As we approach 2020, it’s fitting to close out the decade with a Hideo Kojima game. Since its debut trailer back at E3 2016, Death Stranding has been a work shrouded in mystery; with the public analyzing each trailer and tidbit coming from the mouth of Kojima, much of the game’s hype has been surrounding what it actually entails. Kojima is one of those brilliant minds that has always sought to defy boundaries, innovate, and to encourage forward-thinking ideology in his art.

Through his work with the Metal Gear series, Kojima has crafted games that have not only broken the fourth wall at times, but elevated our understanding of how artists can utilize a given medium. Along with these qualities, his stories have always been prolific. From the horrors of war, to foreseeing the potential issues of vast interconnectivity via the internet, Kojima has always been one for thoughtful storytelling.

It has been three years since that initial trailer, and now that Death Stranding is in our hands, how does it stand as a game?

The world of Death Stranding takes place in a post-apocalyptic America torn apart by the “Death Stranding;” this cataclysmic event breached the barrier between life and death, inviting ominous beings known as “BTs” into our world (also known as “Beached Things”). Along with the presence of “Timefall”, a supernatural rain that speeds up the growth of anything it touches, America has become isolated. Now known as the “UCA” (United Cities of America), the country is a desolate wasteland, full of these otherworldly beings, terrorists, and lonely people.

As Sam Porter Bridges (Norman Reedus), it is your job to reconnect America. At first Sam is reluctant to do what is asked of him; however, one event leads to another, guiding him from America’s east coast to its west coast. After this initial premise is provided to the player, the game takes a decent chunk of time to establish its mechanics and story. Roughly the first two hours of the game are a drag, offering little that is new to the plot outside of what we’ve seen from trailers. It is once you make it to “Chapter 3” that the story begins to pick up. 

Among his works, Death Stranding is by far Kojima’s most cerebral and convoluted game. Without getting into spoilers, plot details become more out there as the story progresses. Especially throughout the later chapters, Death Stranding begins to throw a lot at the player. With so much to juggle in regards to context and philosophical ideas, it may take reading up on a few details to have a full understanding. That said, the overall story provides awesome intellectual depth, while also including plenty of adrenaline-fueled moments. 

The cast of Death Stranding makes for a hit or miss. Sam is a dull protagonist, offering little substance. Die-Hardman (Tommie Earl Jenkins) and Deadman (likeness of Guillermo del Toro and voiced by Jesse Corti) start out as exposition dumps, the former making more of an impact on the story in later chapters. While she makes a brief appearance as Bridget Strand, Lindsey Wagner’s Amelie (voiced by Emily O’Brien) brings a good deal of mystery to the story.

The most emotionally interesting characters are that of Heartman (likeness of Nicholas Winding Refn and voiced by Darren Jacobs), Mama (Margaret Qualley), and Fragile (Léa Seydoux). Every character has a story behind their name, with said story involving a tragedy; the aforementioned three not only come with the most emotionally rich backgrounds, but said stories also add to the game’s themes.

The villains are some of the weaker members of Death Stranding’s cast. Cliff (Mads Mikkelsen) thankfully develops overtime and offers more to the narrative; it is Troy Baker’s Higgs that comes across as bland. Higgs can be boiled down to a “bad guy who just wants to do bad things.” Even though Baker’s performance is eccentric, he doesn’t provide anything for the player to latch onto. Ironically, Higgs and Heartman are the most “Kojima” characters in the game, each breaking the fourth wall at certain times.

On a graphical level, Death Stranding is stunning; this may easily be the best looking game environment there has ever been. From the grass to the rocks, to the water and even the mud, the game is delightful to look upon. Moving about the environment genuinely feels as if one is walking through a photograph. But with all this lovely world design, what does one actually do in Death Stranding? How exactly will Sam and the player “reconnect America?” 

By delivering packages. 

Well before its release, many have wondered what the gameplay of Death Stranding would actually involve. Is it another stealth-action game like Kojima’s Metal Gear entries? While there are moments involving action and some gun play, the blunt answer to that is no.

In the beginning of Death Stranding Sam learns of the Chiral Network; a “super internet” of sorts that will allow all the isolated settlements of America to unify. To set up the Chiral Network, Sam needs to travel to each individual location, bringing supplies along with him and establish a connection. This is the type of engagement one can expect for the majority of gameplay.

At each terminal, Sam is able to take on a variety of deliveries. Some of these deliveries progress the plot, while others act as side quests. The orders Sam will be traveling with involve items such as raw materials, medicine, weapons, and more. There is a cargo management system that helps players organize all the goods they are carrying with them. While the system is a little overwhelming at first, it becomes more understanding with each use. Each item the player adds to Sam’s load comes with weight; this weight will impact Sam’s ability to walk, run, and jump, so the player must be mindful of how much they have Sam take on. Each delivery also ends with a grading system, allowing the player to see how well they did in delivering said item(s), while also allowing further access to new tools they can use.

