I really like Death Stranding. I found the story really nice and enjoyable to experience. The bond between Sam and BB is really sweet and its nice to see it develop throughout the game.
I also found the gameplay to be really enjoyable (apart from any of those damned anti-matter bombs those can go burn in hell). Overall a really nice game.
I also found the gameplay to be really enjoyable (apart from any of those damned anti-matter bombs those can go burn in hell). Overall a really nice game.
There's sporadic pieces here I really like; being a porter travelling through harsh environments sounds like a really cool video game (and in places it is), the story stuff (when it gets weird) is fun, piss grenades is a masterful concept. But it's also really really fucking boring, well beyond the inherent level you'd expect from the "postman video game" pitch. It's like its been meticulously designed to bore you to death as much as possible, with clunky menu after quick time event after dropped package after terrible boss fight after baby shake minigame. Every time a BT encounter showed up it felt like a punch line: I was just starting to relax a bit and enjoy the hike and then boom, world's shittiest stealth section, kill me.
The "postman delivering packages across harsh environments (and it's also a fun video game)" concept remains untapped, hopefully we'll get a good one before the world implodes or melts or freezes over.
The "postman delivering packages across harsh environments (and it's also a fun video game)" concept remains untapped, hopefully we'll get a good one before the world implodes or melts or freezes over.
By far one of the best games I have ever played. The ending is a bit too long in my opinion but it's a masterpiece
This review contains spoilers
An incredible story, with amazing world-building, that has fantastic characters living in it with actors that provide stunning performances for them, but, with a tiring gameplay journey. So, in technics aspects (graphics, consistency, lack of bugs, sound design, etc) this game is impeccable, can't argue with that. Story-wise, I love the storytelling, the narrative, THE PLOT, and the lore of death stranding, what shines most for me it's the characters. Each character with an incredible backstory and with an oscar-worthy performance. But, with 37 hours of gameplay, I was really tired of delivering packages. For me, the most shitty aspect of this game is that you don't feel your deliveries are necessary for the plot or for the characters, you only feel that you need to convince some stupid ass motherfuckers to like you and accept to join the network. The deliveries are the whole gameplay, it should feel like it is necessary, otherwise why the fuck am I doing this shit? Connect people it's important, but to make tiring deliveries just so people accept the connection made that journey seem pointless. And what the fuck is that part of the ending that you have to get all the way back to the east???? It looks like Kojima wants you tired on purpose, just so you feel just like Sam, a piece of shit walking up and down America. But I don't want to feel like Sam, it is a shitty feeling. But, I loved the plot aspects so overall it's a fine game.
I'm Sam
Intriguing and weird and totally unique and... Didn't quite grab me. The way Death Stranding has all these lofty ideas and musings, while also making basic things like descending a steep hill feel genuinely thrilling is super impressive. I found the contemplative wandering to be surprisingly relaxing.
But something about it just didn't hook me after six or so hours of play. While I appreciate its unique approach to multiplayer, and open world maneuvering, I think a lot of the other mechanics didn't click for me. I got bored of dodging BTs fairly early and almost wish Kojima doubled down on how Not Metal Gear this game is, by ditching all semblances of combat at all. That probably would have been a deal breaker for some people but I think this would have really shined as a strictly exploration based game.
One for the 'I Respect It, But It's Not For Me' file.
But something about it just didn't hook me after six or so hours of play. While I appreciate its unique approach to multiplayer, and open world maneuvering, I think a lot of the other mechanics didn't click for me. I got bored of dodging BTs fairly early and almost wish Kojima doubled down on how Not Metal Gear this game is, by ditching all semblances of combat at all. That probably would have been a deal breaker for some people but I think this would have really shined as a strictly exploration based game.
One for the 'I Respect It, But It's Not For Me' file.
Kojimanın yapacağı oyuna sokayım
this game gives me peace of mind and makes me connect with myself, it's like going to therapy, thank you kojima.
very stinky
Just finished the game today and man, am I happy that I decided to play it. The atmosphere in this game is amazing, Hideo Kojima is a master at developing these stories. The characters, the actors, all are perfectly chosen. Also love the fact that they decided to add some celebrities/special appearances like Junji Ito!
Still only in early game because I am 100% clearing the original release, but this game is peak
This is a goofy game about delivering packages where you manage your balance, delivery time, and equipment degradation. This was my first Kojima and I thoroughly enjoyed my time with it. I'll probably come back to get all of my steam achievements eventually if I'm ever in the mood for this chill out game.
