The promise is seductive: Web3 gaming, a digital frontier where African artists and gamers are not just consumers, but owners. Dawn of Fearless with its USD 700K funding shot and promises of decentralized liberation looks like a Movie Trailers Special Effects $$$$$ boom. Let's push back on this hype train. We've seen this movie before.
Ownership: Real or Just a Buzzword?
Are we truly handing the keys to the kingdom over to African creators? Or are we simply recreating those same power dynamics with more sizzle on the blockchain? The potential for players to own their in-game assets is incredibly exciting. Imagine a young artist in Lagos creating a unique skin for a character, and then directly profiting from its sale on a global marketplace, bypassing traditional gatekeepers. Awe/Wonder! What about the underlying infrastructure? Who controls the marketplace? Who sets the rules? Are these artists equipped with the technical know-how to manage crypto wallets, gas fees and smart contracts? Are they actually resourced to deal with these intricacies?
Consider this: the vibrant textile industry in many African countries has, for decades, been undermined by cheaper, mass-produced imports. In doing so, are we designing from the digital divide a competitive environment for African artists to compete against the world’s best talent? They usually have to do that with far less resources and support. Anxiety/Fear!
We need to ask uncomfortable questions. Is the “ownership” being provided real, or just a thin layer of decentralization slapping onto a centralized operation?
Heritage: Celebration or Appropriation?
Inspired by Africa’s deep legacy of empowerment, Rise of Fearless takes particular influence from Ethiopia’s victory at the Battle of Adwa. This is powerful. It’s an opportunity to present authentic African stories to the world. Cultural appropriation aside, this is a very real risk. Who gets to tell these stories? Are African artists and historians leading the creative process? Or, rather, are we seeing this again—another example of Western developers plundering African culture for profit, with little understanding or respect in return. Anger/Outrage!
Think of the fashion industry. We’ve watched Western designers be inspired by African prints and patterns, 10 billion times. They seldom recognize the cultural relevance or pay the communities responsible for these colorful patterns. Web3 gaming, if we’re not intentional about it, would be a very easy one to see do that.
Let’s not forget that there are 80 million unbanked adults in sub-Saharan Africa. Providers of this good often receive direct cash payments for the agricultural products they grow. The allure of Web3 sidestepping the banking system is seductive as long as it’s genuinely inclusive and safe. Are we building an environment that enables these people, or one that takes advantage of their precariousness?
Opportunity: For Whom Exactly?
The African gaming market is growing rapidly with projections of reaching USD 3.72 billion by 2029. That's a lot of money. The big question of course is, who’s going to reap the rewards of this growth? Who do you think is going to win, the large companies, or the gamers and artists in the trenches?
The influx of funding, such as the USD 700K Rise of Fearless is currently raising, is indeed a positive sign. Funding alone is not enough. We cannot take for granted that this investment will be enough to attract, retain, and create real opportunities for African talent. This starts with ensuring equitable access to education, trades training, and mentorship programs. It starts with creating the kind of collaborative ecosystem that makes it possible for artists to flourish.
Remember the early days of the internet? The promise of a democratized information landscape? Well, that didn’t really work out, did it? A few tech behemoths largely hold the keys to that information, shutting out the smaller players. We must learn from these past mistakes.
It’s time for us to stop merely creating platforms and instead build bridges. Introduce local African artists to international ones. Empower them with the skills they require to thrive and advocate for their interests on the global stage.
If done in an inclusive manner, web3 gaming can be a great democratizing force on the continent. It can strengthen artistic autonomy, open up new modes of economic development, and honor and promote African culture. It also comes with the risk of exploitation, appropriation and even further marginalization. The path we choose will determine whether this revolution truly benefits the artists and gamers of Africa, or simply enriches those who control the code. The responsibility is ours.
