As Lincoln’s quest came to an end, I couldn’t help but feel there was nothing good about this man, no qualities to relate or sympathise towards and frustratingly unlike what other open world games have attempted to some degree to do, to finish this game there wasn’t a way to circumvent or change his actions. When you invest yourself into an open world like that of Mafia 3, you need to find some endearing quality to embrace, some aspect of a personality that is redeemable through your actions. Unfortunately for me, none of the characters or associates were particularly charming or endearing, as it reached its conclusion the final decision of the game for me was a very easy one to make. If race is an issue, it isn’t exclusive to one particular group. To assist you, a variety of characters representing certain, tired cliched caricatures, the drunk Irish criminal, the sharp suited Italian gangster, the African American voodoo shop owner. As you progress through the campaign you follow a pyramid structure of organised crime in your quest for bloody revenge, overthrowing the lieutenants and working your way up towards your intended target. Fundamentally, the game is a continuation of the Mafia series, as such, following your ascent from the street to rise to the top of organised crime, whilst the issue of race permeates the entire experience, in many ways it isn’t constrained to one particular demographic in its presentation. Race plays a central role in this title but it would be a disservice to present or paint this as a game entirely devoted to tackling or being a representation of racism alone, to hold as the pinnacle measure of this issue. Mafia 3 was highlighted as a title during the exhibit on a game that challenged existing titles and indeed even the industries presentations of societies attitude to race and racism in general. It was divided into three aspects, the most contentious being around the use of gaming to disrupt and challenge cultural norms and behaviours. Last October I attended an exhibition in London at the Victoria and Albert Museum on gaming and its impact and representation through culture. The end result is an experience that leaves you with the residual feeling there isn’t really a great deal to this game beyond the themes and ambition it challenges.
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Unfortunately the execution of creating this politically charged and incendiary world produced an almost barren cyclical experience filled with lifeless characters and an equally soulless and almost destructive narrative.
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To its credit, the developers don’t shy away from confronting some of the worst aspects of society of that era, from a fairly transparent allegory to the Klan to the impact of organised crime on society in general. Set in the fictional world of New Bordeaux, a pastiche to New Orleans in the American deep south, on its release it was championed and praised for tackling the themes of racial tensions of that period in time. ” You are who you are, and there’s no point arguing with yourself about it “ Mafia 3įrom developer Hangar 13, published by 2K in October 2016, Mafia 3 is an ambitious mix of challenging subject matters and narrative, let down by insipid world design and character development.