Mafia 1 is Not a GTA 3 Clone

Pseudo Philosophy

Regrettably, many casual gamers, who did not witness the dawn of the computer and video games industry, and particularly those who haven't played Mafia 1, struggle to acknowledge that despite apparent similarities, these two games stand as distinct projects employing markedly eclectic approaches. This distinction extends across various facets such as mood, atmosphere, focus, the purpose of their gameplay mechanics, level design, and the structure of the open world they embrace. While both games delve into gangster-themed fictions, the execution and style of this theme in each instance remain unequivocally unique. Contrary to popular belief, these games are characterized by a plethora of differences rather than similarities. And let me elaborate on why this is the case.

Game Digger

Delving into Illusion Softworks' history reveals that their prior game, Hidden & Dangerous, served as a tactical shooter action-adventure, simulating sabotage operations behind enemy lines in World War II. In Mafia's narrative, their objective was to portray the ascent and descent of a fictional gangster. The only Rockstar game attempting something akin to Mafia 1 is L.A. Noire, but that's a tale for another time, my friends.

Now, turning our gaze to Rockstar, GTA 3 aimed to "simulate" a world dominated by gangsters and corruption. Moreover, it embraced a satirical tone, in stark contrast to Mafia's realistic approach. GTA's more realistic iteration emerged later, but we'll explore that in due course. Reflecting on DMA's early attempts to depict a criminal world makes it evident that GTA was always envisioned as a product with a lively arcade machine mood. This influence from arcade cabinets, with score bars rewarding actions or gathering activities, can be traced back to games like Wolfenstein 3D, Commander Keen, or Dangerous Dave. GTA 3, too, followed this pattern, rewarding players with money for various activities, doubling as a score bar. The game stats menu even assigned a nickname based on the score.

GTA has long featured diverse gathering activities. From finding hidden packages in Liberty City to searching for horseshoes and oysters in San Andreas, the franchise expanded these pursuits on a state scale. The more realistic GTA 4 introduced an inventive and lore-justified approach—eradicating one hundred pigeons supposedly carrying the infamous bird flu.

It's fair to say that the bird flu mass hysteria spared us from seeking another one hundred purple dildos. To be perfectly honest, the more realistic gathering approach Rockstar introduced in San Andreas—painting one hundred walls with graffiti—made sense for a change and never felt burdensome, aligning with the theme of protecting one's turf.

Legend of Maria: Hookerine of Time

 

Mafia's arcadey essence unfolds post-main campaign completion, unlocking a distinct game mode utilizing open-world assets for varied purposes. Discovering 19 locations and tackling challenging missions from enigmatic floating entities rewards successful players with uniquely designed cars—quirky treasures destined for your garage or, inevitably, a chaotic crash, given the often infuriating handling physics.

Progression takes a unique path. GTA 3's sandbox nature allows seamless activity shifts, mirroring the story arc's flexible structure. In contrast, Mafia's plot flows continuously, akin to traditional action-adventure games like Max Payne. While GTA 3 embodies Ocarina of Time with hookers and rocket launchers, Mafia 1 aligns more with Max Payne—a third-person shooter and action-adventure game, emphasizing story, setting, and inspirations like Goodfellas or The Godfather.

Mafia's open world aims to enrich the narrative, immersing players in the right mood for their next mission, rather than fostering a purely sandbox "do whatever you want" setting. Illusion Softworks drew inspiration from the Driver series, segregating two plot-unrelated game modes—freeride and freeride extreme.

Both Mafia and Driver construct their open worlds as intricate facades or decorations, transcending mere city textures. Unlike Driver's background texture concealing low draw distances in PlayStation hardware, both games offer interactive environments, elevating the player's engagement beyond a distant, scalable cityscape.

Curiously, the parallels between these two franchises extend further. Mafia's main menu bears a striking resemblance to the undercover campaign menu in Driver. A delve into Mafia 1's root directory unveils intriguing insights.

Each mission is a prearranged blend of various game assets, devoid of global open-world rules. In a more traditional sense, there isn't an open world—just an extensive city map facilitating the player's drive to destinations, mirroring a crucial gangster experience. Every mission boasts its unique city map, even freeride and freeride extreme categorized as distinct missions. Consider the mission where you escort Sarah; invisible walls enclose the player, revealing only a fraction of the city. This intentional limitation, disguised by strategically obstructed views, creates the illusion of a city.

Mafia and GTA 3 differ significantly in their approach to atmosphere. While GTA blurs lines between driving, walking, shooting, story progression, and exploration, Mafia meticulously distinguishes these aspects. The game emphasizes clear boundaries—identifying driving missions, indoor third-person shooting, and stealth missions.

Rockstar typically neglects matching mission weather to mood. In their sandbox, cutscenes play out in the time and weather set at mission launch. Illusion Softworks sidesteps the need for a day-and-night cycle in Mafia, as every facet is meticulously directed. Opting to freeride at night requires a deliberate menu choice. This aligns with Driver, where players also selected between day and night, along with their vehicle.

Noteworthy directed events, like a man attempting suicide at Juliano Bridge or another trying to pry open a door with a metal bar, enhance the game's atmosphere. These events serve dual purposes—adding cinematic flair while remaining highly interactive due to their intricate design.

I hate therefore I am

Ironically, later Mafia games attempted to court the mainstream market and cater to GTA enthusiasts. While Mafia 2 felt like an unfinished game with only fifty percent of the content that made the first game special, Mafia 3 became an unoriginal GTA clone crafted to satiate the appetites of mass consumer "fast food" gamers. The Mafia series might be defunct, but the spirit of Mafia 1 endures.

The amusing aspect lies in the reception of GTA 4. Despite its enormous success, it remains the worst-received GTA in the series. The game embraced a more mature direction, offering a heightened sense of realism compared to its predecessors. The bird flu annihilation exemplifies this shift—an amalgamation of maintaining roots while discarding "Nintendo feels." Equally surprising is Driver's role as inspiration for Rockstar's inclusion of a built-in film director tool. Driver, renowned for enabling players to recreate Vanishing Point chases, left an indelible mark.

In conclusion, the "most Mafia 1 GTA game," namely GTA 4, is the least popular among GTA fans. Conversely, "the most GTA game of them all," embodied by Saints Row, amasses a cult following aptly named "the esoteric order of Saints Row." This dynamic places GTA perpetually in the middle, while affirming that Mafia 1 stands apart as more than a GTA clone. If one seeks to explore clones, it becomes apparent that GTA 3 itself is an Ocarina of Time clone—much like a significant portion of the entire game industry.