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There are only a few of these sections, thankfully, but the вЂњraise the alarm means game overвЂќ failure stakes make them more about frustration than in building tension. The worst examples are the times when youвЂ™re forced into stealth sequences. There are some set-piece moments, such as busting down a warehouse door with a rail car or escaping an abandoned prison, but the thrills that they may have once offered are brought down by the subpar gameplay youвЂ™re stuck with once the smoke clears. Ultimately, itвЂ™s difficult to shake the very real feeling that youвЂ™re playing a relic from a bygone era. Enemies may be able to shrug off your bullets, but youвЂ™re not so lucky. And woe to those who trigger one of these unskippable animations in the middle of a battle. Melee combat is even worse, with successful button-mashing rewarding you with canned finishing-move animations that look like hokey fight choreography from a middle-school production of West Side Story. Rival gangsters glide between cover points like Fred Astaire on ice skates, or pop in and out of safety in suicidal frenzies. ItвЂ™s not uncommon to dial in several headshots before an enemy registers the damage, flopping to the ground in a dramatic ragdoll flop. The gunplay is simply terrible, with weapons that feel sluggish and underpowered. In addition to tossing molotovs and filling the air with bullets, I also hurled a consistent stream of profanity at my television. Nearly every mission predictably ends in a hail of gunfire itвЂ™s a gangster story, after all. Sometimes, it felt like these characters had been yanked from different stories. ItвЂ™s jarring to hear them interact with characters like Paulie, who gives his lines a livelier (and occasionally hammy) read. Some characters, like Angelo and Don Ennio Salieri, give understated, naturalistic performances. The newly recorded voice performances are solid, but inconsistent. We meet his eventual wife and are told that they love each other, but their interactions are so lifeless and sparse that AngeloвЂ™s eventual speech about the importance of family feels hollow and unearned. ThereвЂ™s an interesting tale in here somewhere, but the timeline moves so erratically that I never felt connected with AngeloвЂ™s plight as a man caught between loyalties.

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He starts his rise as a taxi driver pulled into the mob by happenstance, then becomes the victim (and participant) in all the intrigue, backstabbing, and capers youвЂ™d expect.

Unfortunately, AngeloвЂ™s tale is disjointed and boring, with time skips that undermine how youвЂ™re supposed to feel about the relationships that he apparently builds over the years.ДЄngeloвЂ™s story is told in flashbacks as heвЂ™s going over his past with an investigator. Need to catch your breath? Too bad! It's an interesting approach, and one that IвЂ™d probably enjoy more if the story was more engaging. Instead, the narrative relentlessly drives you forward, with the end of one chapter propelling you right into the start of the next.

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YouвЂ™re free to peel off from the next story beat and explore side streets and back roads, but donвЂ™t expect to find much in the way of optional activities or interesting secrets. The early Mafia games used their open worlds differently than their competitors, with cities that arenвЂ™t really interactive playgrounds, but are more similar to film soundstages. ItвЂ™s an admirable approach, but then you have to actually play the damned thing. Hangar 13 has rebuilt the nearly 20-year-old game, bringing the visuals up to contemporary standards and adding a few quality-of-life enhancements while ultimately respecting the originalвЂ™s core design. Mafia: Definitive Edition is an interesting time capsule that not only lets players experience Tommy AngeloвЂ™s rise in an ersatz вЂ30s-era Chicago dubbed Lost Heaven, but will likely inspire greater appreciation for how far the industry has come since 2002.

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