Review of the old mafia country – familiar stories, well said

Many mob stories are stylized by design. The audience meets the criminal protagonist, and sees them ascend from street-level thugs to positions of wealth and power, and sees an inevitable fall from grace. Despite its predictability, films, television shows and video games that stick most closely to this famous formula can offer emotional resonance, subtle cultural insights, pure entertainment, or the combination of the above resonating sounds. Ultimately, it’s how mob stories say that it’s really important.

Mafia: Old Countries This formula continues. Also, in balance, it is one better example of a crime-focused action-adventure game, thanks to its continued commitment to the genre’s inspiration.

Our story begins in 1904, when a young man called Enzo works in a tunnel choked by the dust of a Sicily mine dreams of a better life. Following a confrontation with the owner, who happens to be the mafia captain, Enzo talks like a blend of Marlon Brando and Robert De Niro in the first two God movie films, surrendering himself to the employment of rival crime families led by Don Trici, a squat-jerking man who looks like a blend.

From this point on, the old country has established its intentions, both in structure and in storytelling. Enzo begins to prove himself to the Trisi family and rises to the Mafios, which began with workers in that vineyard in the next three years.

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The player enters the rhythm of the game, as he does. Older countries form their chapters into a cutscene procession. Conversations held while walking, driving, and riding horses. Frequently shooting, knife fights, pursuits. It soon becomes clear that the game is primarily interested in telling its story to other stories, not as a sandbox for players to freely explore the gentle hills of early 20th century Sicily.

This is a wise choice. The old country has focused on both its setting and structure in the past, recreating the designs of the 2002 Mafia and 2010 Mafia 2, while abolishing the unrelated side missions that defeated the 2016 excellent Mafia 3.

Older countries stick to this lean style design. Except that Enzo uses enemy corpses from enemy corpses with horse and car customizations, new firearms and knives, or theme-friendly adherence, his Rosary’s stat boost beads and medallions rarely remove or tweak unnecessary skill shaking. As a result, combat is easy and little has changed from the start of the game to the conclusion. Enzo can sneak up in several places, notice enemies, or stab them with a knife, but the subsequent gunfights are delighted to be designed when he is caught.

The old country’s ranged combat has a crude quality, with Enzo ducking from one point on the cover to another as enemies appear, scooping up pistols, shotguns and rifles from the ground, throwing grenades, and bandages wounds in flight. These fights are a little easier, but not boring due to their powerful audio work and fast pace.

Unfortunately, as Enzo loses his gun and enters a scripted moment in which he faces a single enemy in a one-on-one knife fight, the feeling of hopelessness that animates the gunfire of the old country evaporates. In these sequences, the game moves back and forth with a simple timing Parry and Dodge, then to Swee Plunge and Quick Strike. Responding to incoming movements that telegraph easily at the right counter, it becomes too stiff and exciting for the robot. During these encounters, the large health bar hangs the fighting game style from the top and bottom of the screen further enhances the artificial feel.

But the old country is even a thrilling battle in a setting that energizes almost every aspect of the game. From burning factories to dusty catacombs to the sparkling upper floors of the opera house, there are many spectacles offered in the sequence where you can see Enzo sneaking in and sneaking through different levels. There will also be cross-country horse chases and car racing, which take place across narrow village streets and dirt roads lined by cheering on spectators. But there is beauty in the quiet moments of the old country. Whether you’re riding your horse slowly, or driving a primitive car through the idyllic Sicilian countryside, or strolling through the cobblestone streets of an imaginary city under the Baking Sun, it’s cool at the beach night.

Details of these types are also reflected in the performance of the game. The tense conversation between Enzo and the rest of the Torisi family is as exciting as the pieces in the action set, mainly due to strong character writing and acting, clever orientation and gorgeous and commonly used scores. The storyline is a bit too stifled to show how sleazy Enzo’s crime film is, but what asks his soulful questions so that the Mafios is a bit flattered – the cast of the old country is compelling enough to carry on the usual plot conventions of the genre.

All this stems from confidence in a vision that suggests a much richer old country than adherence to mob genre storytelling. There is a purity of focusing on small character work, mood setting and simple actions, away from the convolution and inflation trends found in many other large budget video games. Mafia: The Old Country is a game that knows what you want to do and rarely deviates from offering just that. Ultimately, it makes all the difference, as if taking on a familiar type of story.