partnerships, promoting Brazilian games at major global events, and fostering a favorable regulatory environment that encourages innovation and investment. By capitalizing on its strengths and addressing challenges through strategic initiatives, Brazil could indeed realize its potential as a powerhouse in the global video games market, driving economic growth and cultural influence on a global scale.

Quarto passo, estoure o saco de bosta:
Graças a tudo isso o Brasil, assim como o Canadá, ainda terá seu Dead by Daylight, ignore o fato do mesmo ainda ser relevante pelo o lincenciamento de IPs internacionais, aposte em jogos de favela, índio, celebridades e na vasta cultura nacional que assim a indústria nacional um dia brilhará .