Mafia: The Old Country review – a forgettable but fairly enjoyable 10 hours

by

The Old Country is its stunning depiction of 1900s Sicily. It’s like stepping into a picturesque postcard with its beautiful landscapes filled with winding hills, sprawling vineyards, orange groves, and dusty tracks leading to ancient ruins. As the sun sets, it paints the sky a vibrant shade of lilac, with its fiery red rays framed by the quaint, boxy houses lining the seaside town perched on the cliffside overlooking the sea. The atmosphere is bustling with people going about their daily lives, cars stirring up dust, and horseback riders galloping past.

It’s nice to experience something different from the typical depictions of America, which seem to be etched into our memories by now. Yet, there’s a sense of familiarity here – it reminds me of a picturesque coastal town you’d find on a postcard, a serene vacation spot, except for the presence of tough characters and frequent altercations.

One aspect I’ve consistently admired about the Mafia series is its ability to immerse you in characters’ lives over several decades. In this game, you assume the role of Enzo Favara, who begins as a humble miner, progresses to a farmhand, and ultimately rises through the ranks. At the outset, he’s barely wearing shoes. By the conclusion, he’s sporting tailored three-piece suits, pocket watches, and cruising around in stylish vintage convertibles.

In the initial Mafia games, Empire Bay, a fictional blend of New York and Chicago, evolved alongside its characters. While not an open world as we commonly understand it, this virtual city underwent changes over time. New vehicle models graced the streets, seasons changed, and modern buildings emerged in the skyline. However, The Old Country lacks this dynamic quality; except for a looming climactic natural disaster, the environment remains stagnant and neglected. It serves more as a backdrop than an interactive world. The developers seem to prioritize the narrative, as demonstrated by the ability to bypass most significant car or horse rides without consequence, suggesting that the world’s engagement is not essential to the story, which progresses at a brisk pace, leaving little room for diversions.

You believe they’ll go easy on you in that situation, Enzo? Try not to be too hard on yourself, I’ve had plenty of experience with these types of situations.” This suggests that the mafioso is implying that Enzo might face some challenges but with his skills, he should handle it well, as the speaker has faced similar circumstances many times before.

In this rephrased version, I’ve aimed to maintain the original sentiment while making the text more accessible and engaging:

Hangar 13, the developer behind the Mafia series, has a history of overcompensating. Fans felt that the first two Mafia games missed out on fully utilizing their expansive open worlds. This criticism led to the creation of Mafia 3, which, despite improvements in other areas, suffered due to its open world design and repetitive mission structure, making it the weakest game in the series.

Now, Hangar 13 has made corrections once more, resulting in a significantly improved game. However, this time around, an incredible world is not fully exploited to its potential.

The experience is quite formulaic. Initially, you perform routine chores until someone hands you a gun. Over time, you earn their trust and are assigned larger tasks, involving the shooting of numerous individuals. There’s a segment where you transition into being a race car driver. A central narrative revolving around forbidden love unfolds predictably.

In this animated game, the compelling performances by the lead actors, coupled with exceptional character animation, truly shine. The characters from The Old Country boast some of the most expressive eyes I’ve encountered in a video game. Despite a rather ordinary narrative, the well-written dialogue and engaging performances elevate the story, making it enjoyable throughout its ten-hour span.

Additionally, it boasts some thrilling scenes. One particularly striking moment involves a sniper firing at random during a religious festival, causing chaos as you navigate through the panicking crowd while people are being shot nearby. The action then escalates to an impressive rooftop chase, with colorful smoke bombs filling the air and confetti showering down from every window.

Indeed, much of the gameplay feels automated. To keep my mind active, I disabled auto lock-on for shooting, yet it’s as dull as can be. The stealth mechanics are sparse and easily manipulated, and they could use a bit more refinement. Instead of dragging enemies from cover to choke them hidden, you end up choking them out in the open. The combat during knife fights is reminiscent of Hellblade 2’s fighting (think shallow rather than deep, not a significant departure from that Golden Saucer minigame in Final Fantasy 7). Driving is enjoyable, but it’s optional and takes up only a small portion of your gameplay time.

2K made a smart move by pricing their new release affordably, as there isn’t much competition in the market at the moment. I expect it to perform well due to this timing. However, there’s something intriguing about it. It’s not an A-list game, but it’s certainly a decent B. You’ll find yourself continuing to play for its brief duration, but soon after turning it off, you’ll likely forget about it altogether.

Read More

2025-08-12 16:49