The Mafia game series has always been distinguished by its strong sense of time and place. As a Chinese immigrant, I often found ways to connect with these games, even if the focus on Italian crime families didn't directly resonate with me. From the Chinatown areas in the original Mafia to the Triads in Mafia II, the series consistently exuded authenticity. Mafia III's departure from Italian-American protagonists to a Black man navigating the racist criminal underworld of late-1960s America was perhaps the most authentic portrayal, shedding light on societal forces that still impact us today, while examining the violence inherent within them.

The latest installment, Mafia: The Old Country, lacks the immigrant perspective and racial tensions of its predecessors. Instead, it centers on class dynamics and the struggles of workers in its narrative about the mob in 1904 Sicily. While the game is enriched by unforgettable characters and exceptionally genuine performances, it is somewhat hampered by outdated gameplay mechanics.

The story revolves around Enzo Favara, a laborer who dreams of a better life in America, hoping to save enough money to secure his freedom. One day, the sulfur mine he works in collapses, resulting in the death of his friend Gaetano. Themes of revolution and workers' rights are prominently featured in the opening hours of Mafia: The Old Country.

Having toiled for a pittance his entire life and witnessing Gaetano's tragic end, Enzo finally musters the courage to confront II Merlo, the mine underboss from the Spadaro crime family. Overpowered, Enzo manages to escape and inadvertently crosses into Torrisi crime family territory. Il Merlo pursues him, but just as Enzo is about to be killed, Don Bernardo Torrisi intervenes, saving him. The Don warns Il Merlo, as he was caught on Torrisi territory, risking a war between the crime families. Recognizing the Don's influence and power, Enzo accepts the offer to join the Torrisi family, viewing it as a golden opportunity to escape the poor working conditions he has known.

Welcome to the family

Once part of the family, Enzo soon finds himself on the opposite side of the labor struggle. Acting as an enforcer, he breaks up a union strike to maintain order for the Don. This intriguing juxtaposition hints at Enzo's dark descent into mob life, though this aspect feels slightly underdeveloped. Unlike the recent animated film Transformers One, which carried its themes of worker exploitation to a stirring climax more explicitly, The Old Country uses these themes more as a subtext for Enzo's eventual realization that his involvement with the Torrisi family is another form of exploitation. A noble goal, yet the execution feels as if The Old Country sidelines these resonant ideas in favor of a more conventional, albeit well-crafted, crime story about escaping the life of crime.

Nevertheless, the story eventually comes together satisfyingly. As the narrative unfolds, the Don's requests become bloodier and more perilous until Enzo realizes he's merely a tool, much like any other worker. Ironically, by the end, Enzo learns that the path he chose, which seemed to promise liberation and luxury, has only confined him more than staying in the mines would have.

Enzo's late friend Gaetano possessed a postcard from his uncle in Empire Bay, the setting of Mafia II and a fictional representation of East Coast cities like New York City. In it, Gaetano's uncle promised steak and eggs upon their arrival in the U.S., a significant upgrade from the scant bread rations they received in the mines. As the years pass, Enzo carries this postcard as a memento of his friend and their shared dream, inspiring him to reach America. It's a powerful motivator for Enzo, and as he becomes further entangled in the business, it symbolizes the unattainable, chipping away at the hyper-masculine allure often associated with mafia media. This allows us to sympathize more with Enzo as the story progresses.

Ultimately, Enzo's story is a tragedy. He is unaware that Italian immigrants in America face marginalization and poor economic conditions, driving some to join organized crime groups like the American mafia. While a steak and eggs meal sounds appealing, not all that glitters is gold. Even if Enzo reaches American shores, he might find himself in a similar situation, seeking escape from organized crime. No matter where he goes, he will always confront insurmountable odds preventing him from achieving the carefree and affluent life he envisioned. These compelling narrative threads kept me engaged with The Old Country, elevating its story beyond a series of cutscenes meant to support the middling gameplay moments. Through Enzo, we witness the struggle and sacrifice many endure to chase a dream that is, in reality, just a fantasy.

Despite its ups and downs, the story benefits from a fantastic supporting cast and stellar voice performances. Within the Torrisi crime family, Enzo's bold friend Cesare brings out the protagonist's bloodthirsty side, while mentor Luca imparts wisdom to keep Enzo from getting in over his head. The Don is the most stereotypically mob-like, focusing on family and loyalty above all else, but the character interactions make them feel more than just typical organized crime members.

In the English track, all the voice actors speak with heavy Italian accents, which adds to the authenticity that the Mafia franchise is known for, without feeling insultingly stereotypical. The Sicilian dub is also excellent and can enhance your immersion. However, be aware that the characters' lip-synching doesn't match as well in the Sicilian dub as in the English version.

Going back in time, in more ways than one

While the narrative and characters are compelling, the gameplay of The Old Country feels like it belongs to the late 2000s or early 2010s, lacking depth.

The game features typical stealth sequences reminiscent of those in The Last of Us. You sneak up on enemies and choke them out. Enzo has an "instinct mode" that allows him to see enemies through walls. The unintelligent enemy AI doesn't help these sections, as they easily fall for the coins and bottles Enzo throws as distractions. For a game with revolutionary themes, the stealth mechanics are anything but. To complicate matters, some stealth sections result in an instant game over if you get caught, which is never enjoyable.

Then, there are the gunfights, and while the guns are adequate, they don't stand out. You have pistols, rifles, and shotguns to choose from—no rocket launchers or C4 charges like in Mafia III to make things explosive. The gunplay is similar to typical cover shooters like Uncharted, where you duck in and out of cover to eliminate enemies. Occasionally, an enemy may approach, or a grenade may be thrown to flush you out, but these are hardly challenging and don't lead to exciting shootouts, even on Hard difficulty.

Finally, there are the knife fights, usually reserved for cinematic moments against major antagonists. Though intended to be dramatic confrontations, they often feel underwhelming, involving waiting for the boss to strike, then parrying and slashing back. I frequently used this strategy to win. You can also break your opponent's guard, but the spacing often felt off. During the final boss fight, my guard break attack would connect even with significant distance between us. Still, I accepted those victories as I just wanted to finish the encounter.

Multiplatform

Mafia: The Old Country

• BACK-OF-THE-BOX QUOTE

  “A deal you probably can refuse.”

• TYPE OF GAME

  Third-person narrative-driven action-adventure.

• LIKED

  Good story, great characters, culturally authentic.

• DISLIKED

  Dated gameplay, half-assed open world.

• DEVELOPER

  Hangar 13

• PLATFORMS

  PC, PS5, Xbox Series X|S (played)

• RELEASE DATE

  August 8, 2025

• PLAYED

  About 18 hours. Cleared the game on hard difficulty. Found a good amount of collectibles and unlocked most chapter-specific achievements.

Mafia: The Old Country shares similarities with the first Mafia game, including a limited open world that players can explore between main objectives or in a "Free Roam" mode. The main issue with this option is that, while there are landmarks to photograph, there's little else to do besides collect items. There are no side quests or mini-games. This is surprising given that Mafia III was criticized for its open-world bloat. While Mafia: The Old Country's streamlined approach is appreciated, the open world feels unnecessary. The game would have been better served by adopting a linear structure similar to Max Payne 3-style mission design, eliminating the option to explore its lifeless world entirely.

Mafia: The Old Country's story was engaging enough to keep me invested, with its authentic portrayal of 1900s Sicily and its remarkable characters. It's unfortunate, though, that while the narrative traveled back in time for its setting, the gameplay mechanics did as well.