“Walking simulator” has become somewhat of a dirty word in the gaming world – but it’s also a term that can genuinely describe the gameplay of Death Stranding. If Sam is to travel by foot, which may happen quite often unless a mode of transportation is available, they’ll have to learn to keep their balance. If the player has a lot of packages on Sam, traveling requires juggling the R2 and L2 buttons, or even holding them both down for long periods of time to maintain balance. The game’s physics captures a duality that is both impressive and stressful as hell. The realistic nature of Sam carrying cargo and shifting his body to compensate for the weight is neat; on the other hand, it’s irritating to see Sam struggle over small obstacles that don’t appear that strenuous. Carrying cargo can be an ordeal; along with falling and damaging goods, the player has to watch out for Timefall. Thankfully there are means to repair packages if need be. 

How one plans their travels is also essential. Taking the wrong inventory can add to the stress of deliveries. There was one case where I had plenty of ladders and ropes on me, but ended up getting screwed over by not having any extra boots available. Walking long enough deteriorates worn boots, causing Sam’s feet to bleed, resulting in blood loss and slowing him down. During travels, it is important to be mindful of blood levels and stamina; the former can be treated with blood packs, while the latter can be treated with… Monster Energy drinks. This is a Kojima game of course, so there’s plenty of quirkiness to be found.

Such quirkiness can be found in Sam’s “Private Rooms.” These are rooms found at various terminals where Sam can rest, read about the game’s lore, and go to the bathroom. The rooms not only allow for rest, but also provide Kojima a means to goof around with the player. Want to take a look at the toys Sam has on his shelf? Press a button and he’ll come up to your face and point to said shelf. When Sam goes to the bathroom, you can also catch an ad for Norman Reedus’ TV show Ride With Norman Reedus. These sections make for a fun pause from Sam and the player’s intense journey.

As one progresses through Death Stranding, they will gain a stronger understanding of how to better prepare Sam for long trips. “Chiral Printing” allows for Sam to build a variety of tools. From crafting ropes and boots, to building bridges in the world, Chiral Printing can allow for much more convenient travels.

Where all these elements hit Death Stranding the worst is in its pacing. By all means, each of these mechanics function as they are supposed to throughout the game; the issue is that if the player makes the wrong slip (e.g. takes the wrong combination of items), then deliveries can be brutally dreadful. With the game’s physics and the world’s terrain, if one were to pack unwisely, they could find themselves walking Sam from one point to another for a decent twenty minutes in real time. And while the concept of walking may appear simple, it doesn’t help that Death Stranding’s world is barren. It may be stunning, but it’s possible for the visuals to wear off on the player after extended periods of time attempting to push the story forward.

To be fair, however, when one does have a moment to relax, there is a meditative quality to all that walking. Unless the player is on a time-sensitive order, it’s worth slowing down. With Sam on his own, there’s a sincere hermetic way of life. But then again, Sam isn’t really on his own, is he?

Accompanying Sam is BB (his “Bridge Baby”). In Death Stranding, BBs are premature children who have a connection between life and death. Throughout the game, the player may be required to provide support for BB; if BB begins to cry, one can rock it into relaxation. For a journey that feels so isolating, BB can be a comforting companion.

BB is also Sam and the player’s means of detecting BTs. A sensor on Sam’s shoulder, powered by BB, will light up and intensify when BTs are present. Said sensor can also provide Sam a means to plan out safe walking routes. In the beginning of the game there is no direct way to confront the BTs; the player needs to crouch down, move slowly, and hold their breath at times to sneak by them. Later on, weapons made of Sam’s blood, urine, and excrement (yep that’s a thing), become available to use against them. 

The stealth sections are intense, creating a superb element of suspense and tension. If Sam is to be captured by the BTs, it triggers a miniboss fight of sorts; these encounters involve bigger BTs that take on the form of Lovecraftian-like sea creatures and other beasts. While these are exhilarating at first, the thrills die off after a few encounters. It’s the same issue that some of the boss fights share – the manner in which these greater beings are handled is quite simple, requiring minimal effort to take down.

Along with BTs there are human enemies. MULEs are corrupt individuals who seek to attack those out in the open and steal cargo. One can outrun them or take them down in non-lethal or lethal manners. Unless the player wants to take a chance, it is better to take them down in a non-lethal way; this is because killing a person in Death Stranding may not only generate a new BT, but through necrosis, they can create a “void out.” This is a nuclear-like blast that will decimate the area, destroying any established structures. It’s an intriguing dynamic that encourages the player to stray away from violence, promoting for a different type of approach we don’t see much in AAA games.

It’s fair to say that a large portion of Death Stranding’s gameplay is far different compared to the majority of AAA games. Even in his past Metal Gear works, Kojima always provided players with the chance to approach his games differently. Whereas Konami wanted an action game, Kojima presented a stealth driven adventure. Where a game may include grenades and missiles, Kojima includes tranquilizers to use instead. Throughout his work, he has always presented a path for gamers that stays away from the conventional violence we are all too familiar with in games. With Death Stranding, not only does he build upon his philosophy of non-violence, he expands upon what it means for gamers to connect. 

For this part of the review, I think it is essential to speak further into my experience, as it reflects an understanding of what Kojima is striving for among players.