Kojima mostra mais uma vez o pq dele ser considerado um dos maiores devs de games da história. DS nos apresenta uma história e narrativa complexa e interessante super amarrada com a sua gameplay que transborda "videogame". Ninguém faz jogo como esse cara e DS é a prova disso. Espetacular!
Wenn man so will, habe ich für Death Stranding knapp 1000€ bezahlt. Zum Release habe ich meine verhasste, weil absurd laut lüftende PS4 gegen eine nur geringfügiger leisere PS4 Pro getauscht. Leider mit einer enttäuschenden Erfahrung, denn auf meinem damals 40"-TV hat mir die sehr misslungene UI des Spiels mir jeglichen Zugang erschwert, so dass ich das Spiel dann doch recht frustriert beiseite gelegt habe.
Nun, kann 4 Jahre später, und mit einer frisch erworbenen PS5 auf einer erneut 500€ teuren neuen Hardwareplattform habe ich mich erneut in dieses Spiel hineingewagt. Und dieses Mal hat es gefunkt.
Wer eine ähnliche Erfahrung gesammelt hat wie ich: Haltet durch bis Episode 4. Wenn das Spiel euch dann immer noch nicht abholt, ist es nichts für euch. Für alle anderen geht dann der eigentliche Kern des Spiels plötzlich vollständig auf. Der mittlere Teil des Spiels, auf dem größten Abschnitt der Karte, bereitet mir einfach irre viel Freude. Insbesondere, nachdem ich in den letzten Jahren mit Snowrunner ohnehin meine Liebe zu herausfordernden und intelligenten Transport-"Simulatoren" gefunden habe, habe ich diesen Aspekt sehr genossen.
Nach und nach zeigt das Spiel alle Werkzeuge, die man nutzen kann, um die Transportaufträge zu perfektionieren. Die gute Story mag zwar verwirrend sein und man braucht hier und da dann doch ein paar Erklärungen von außerhalb, aber sie ist gleichzeitig auch in sich konsistent und bricht nicht mit ihren eigenen Regeln.
Der Community-Aspekt ist sehr interessant. Andere Spieler*innen errichten eigene Strukturen und unterstützen beim Aufbau des zentralen Straßensystems. Gleichzeitig sieht man die anderen Porter nie, sondern hinterlässt ihnen "Likes" als gegenseitige Anerkennung. Das wirkt anfangs albern, ist aber auf so vielen Ebenenen tief in das Spiel und sogar in das Narrativ integriert, dass man sich fast zwangsläufig irgendwann mit dem System anfreundet.
Auch Death Stranding ist nicht perfekt. Letztendlich ist man doch nur alleine unterwegs, sämtliche befreundete Charactere trifft man nur innerhalb geschlossenener Einrichtungen, und dann auch oft nur als Hologramm. Andere Personen, die man in der Welt antrifft, sind fast ausschließlich verfeindete Mules, die vom Spiel nur wenig Tiefe spendiert bekommen und dadurch sehr zweidimensional wirken. Die Physik der wenigen Fahrzeuge ist zweckmäßig, aber leider auch wenig glaubwürdig. Während das haptische Feedback in weiten Teilen des Spiels hervorragend über den Controller vermittelt wird (die Schneestürme!), wurde dieser Aspekt bei den Fahrzeugen anscheinend komplett vergessen.
Ich habe Bedürfnis, dieses Spiel in einem Podcast zu besprechen. So viel Innovation und frische Ideen in einem AAA-Titel habe ich lange nicht mehr erlebt.
Nun, kann 4 Jahre später, und mit einer frisch erworbenen PS5 auf einer erneut 500€ teuren neuen Hardwareplattform habe ich mich erneut in dieses Spiel hineingewagt. Und dieses Mal hat es gefunkt.
Wer eine ähnliche Erfahrung gesammelt hat wie ich: Haltet durch bis Episode 4. Wenn das Spiel euch dann immer noch nicht abholt, ist es nichts für euch. Für alle anderen geht dann der eigentliche Kern des Spiels plötzlich vollständig auf. Der mittlere Teil des Spiels, auf dem größten Abschnitt der Karte, bereitet mir einfach irre viel Freude. Insbesondere, nachdem ich in den letzten Jahren mit Snowrunner ohnehin meine Liebe zu herausfordernden und intelligenten Transport-"Simulatoren" gefunden habe, habe ich diesen Aspekt sehr genossen.
