This is an exciting topic, thanks for sharing so much about the Polish scene!
Like you, I haven’t lived in Brazil, my home country, for a bit, but I’m still in touch with the TTRPG scene there since I used to work with publishers and have a lot of friends and contacts.
Brazil has an interesting “origin story” for TTRPGs. In the 80s, people started bringing books from abroad, but they were really hard to get by or import. People started photocopying and distributing pirated copies to their friends and acquaintances, and people who started playing at that time are know as the “Xerox Generation”. In the 90s we finally started getting some stuff published in Portuguese: a boardgame company translated the D&D “Black Box” (the red box for international markets), and we got translations of Shadowrun, Cyberpunk 2020, WoD, GURPS, and even Castle Falkenstein!
However, we actually had a national game published before any translations! In 1991 we got Tagmar, a fantasy roleplaying game. I played it once or twice and remember the system being very complicated (you had to look on tables for pretty much everything). A year later, we got another game, O Desafio dos Bandeirantes (“The Bandeirantes’ Challenge”, bandeirante being a Portuguese settler or fortune hunter). It was based on a mythic version of early colonial Brazil. History teachers used the system in the classroom, which was a nice thing. Unfortunately, the publisher of Tagmar and O Desafio dos Bandeirantes unfortunately didn’t last long, and they went bankrupt in 1996. Tagmar was later resurrected by fans and a new edition is currently available online for free (if anything, check the website to see the game logo, which uses an axe as the letter T!).
In the 2000s, there were a bunch of systems published, but nothing really worth of note. By the time we had a lot of translated games. Maybe worth noting is Old Dragon, a Brazilian OSR game published under the OGL (we had D&D 4th edition but everyone knows it sucked ).
The 2010’s were way more interesting, as crowdsourcing made it possible for publishers to fund translations of less-known games. However, this also allowed small publishers to publish games by Brazilian authors, and that’s the more exciting part of this post
In 2011 Violentina was published (disclaimer: I was one of the editors). This was a really cool GM-less (or GM-full, your pick) story game by Eduardo Caetano which aimed at reproducing the kind of drama you see in movies by Quentin Tarantino and Guy Richie. It requires no prep and is based on scene framing, and has a lot of cool mechanics. Unfortunately it was never properly translated to English, but is being published this year in Italy (and maybe Spain, I’m not sure). The same publisher also published a translation of Dungeon World (again, I was one of the editors) and Busca Final (“The Final Quest”), an epic narrative game about people trying to bring magic back to the world, after it vanished and no one knows why.
Some other story games published not too long ago are Terra Devastada (“Wasted Land”, a game about survival in a zombie apocalypse) and A Fita (“The Tape”, a shared narrative game for creating “found footage” style stories).
Although O Desafio dos Bandeirantes had a sad ending, another game that explores early colonial Brazil as a setting was recently published, A Bandeira do Elefante e da Arara. I don’t know a lot about it, but I know you all are gonna be able to read it soon because it is being translated by @Coalhada! You can get the player’s guide here. Porcupine Games has also translated some Brazilian materials for Dungeon World as well as UED: You Are the Resistance, a post-apocalyptic scifi game.
(@Coalhada has also written Malandros, which is not a Brazilian game but is about swindlers and street fighters in the last days of Imperial Brazil.)