As I was playing Death Stranding in its beginning chapters, I kept waiting for the narrative to dive further into its themes of reconnecting America. With an understanding that this game was semi inspired by the actions of Trump and Brexit, I kept waiting for the characters and story to reflect how my actions were rebuilding the world and unifying everyone. But I wasn’t seeing much. NPCs would tell me they were happy with a package and glad to be part of the Chiral Network, but I didn’t see any changes outside of the ability to build items in more places. It was so much telling rather than showing. Because of the lore, I could understand why the world was devoid of interaction; however, for such heavy themes, I was expecting to witness and feel a part of this unity. 

At one point I found myself in a valley looking up at a brutal rock wall I wanted to get over. The wall didn’t provide a means to climb up on my own. Overwhelmed, I began thinking I would have to walk around the entire valley to get to where I needed to be – but then I saw a rope. As I approached the rope, I saw a name, one I did not recognize. It occurred to me that that this was a rope left by another player, and I realized right then and there where my efforts in the game mattered.

Throughout my own travels, I had left ropes and ladders in different parts of America; when you come into contact with these items, the game allows you to leave a “like” for the player who left said item. This mechanic is very much in the realm of likes utilized on social media. These likes have no intrinsic value within the game, but they are a gesture that the player can perform. At times I would see a mentioning on my screen where a different user “liked” one of the tools I had left behind. What was a difficult path for me at first was now an easier trip for them because of the work I had done (a satisfaction I had discovered with that rope in the valley).

In literature, film, and video games, characters and the plot express themes to us. We come to understand a message or concept because a character has realized it, or because something has been shown to the audience. But with Death Stranding, its themes are expressed through us, the players. 

In a hyper-connected sense (similar to Dark Souls or even like Minecraft), what we do in the world of Death Stranding impacts other players involved. We help make each other’s journeys easier. What began as frustration for me, expecting more from the plot, slowly began to evolve into a revelation – Kojima is having players act out the themes of his story. The game’s message is only present to us the more we help others. This creative approach is by far one of the most compelling elements of Death Stranding. Utilizing the medium of gaming, Kojima has expanded upon what it means to interact with one another.

Many games utilize cooperative play, but in the world of Death Stranding, cooperative play means so much more. In the context of popular gaming, in a world full of competitiveness, this may be one of the most sincere forms of helping one another ever portrayed in video games. With the game’s large scale, it’s impressive to see this much player interaction. Engagement also extends in how each player can leave emoji-like signs throughout the world; whether it’s a cheerleader to represent encouragement, or an arrow to help point someone in the right direction, signs make for an additional means for players to connect.

Along with its themes of connectivity, Death Stranding also explores some fascinating concepts surrounding death. Throughout the game, characters reference the “Beach,” a space that is the middle ground between life and death. Sam is known as a “Repatriate,” an individual who can return from the Beach upon death. When the player dies, they swim in a body of water, searching for a specific location to revive. From there, they bring Sam back to a location near the place of his death. The way Death Stranding tackles and speaks to death makes for a philosophical rush, providing additional intrigue to the experience.

With its “like system,” there are also some interesting approaches to critiquing social media use. Some characters wear masks and a lot of the NPCs appear to Sam as holograms, rather than come to him face to face. It’s an interesting dynamic surrounding the connectivity theme outside of player interaction. It’s funny in a sense how the game involves connecting others with a “super internet,” yet has such limited person to person interaction with the NPCs.

But with all these fascinating themes, connectivity, and game mechanics, does Death Stranding prove itself to be a satisfying gaming experience? Does it keep the player engaged? Well, that depends if you are open to something different and comfortable giving the experience time to develop.

For those wanting another Metal Gear or something fast and action-heavy, Death Stranding is going to be a total bore. And to be fair, the game can be brutally tedious; long stretches of time can be utterly boring. This is a game that is not meant to present you moment to moment adrenaline. It certainly delivers some moments of action, but this is a different kind of game. 

We all have collective expectations of our mainstream media – Marvel movies follow guidelines, our video games are meant to be pumped with action. It is understandable why an experience like Death Stranding may be difficult to get on board with right away. While the themes and story are intriguing, the gameplay is what may turn people away from it. For those who appreciate a slow experience with a beautiful atmosphere, Death Stranding has them covered.

I think there’s so much to digest, as well as being too early on, to have a conversation regarding whether or not Death Stranding is a “Hideo Kojima masterpiece.” I do see the potential for this game to receive greater understanding and respect over time. It is a stepping stone in what could become of gaming – what may come of this form of online connectivity? 

Death Stranding is not going to be for everyone – but for those players who take the time to walk the game’s immense land, there is something special to be found. There is something moving about people coming together all around the world to help others through a game; to come together and be part of one whole journey. 

Death Stranding is as thoughtful and meditative as it is a slog and convoluted. It is a different take on gaming that most of us gamers are not used to. It is a Hideo Kojima title where in-game actions provide a sense of emotional joy for players. Death Stranding, for all its depth and struggle, is a beautiful step forward for video games, and a potential taste of what the future may bring.

Death Stranding review copy provided by the author.

Death Stranding is out now on PS4, and on PC Summer 2020.