Mafia II: An Offer You Can’t Refuse? (Review)

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.

When I began listening to and playing Alan Wake, I was made immediately aware that Petri Alanko was attempting to do something different. It didn’t make sense to me immediately why a psychological horror game should have such a melodious score, but by the time the first chapter was done, I understood the composer’s voice and intention and went along for the ride happily (please check out my review of Alan Wake here to better understand my concept of the juxtaposition and the message behind it). I suspected that Mafia II was doing the same and that all would become clear in time. Unfortunately, this clarity never really did arrive as I had hoped. Having said that, Siroky and Kuruc have made some fantastic music.

The main theme of Mafia II begins with a sustained note in the strings and winds, followed by descending thirds in the piano. This finally gives way to suspension-filled, string lyricism. Coming to an abrupt end, the lower strings enter and finally give us the meat of this intense theme. The minoric theme then appears to show us a glimmer of redemption before doubling down to more intensity. When mapped out, the theme appears to help follow the over-arcing story, but only in very broad terms. The instrumentation and overall feel of the theme does not invoke images of mafia, Italian culture, the 1950s, a big city, crime, or violence. Perhaps a chase? This began my confusion.

“Enemy of the State” finally gives us a feeling of noir with a jazzy contrabass line, saxophone, piano, and fast hand drums. This is the track that lined up most with my expectations of the score and delivers in solid fashion.

“Whisky Heat” is an intense, brooding, percussive piece accompanying a great action sequence. Oddly enough, an electric bass guitar becomes present within the piece. This is jarring because the score has no obvious electronic sounds and the two are not always friends.

There are many good, jazzy action tunes and a few beautiful, reflective pieces like “Family First”, the mysterious “Cosa Nostra”, and “Just Business.” And though these are wonderful pieces in their own right, I could not help but feel that they entirely belonged in a mafia-based action game. The voice-acting in the game is exceptional, as is the drama, but I kept feeling as though I was listening to a tale of great tragedy. Of course, one can argue that the entire story is a tragedy: a young man sent off to war returns an American hero only to be pulled in the seedy underworld in order to bail his family out of a tough spot. Sure, it makes sense, but this music (as well-written and competent as it is, musically) does not create a picture for me that works best with this mafia setting.

The irony in comparing this score to that of Alan Wake in its attempt to steer away from what one might expect given its setting, is that I feel so many of these tracks would actually work beautifully and even better accompanying the action of Alan Wake! That is the vibe that so many of these tracks emit.

I consider myself to be very open-minded, particularly when it comes to music. It is for this reason that I am willing to be convinced when a score takes an unconventional approach to its subject matter – especially when, musically, a score shows as much shine and promise as Siroky and Kuruc have willed into it. In the case of Mafia II, I listened and waited, but, in the end, I was not convinced that this score belonged with this game even though I really wanted it to.