Rafael Ottati, Mario Marcio Felix Freitas Filho

SOMOS BÁRBAROS, GUERREIROS, MAGOS E FEITICEIROS: A IDADE MÉDIA REVISITADA NOS GAMES

Introduction

Somos bÁrbaros, guerreiros, magos e feiticeiros: a idade mÉdia revisitada nos games. Descubra como jogos contemporâneos revisitam a Idade Média, inspirados por Tolkien. Bárbaros, magos e guerreiros mantêm viva a cultura medieval em games.

Abstract

O presente ensaio pretende, sucintamente, apontar alguns aspectos dos jogos contemporâneos, em diferentes mídias, que resgatam ou se inspiram em elementos da Idade Média. A partir da criação literária de J. R. R. Tolkien, que mesclou habilmente questões medievais (como, por exemplo, a tecnológica, com o maravilhoso da mesma época), a produção de jogos trilhou tal percurso, desenvolvendo, com isso, um quinhão de produtos interativos que mantêm parcialmente viva a cultura da Idade Média.

Review

The essay "SOMOS BÁRBAROS, GUERREIROS, MAGOS E FEITICEIROS: A IDADE MÉDIA REVISITADA NOS GAMES" tackles a highly relevant and engaging topic at the intersection of game studies and medievalism. The abstract clearly outlines its intention to explore how contemporary games, across various media, draw inspiration from or actively reintroduce elements of the Middle Ages. The proposition that J.R.R. Tolkien's literary work serves as a pivotal bridge, skillfully blending historical medieval "technological" aspects with the "marvelous" of the era, provides a compelling starting point for examining this cultural lineage in interactive entertainment. This focus on Tolkien as a foundational influence offers a promising lens through which to understand the persistent appeal of medieval tropes in digital spaces. While the topic is inherently strong, the abstract's description of the piece as an "ensaio" that aims "sucintamente, a apontar alguns aspectos" suggests a potential limitation in depth and analytical rigor. A scholarly journal article typically requires a more robust methodological approach than simply "pointing out aspects." Furthermore, the abstract's brief mention of Tolkien's blend of "questões medievais (como, por exemplo, a tecnológica, com o maravilhoso da mesma época)" could benefit from further elaboration in the full text to clarify what "technological" signifies in this medieval context and how it intertwines with the "marvelous." The broad claim that games "mantêm parcialmente viva a cultura da Idade Média" necessitates a clearer definition of "medieval culture" within this context and a more detailed exploration of *which* aspects are preserved and *how* they are transformed or reinterpreted by games. To elevate this essay into a robust journal contribution, it would benefit from a more explicit analytical framework, perhaps exploring specific categories of medieval influence (e.g., historical accuracy vs. fantasy, socio-political structures, archetypal characters, material culture, etc.) and providing concrete examples of games that exemplify these points. A deeper engagement with existing literature on medievalism in popular culture and game studies would also strengthen the theoretical grounding. Despite these areas for potential development, the premise offers significant potential to contribute to discussions on cultural memory, media adaptation, and the enduring legacy of historical periods in contemporary entertainment. With a more rigorous analytical approach and specific evidence, this work could effectively illuminate the intricate ways the Middle Ages continue to shape our interactive narratives.

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