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00:10So we looked at New Orleans
00:12and figured out what were the things that people
00:13remember of those locations and
00:15the landmarks, the points of interest,
00:18the culture, and we wanted to bring that to our
00:20version of it, but we didn't want to be
00:22confined to the real
00:23lay of the land. We wanted to be able to
00:25bring things that make games exciting.
00:28So the thing about making 1968 authentic
00:30for New Bordeaux is not just
00:32what happened in 1968,
00:34but everything that preceded 1968.
00:36For example, when you're listening to the radio,
00:37hearing everything from the 1960s, the 1950s,
00:40the 1940s, the same can be said for the
00:41architecture of the world as well. You're dealing
00:44with things that have existed for
00:45the past century. So with this historical
00:48context of what happens in New Orleans
00:50and what happens in our version in New Bordeaux,
00:52we are able to weave
00:54that into the background history of each
00:56neighborhood that the player is going to encounter.
00:58New Orleans is an old city. There's stuff from the
01:00turn of the century to the 20s and 30s.
01:02You know, that's scattered around and
01:04people may not be aware of all of that stuff.
01:05We structure the city in a way that has you
01:08going out into these areas that are very, very
01:10unique, but then always in the
01:12flow of the game is driving you back
01:14through things that are more familiar and
01:16more accessible to the new player.
01:17What we're trying to do with the city is present
01:19this facade of
01:20this is New Bordeaux in 1960s
01:23and this is how it feels for the
01:25people that live there. And then the moment you
01:27turn down the wrong street, you see what
01:29the Mafia has done to the city and the
01:31reality of that. In Mafia 3 we
01:33wanted to really make sure that we were
01:35offering players a truly open world,
01:37that this is actually full of life, and by
01:39using all of these systems instead of trying to script
01:41it or hand do every single thing,
01:43we're using these hand done scenes
01:45and then employing them in a systemic
01:47way to kind of make sure that every
01:49player is seeing something different, and even
01:51a given player is seeing something different when they
01:52go to Canal Street the first time, and the
01:55third time, and the seventeenth time, because
01:57you know it's a big open world game and you're going to be
01:58going back and forth across the city, so we want to
02:01make sure that it always feels alive
02:03and present and different every time that
02:05you're seeing an area. Our protagonist
02:07is a black man and a Vietnam War veteran
02:09in the deep south in the 1960s.
02:10The combination of our character and our setting
02:12is going to inform everything the player experiences
02:15from high speed car chases to
02:16what happens when they walk into a convenience store.
02:19So right away that tells you that the
02:20relationship between the player character and the game world
02:22is going to be unlike anything realized to date
02:24in an open world game.
02:40Hopefully we're on these game mode.
02:41We've won the same boat also.
