People can look at snippets of the game and interpret those how they want to - that the game is racist, that the game is anti-Haitian, things like that. GamesBeat: I noticed there’s a disclaimer at the beginning. We weave those things into the narrative to help support that, just reinforce where the game is set and who the characters are. We use those things to ground the game and give it the feel of a specific time and place. Three women have a conversation about James Earl Ray, who assassinated Dr. Character in the game comment on real-world events. We wrote a lot of news stories reflecting real-world events. As you drive around in the car, we have radio stations. It’s about a man named Lincoln Clay who destroys the Italian mob in our version of New Orleans.īut in a lot of ways we bring those things in. Obviously race and racism is an important part of the game, but the game isn’t about racism. We did everything we could, really, to not climb up on a soapbox and preach. Harms: I wouldn’t say we’re trying to achieve a specific point. GamesBeat: When you ground it very closely in this piece of American history, are you pulling in parts of real history to make a particular point? Those three things were the starting point for developing the game. It’s 1968 in a major city in the American South. It’s interesting in a good way, because it helps encapsulate and reinforce the time and place of the game. That’s a very different story than Vito’s. Having a character who’s African-American provides a very specific lens, not only in terms of how he views the world, but also how the world views him. With the character, Lincoln, even though he’s of mixed race, he appears black, and so that’s how the world treats him. They ask him how old he is and he pleads the fifth. You can see him on YouTube testifying before Congress, pleading the fifth on everything. In the 20th century the city was run by Carlos Marcello, this very larger-than-life mob figure. So they tapped this Sicilian criminal element to run the docks for them, and that became the mob. Like I say, the Union army - I can’t remember if it was just prior to Reconstruction or during Reconstruction, but the Union army couldn’t control the docks. Harms: We look to that stuff for inspiration. How much of that mob history is drawn from life? GamesBeat: I was going to ask about that. It was one of the first cities in America to have a Mafia organization, pretty much right after the Civil War. We gravitated toward New Orleans, or our version of New Orleans, because it has a very long history of Italian organized crime. While we were doing that, we started thinking about our gifted anti-hero and where to set the game. It’s a very dramatic year, in a good sense. You have the black power salute at the Olympics in Mexico City. You have parts of the Civil Rights Act still being passed. King, the assassination of Bobby Kennedy after the California primary, when he probably would have won the nomination. Looking at the ‘60s, we quickly gravitated toward 1968 specifically, because it was a very tumultuous year in history. We also knew we probably wanted to set it in the ‘60s, because I think Mafia II ends around 1952.
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We knew we wanted to move the series forward in time. That helps inform who the characters are. The second game is post-war America, Vito returning from the war. One of the important ones we settled on was this notion that we take a gifted anti-hero and put them in a specific time and place in American history. One of the first things we did was look at the first two games and identify what we call pillars, the things that were important about them. I’ve been in the industry about 12 years.
Hangar 13 was founded specifically to develop Mafia III. GamesBeat: Can you tell me about your approach to this project, how you got started? Did you work on the earlier games in the series?īill Harms: No, I didn’t.
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