If you commit a crime in a run down neighborhood, mostly inhabited by the poor, african americans and other minorities, the police might not even show up, while they’ll shoot you into pieces if the same thing happened in a richer (and mostly inhabited by whites) district. The game finds intelligent ways to convey the occurrences of racism in the american south in a very subtle yet powerful way. Shortly after his arrival though, said life is literally shot to pieces as his family is killed by the Italian Mob. Several months later, with the help of his three newly appointed lieutenants to take back the city district by district from Sal Marcano, the Don of the Italian Mob, and mastermind behind the murder of his family, Lincoln sets out to cripple the man’s enterprise and shake its foundation from the ground to the top. Unapologetically political in a time where any sort of statement on any sort of issue is almost toxic, we follow Lincoln Clay, half african-american veteran of the Vietnam-War who returns to New Bordeaux (the games fictionalized version of New Orleans) in 1968, trying to find his footing in the civilian life. But once in a while a developer dares to break the cycle that chains the industry to the labels it has been given.Īlong comes Hangar 13s Mafia III.

In a time in which games are still often dismissed as an inferior medium to tell stories, the industry itself has in many parts embraced it’s role on the lower end of the spectrum. In the most recent attempt at mature and meaningful storytelling in games, we sneak, shoot and slice our way through the most racist parts of the American South in Mafia III.

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