The writing, for instance, is “ some of the best of this entire generation” but that the overall game is pulled down by recycled experiences and an average open-world engagement. Marty Sliva found that MF3 was “ filled with fantastic highs and baffling lows” (2). Makedonksi concludes that “ MF3 is dated, has obvious flaws, and doesn’t hold up particularly well when compared to a lot of modern works.” Makedonksi also contends that the open world is a disservice to its setting since one is presented with a lifeless, though fully populated, open world experience. The New Bordeaux setting looks great but below it surface it feels dull and lacks any vibe that one would expect from a city.

Players end up having to complete repetitive quests of busting mob rings with few moments of joy in them. The gameplay is also monotonous, repetitive and often inconsequential. Thus, gun fights can often be unnecessary. Enemy vision detection is also bad which allows easy stealth kills for players. Enemies prefer sticking behind cover and oftentimes leave their heads exposed for easy kills. Enemy AI is average at best as players face off with opponents who do not attempt to flank. However, MF3’s negatives, explains Makedonksi, far outweigh the positives. Moreover, the story and characters are something worth becoming invested in and the documentary-style narrative is constantly entertaining.

New Bordeaux is essentially a fictionalized 1968 New Orleans during a time of great racial strife. Overall, the New Bordeaux setting is really good. Clay’s surrogate family is betrayed and killed by the Italian mob, and thus begins a powerful story of revenge. Brett Makedonksi argues that Mafia 3 is at its strongest moments when players are introduced to Lincoln Clay, a Vietnam veteran and a black man in the 1960s American south.

Fast travel mafia 3