Mafia: The Old Country takes us to early 1900s Sicily, where moustaches are majestic, wine is suspiciously homemade, and everyone seems to be either related to you or about to kill you. As a prequel to the entire Mafia series, it’s a chance to explore the roots of organised crime in the franchise’s universe – though “explore” might be a generous word when your freedom of movement is about as limited as a toast at a mob boss’s daughter’s wedding.
Gaming Heaven
The setting is gorgeous. From sun-drenched vineyards to shadowy alleyways where you just know a knife fight is about to happen, the visuals are jaw-droppingly detailed. The performances are equally strong, with Enzo Favara’s slow slide into criminality delivered with a mix of subtle menace and “I’m not mad, just disappointed” energy. The AI is surprisingly sharp – enemies flank, push, and harass you like they’ve actually read the mob handbook. And at a lean 12 hours, the game respects your time more than the average open-world epic.
Gaming Hell
Interactivity is, let’s say, optional. This is less a third-person shooter and more an interactive Sicilian soap opera where you occasionally fire a gun. Gunplay is serviceable, driving feels like steering a horse with three legs, and stealth sections feature the sort of instant-fail conditions that make you question your life choices. The plot is well-acted but shamelessly recycles mob movie beats – which is fine if you like your narratives twice-removed from The Godfather.
Final Judgement
Mafia: The Old Country is a sumptuous, beautifully acted, and oddly inert crime drama. If you’re here for high-octane action, you’ll be disappointed. But if you’re happy to watch a gorgeously rendered tragedy unfold – while occasionally shooting someone in the kneecaps – it’s an offer worth considering.
