The long-awaited sequel to 2002’s smash hit, Mafia, arrived in stores in late August and has been – for the most part – very well received. With over-the-top, Italian mobsters, Chinese mobsters who all sound like the stereotypical Chinese restaurant waiter, a Jewish loan shark equipped with big nose, little glasses, and a snarling smile, Mafia II might be the most racist game I’ve played in years. And, I don’t mean that derisively. It is a Hollywood-styled, mafia bonanza in every respect and accomplishes this feat with tremendous style and ambience. Like Bioshock and Fallout, the use of period music is essential to its setting and is implemented equally well. However, there is an exceptionally present orchestral score crafted by Matus Siroky and Adam Kuruc.
There are many different reasons why one would notice a score in one game more than in others. Ideally, we want a score to enhance the drama and/or action being presented visually. When a game achieves this goal, more often than not, folks who are more attuned to game music (i.e. anyone who is reading this site, wink wink) will take note of the emotional impact the soundtrack has catalyzed. I noticed the score in Mafia II because of the interesting juxtaposition of what I was experiencing in the game, my preconceived notions of what a mafia-styled soundtrack might sound like, and the melodious weaving of strings I was hearing. Suffice it to say, this soundtrack, more than any other I’ve experienced this year or last, left me a bit confused. (more…)