Nach und nach zeigt das Spiel alle Werkzeuge, die man nutzen kann, um die Transportaufträge zu perfektionieren. Die gute Story mag zwar verwirrend sein und man braucht hier und da dann doch ein paar Erklärungen von außerhalb, aber sie ist gleichzeitig auch in sich konsistent und bricht nicht mit ihren eigenen Regeln.
Der Community-Aspekt ist sehr interessant. Andere Spieler*innen errichten eigene Strukturen und unterstützen beim Aufbau des zentralen Straßensystems. Gleichzeitig sieht man die anderen Porter nie, sondern hinterlässt ihnen "Likes" als gegenseitige Anerkennung. Das wirkt anfangs albern, ist aber auf so vielen Ebenenen tief in das Spiel und sogar in das Narrativ integriert, dass man sich fast zwangsläufig irgendwann mit dem System anfreundet.
Auch Death Stranding ist nicht perfekt. Letztendlich ist man doch nur alleine unterwegs, sämtliche befreundete Charactere trifft man nur innerhalb geschlossenener Einrichtungen, und dann auch oft nur als Hologramm. Andere Personen, die man in der Welt antrifft, sind fast ausschließlich verfeindete Mules, die vom Spiel nur wenig Tiefe spendiert bekommen und dadurch sehr zweidimensional wirken. Die Physik der wenigen Fahrzeuge ist zweckmäßig, aber leider auch wenig glaubwürdig. Während das haptische Feedback in weiten Teilen des Spiels hervorragend über den Controller vermittelt wird (die Schneestürme!), wurde dieser Aspekt bei den Fahrzeugen anscheinend komplett vergessen.
Ich habe Bedürfnis, dieses Spiel in einem Podcast zu besprechen. So viel Innovation und frische Ideen in einem AAA-Titel habe ich lange nicht mehr erlebt.
ITS PEAK FICTION
Just did all the bonus content.
This is the second Kojima game I've beaten, apart from MGS 5. The way the narrative is over explained stops being a nuisance and begins to be a feature of the game amazes me. I was pleasantly surprised to see that everything that at first didn't make sense eventually was completely explained by the end. Not many games do that nowadays.
The gameplay cycle becomes addictive in such a way that you understand how MULEs become the way they are. Some terrain mechanics detract from the experience, particularly when it comes to vehicles, that at times seem less efficient than just walking. Also, all BT encounters are scripted and it's very easy to cheese them away once you know how to.
It was a very enjoyable experience, but after 32 hours and having beaten the game I didn't feel like I wanted to continue making deliveries. I had seen most of what the game wanted to show me.
The gameplay cycle becomes addictive in such a way that you understand how MULEs become the way they are. Some terrain mechanics detract from the experience, particularly when it comes to vehicles, that at times seem less efficient than just walking. Also, all BT encounters are scripted and it's very easy to cheese them away once you know how to.
It was a very enjoyable experience, but after 32 hours and having beaten the game I didn't feel like I wanted to continue making deliveries. I had seen most of what the game wanted to show me.
Un camino solo de ida, una mecánica única y una moraleja en que el tiempo que vivimos es finito. Hideo Kojima vuelve a poner patas arriba el sector de los videojuegos, el cómo se juegan y se sienten los videojuegos
i didnt finish it yet but its a good game, very enjoyable, the music is cool, the concept is amazing, gameplay is really cool kinda repetitive but i like it
Played the first 5 or so hours of this and enjoyed what I played. Will probably wait until closer to the second game's release and try to play through this again.
what an experience man
you’ll quickly realize wether you enjoy the gameplay or not but to my surprise i really enjoyed delivering and getting new tools to use every time a star was filled
story takes a bit considering everything is vague but once dots start connecting you can’t help but appreciate what kojima is doing in terms of innovating the way we experience stories/gameplay in this medium
you’ll quickly realize wether you enjoy the gameplay or not but to my surprise i really enjoyed delivering and getting new tools to use every time a star was filled
story takes a bit considering everything is vague but once dots start connecting you can’t help but appreciate what kojima is doing in terms of innovating the way we experience stories/gameplay in this medium
This review contains spoilers
DEATH STRANDING HAD ME IN THE FIRST HALF
I kind of never wanted to play this game, though I knew I had to at some point. So when I saw it was free on my PS Plus Extra account, I decided to take the dive.
