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Nor is the lack of a handbrake for gambling round corners at speed nor the occasional, murderously hard edges that jutt imperceptibly from the environment (a 2000s throwback I haven't missed). People who don't care about the concept of fun will note that fine-handling Chrysler Phaetons wouldn't be realistic, although neither are the largely scripted-feeling chase sequences of Mafia's missions, where your motorcycle - a new addition for the remake, which I recommend using where possible - can't gain any ground on a much slower enemy you're asked to chase. The '30s cars, gorgeous as they may be, handle like blimps, wafting and floating around Lost Heaven's right-angle turns, or more often simply not. Gear changes, part of the original Mafia's drive for authenticity, are set to automatic by default in Definitive Edition, and I daren't try them manually. Cars are wonderful to look at - and to drive, so long as you go in a perfectly straight line and aren't rubber-banded in a mission. You are Tommy Angelo after all, cabby-turned-mobster-wheelman, caught up in all that allure of depression-era crime, and for all the shooting and wisecracking of mob life you drive your way through this game, fundamentally - even if you turn on the option to skip the unnecessary trips - and if driving is a dirge then consequently so is much of Mafia itself. Driving is utterly central to Mafia: Definitive Edition, as it was with the original. That can, also, be down to the mechanics of driving too, which could've done with more work. It means driving - when you're not sitting, listening, drinking-in - can be a nightmare, especially on anything below the recommended specs, as consistent, fraction-of-a-second freezes and hiccups make it hard to really nail a turn (on a PC a shade under those specs the game crashed, twice, on opening, and driving was impossible on a slightly more powerful one the troubles reduced to bearable, if you don't mind a perpetual headache). Performance, too, putting my amateur Digital Foundry hat on for just a moment (they'll be along with a much more sophisticated analysis than mine soon, fear not), is also a little wobbly, the issue not the frame rate but some other kind of relentless stutter, as though the world itself is struggling to load in as you pass through it at any kind of speed. In cutscenes, faces are luxuriously rendered and intricately animated. This extends beyond the environment, with faces stunningly drawn and animated in Mafia's many cutscenes, then often plasticky-smooth and dated as you walk about town. Much has been made of the new views you can drink in, thanks to the game's more "varied topography", as publisher 2K puts it, but at distance detail can be poor and skylines washed out. Mafia's sounds give life.īut just as Mafia: Definitive Edition can sing at the right moment, you can also catch it rather flat, with technical snags and ageing tendencies dragging you out of the world. Even then, you hear swing and jazz in a video game and think 'apocalypse', dead worlds and rotten cultures, thanks to Fallout or Bioshock or the like. Rare that you sink into a world solely through its actual, environmental sounds, and again so rare that it's through these sounds, the crooners over the car's speakers and arooogas of their horns. We talk of world-building often, but it's rarely done like this. Mafia's is a world built on hypocrisy, built through the Weimar-esque bursts of mid-depression creativity that were swing and dancing jazz that blare, between imperious political decrees and preaching reports, from police chiefs, governors, presidents, lecturing on citizens' own responsibility for rising crime.
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A wondrous device, carrying the weight of this game's world on its back and jabbing at the heart of the decade's contradictions, the carnalism of the '30s that rubbed against the puritannical. And I could talk forever about that radio.