But then I realised, after completing countless slight variations of the same mission for several hours, that this was the entire game. Creeping into gang-controlled territory, quietly stabbing people, slipping money into my pockets, sneaking up on lieutenants and interrogating them, and causing mischief. When this was first introduced I enjoyed it. Then when you’ve caused enough trouble, the boss will be lured out of hiding, giving you a chance to kill him and incorporate his business into your burgeoning criminal empire. The more you own, the more money you’ll earn, and with every racket that falls Clay gets closer to Marcano.Įvery racket has a Dollar value, and your job is getting that number to zero by killing people, breaking stuff, and stealing money at various locations scattered around the map. These include prostitution, drug dealing, contraband smuggling, and other illegal activities. To claim a district, Clay has to bring down, then take over, rackets run by rival gangs. This is when the racket system comes into play. Clay survives an attempt on his life and embarks on a single-minded quest for vengeance, which involves conquering New Bordeaux district by district until he has enough power and influence to dethrone Italian mob boss Sal Marcano. There’s a good amount of variety, from the colonial architecture of the French Ward to the swampy depths of Bayou Fantom, but the muted colour palette and restrained art design make for a bland and largely forgettable open-world.Īn unexpected betrayal is when Mafia III begins to lose its way, and the promise of those early hours fades.

The city itself is a straight-faced homage to New Orleans, not an exaggerated Grand Theft Auto-style parody. With a few exceptions, like a gang of yee-hawing cartoon rednecks Clay encounters, the racism feels like it’s there because it’s a natural part of the setting, not just for shock value. It’s weird seeing one of the most shameful periods in American history reduced to a game system like this, but I’m glad Hangar 13 tackled it head-on rather than tiptoeing around it. I had to grab him and choke him to death before he alerted the cops. I refused to leave, of course, wanting to test the limits of the game, and he made a dash for the phone. While exploring I accidentally stumbled into a bar on the edge of the bayou, and didn’t realise it was segregated until the owner came over and said as much, but in more colourful language. And if you enter a ‘whites only’ establishment like a bar or restaurant, the owner will angrily confront you and call the police if you refuse to leave. Racial slurs are used with abandon, frequently aimed at Clay. New Bordeaux is an analogue of New Orleans, a city that was racially segregated in the 1960s, and Hangar 13-a new studio formed by 2K Games to develop Mafia III-hasn’t shied away from this. With tracks from The Beach Boys, Jimi Hendrix, Elvis Presley, and The Rolling Stones, they must have spent a fortune licensing the game’s soundtrack. The story is fast-paced and cinematic, using stylish editing to jump backwards and forwards in time, reinforcing the setting with evocative ‘60s music. A feud between his adopted family-members of the black mob-and a Haitian crime syndicate turns bloody, and suddenly his plans to leave his hometown behind for a job in California are put on hold.Ĭlay’s violent homecoming and a daring bank heist are the focus of the first few hours of Mafia III, and it’s a strong start. Lincoln Clay returns from Vietnam in 1968, only to find himself fighting another war on the streets of New Bordeaux, Louisiana.

Mafia 3 ps3 review