I will now say two things: This game really took me by surprise. It is unfortunate that I played it soon after Citizen Sleeper.
Honestly, the gameplay is novel and pretty damn fun. At first I wasn't sure. The world felt empty and I had very few tools at my disposal for traversal. But the moment I connected my first settlement to the Chiral Network and saw other player's bridges helpfully scattered about the weirdly Icelandic tundra, I realized what was going on.
Death Stranding (I will not use "DS" because that is Dark Souls) perhaps does the whole "getting help from online players" thing better than any other game to date. The game DOES get a bit easier once you unlock player structures in each region. However, they do a fine job of only giving you the foundations for, say, a zip-line route. You typically have to finish the job yourself.
Quick note: I really like how much emphasis is placed on "just being able to walk and not let Norman Reedus eat shit". It's kinetic and honestly going to be hard to not feel that tactile traversal in other games.
Death Stranding is weird, sure. It's abstract and bonkers. I got to play as a post-apocalypse UPS/Ice Road Trucker tasked with delivering fine wines to a cosplayer, all the while trying to not get my cheeks clapped by gunk ghosts and package addicts (yes, the "bandits" in this game are ex-UPS drivers that have lost their minds and are now addicted to delivering packages). It's only made better that I get to do all this as Norman Reedus, an actor I really admire.
The loop of delivering packages and refining your routes with the tools given to you is surprisingly fun. It was the type of gameplay where I could play casually while listening to a podcast or YouTube video essay. They also do a nice job with rewards. I always felt like I was going to get something nice, whether it be a cosmetic or some new tech that I could add to my arsenal. There were shit grenades, Yoshi's tongue guns, package canons, and much more.
Die-Hardman, Deadman, Fragile, Higgs (after the Higgs particle)... all of these wonderfully hilarious names add to the experience in a delightfully stupid but fun way. The performances are exceptional.
In general, the early to mid-game Kojima antics are pretty amusing. The story excels when it perfectly balances both being intensely dramatic and then immediately after taking the piss out of the situation by doing something supremely silly. It's camp, and I fucking love me some good camp.
I'm reminded of a scene where Heartman is in the middle of explaining some of his traumatic back-story before falling dead onto his "hurt-proof" flooring (don't worry, this just kind of happens to him every 21 minutes). Norman Reedus then awkwardly turns to leave. And then out of nowhere, he spins around and does a record scratch on the man's fucking phonograph, which is playing Mozart's "Requiem". You immediately get a notification on your screen that says "Heartman retracted -20 likes (a sort of abstract measurement of how much you've helped people in the game). Norman Reedus leaves. The camera pans down to the literally dead Heartman. He has a thumbs up. You get a new notification: "20 likes received from Heartman". What a good guy.
I love that shit. It's fun. It makes the story engaging and endearing. It takes itself seriously, but also knows when to be fun and silly so as not to fall into what I call "Nolan Syndrome". Essentially, being so self-serious and concerned with "philosophical probing" that you lose anything engaging.
When I very much DO NOT like this approach is when it concerns female characters in dire situations where the camera just kind of decides to wander towards their ass (Kojima is very bad about this).
And as a far as the "building connections with people" thing goes...well I will once again say that it is unfortunate that I played Citizen Sleeper just before. The connections you make in this game happen in linear cutscenes and your private emails. Don't get me wrong, it's solid. But in a game that feels it has to tell you over, and over, and over, and over again that making connections with people is important...well Citizen Sleeper executed that theme by stating it once at the beginning and then letting the player experience it by interacting with the incredibly layered and numerous character storylines. The best you get in Death Stranding is some holograms of people that have some quirky storylines and a main supporting cast that rely on overly-serious traumatic backstories to make you feel for them (even though I still love some of them; notably Deadman--"I'm a Frankenstein's Monster!").
Unfortunately, the last quarter of the game or so is just an absolute fucking mess. I can live with the story getting "funky with it". But Kojima leaves behind the camp entirely and instead we get what seems like hours of expository dialogue on what the death stranding is, extremely self-serious character moments that don't land, and contradictory plot developments.
I absolute could not understand why Norman Reedus was so ready to forgive Amelie/Bridget, but refused to show any warmth towards Die-Hardman. Like Norm, "Bridget* was the one running the BB experiments. She was one that killed "baby you" and your Mads dad. And then his bit with Fragile soon after where he's like "Fuck you, I haven't had a character arc at all, leave me alone." What? You literally just hugged Deadman and made intense progress as a human being. Kojima just can't help himself but ruin a great thing he had going. This has been a running tragedy since Metal Gear Solid 3 and he absolutely needs to be put in his place for it (by an editor).
I checked out after that moment with Fragile. The game ended over an hour ago and I was still getting endless exposition. I only had one more mission but I just couldn't be bothered. So I watched the last cutscenes (when you take BB to the incinerator) on YouTube. There was nothing profound that I missed. Just needless explanatory cutscenes of things that were much more interesting when they were left for us as players to decipher.
Also, I don't really like babies. So that whole bit was totally lost on me emotionally. In fact, the BB probably scared me more than all of the tar monsters combined.
As a final note, the end credits (which hilariously occur like an hour or more before the game is actually over) was unbearable. Sprinting aimlessly around Sam's beach before sitting down and getting EVEN FUCKING MORE expository bullshit that I already pieced together...it was truly hell. I just totally checked out. And it made me sad. The rest of the game was so delightful and fresh. But the "credits" really left a bad taste in my mouth. Kojima is a divine game-designer, and a wonderful "idea guy". But his pacing and execution are huge weaknesses. And those are both "kind of a big deal" when one of the main draws of your game is its story.
But god damn is it fucking hilarious that, after stealth killing a BT, you get a notification that says "BT gave you 1 like".
I kind of never wanted to play this game, though I knew I had to at some point. So when I saw it was free on my PS Plus Extra account, I decided to take the dive.
I will now say two things: This game really took me by surprise. It is unfortunate that I played it soon after Citizen Sleeper.
Honestly, the gameplay is novel and pretty damn fun. At first I wasn't sure. The world felt empty and I had very few tools at my disposal for traversal. But the moment I connected my first settlement to the Chiral Network and saw other player's bridges helpfully scattered about the weirdly Icelandic tundra, I realized what was going on.
Death Stranding (I will not use "DS" because that is Dark Souls) perhaps does the whole "getting help from online players" thing better than any other game to date. The game DOES get a bit easier once you unlock player structures in each region. However, they do a fine job of only giving you the foundations for, say, a zip-line route. You typically have to finish the job yourself.
Quick note: I really like how much emphasis is placed on "just being able to walk and not let Norman Reedus eat shit". It's kinetic and honestly going to be hard to not feel that tactile traversal in other games.
Death Stranding is weird, sure. It's abstract and bonkers. I got to play as a post-apocalypse UPS/Ice Road Trucker tasked with delivering fine wines to a cosplayer, all the while trying to not get my cheeks clapped by gunk ghosts and package addicts (yes, the "bandits" in this game are ex-UPS drivers that have lost their minds and are now addicted to delivering packages). It's only made better that I get to do all this as Norman Reedus, an actor I really admire.
The loop of delivering packages and refining your routes with the tools given to you is surprisingly fun. It was the type of gameplay where I could play casually while listening to a podcast or YouTube video essay. They also do a nice job with rewards. I always felt like I was going to get something nice, whether it be a cosmetic or some new tech that I could add to my arsenal. There were shit grenades, Yoshi's tongue guns, package canons, and much more.
Die-Hardman, Deadman, Fragile, Higgs (after the Higgs particle)... all of these wonderfully hilarious names add to the experience in a delightfully stupid but fun way. The performances are exceptional.
In general, the early to mid-game Kojima antics are pretty amusing. The story excels when it perfectly balances both being intensely dramatic and then immediately after taking the piss out of the situation by doing something supremely silly. It's camp, and I fucking love me some good camp.
I'm reminded of a scene where Heartman is in the middle of explaining some of his traumatic back-story before falling dead onto his "hurt-proof" flooring (don't worry, this just kind of happens to him every 21 minutes). Norman Reedus then awkwardly turns to leave. And then out of nowhere, he spins around and does a record scratch on the man's fucking phonograph, which is playing Mozart's "Requiem". You immediately get a notification on your screen that says "Heartman retracted -20 likes (a sort of abstract measurement of how much you've helped people in the game). Norman Reedus leaves. The camera pans down to the literally dead Heartman. He has a thumbs up. You get a new notification: "20 likes received from Heartman". What a good guy.
I love that shit. It's fun. It makes the story engaging and endearing. It takes itself seriously, but also knows when to be fun and silly so as not to fall into what I call "Nolan Syndrome". Essentially, being so self-serious and concerned with "philosophical probing" that you lose anything engaging.
When I very much DO NOT like this approach is when it concerns female characters in dire situations where the camera just kind of decides to wander towards their ass (Kojima is very bad about this).
And as a far as the "building connections with people" thing goes...well I will once again say that it is unfortunate that I played Citizen Sleeper just before. The connections you make in this game happen in linear cutscenes and your private emails. Don't get me wrong, it's solid. But in a game that feels it has to tell you over, and over, and over, and over again that making connections with people is important...well Citizen Sleeper executed that theme by stating it once at the beginning and then letting the player experience it by interacting with the incredibly layered and numerous character storylines. The best you get in Death Stranding is some holograms of people that have some quirky storylines and a main supporting cast that rely on overly-serious traumatic backstories to make you feel for them (even though I still love some of them; notably Deadman--"I'm a Frankenstein's Monster!").
Unfortunately, the last quarter of the game or so is just an absolute fucking mess. I can live with the story getting "funky with it". But Kojima leaves behind the camp entirely and instead we get what seems like hours of expository dialogue on what the death stranding is, extremely self-serious character moments that don't land, and contradictory plot developments.
I absolute could not understand why Norman Reedus was so ready to forgive Amelie/Bridget, but refused to show any warmth towards Die-Hardman. Like Norm, "Bridget* was the one running the BB experiments. She was one that killed "baby you" and your Mads dad. And then his bit with Fragile soon after where he's like "Fuck you, I haven't had a character arc at all, leave me alone." What? You literally just hugged Deadman and made intense progress as a human being. Kojima just can't help himself but ruin a great thing he had going. This has been a running tragedy since Metal Gear Solid 3 and he absolutely needs to be put in his place for it (by an editor).
I checked out after that moment with Fragile. The game ended over an hour ago and I was still getting endless exposition. I only had one more mission but I just couldn't be bothered. So I watched the last cutscenes (when you take BB to the incinerator) on YouTube. There was nothing profound that I missed. Just needless explanatory cutscenes of things that were much more interesting when they were left for us as players to decipher.
Also, I don't really like babies. So that whole bit was totally lost on me emotionally. In fact, the BB probably scared me more than all of the tar monsters combined.
As a final note, the end credits (which hilariously occur like an hour or more before the game is actually over) was unbearable. Sprinting aimlessly around Sam's beach before sitting down and getting EVEN FUCKING MORE expository bullshit that I already pieced together...it was truly hell. I just totally checked out. And it made me sad. The rest of the game was so delightful and fresh. But the "credits" really left a bad taste in my mouth. Kojima is a divine game-designer, and a wonderful "idea guy". But his pacing and execution are huge weaknesses. And those are both "kind of a big deal" when one of the main draws of your game is its story.
But god damn is it fucking hilarious that, after stealth killing a BT, you get a notification that says "BT gave you 1 like".
Having played the Standard Edition on Steam, this version has great QoL additions, but runs worse than the Standard Edition in my experience. Other than that I see no reason to not get the Director's Cut.
Pretty cool game, the gameplay is extremely solid and the story is very weird and confusing but still pretty cool
This game is currently in the Humble Choice for April 2023, and this is part of my coverage of the bundle. If you are interested in the game and it's before May 2nd, 2023, consider picking up the game as part of the current monthly bundle.
A true walking simulator.
Hideo Kojima is probably best known for Metal Gear Solid. After Leaving Konami he created Death Stranding, a brand-new and strange game. A few years after that he released the Director’s Cut which has a decent amount of new content, including new missions, cutscenes, abilities, and areas. Death Stranding is a unique game telling a Kojima-tier story about a post-apocalyptic world.
It’s hard to explain why the game is good without explaining the story, and that story is filled with important secrets, so this is a game to tackle a bit blind On the other hand the gameplay is a mixture of exploration and walking which probably will sound odd but is strangely compelling
There are two issues I feel are important for Death Stranding. The first is that while there are tons of different things to do, the core of the game is getting from point A to B, and many people complained about the lack of combat in the game. The other is that while this has a great crazy Kojima-tier story, the story and gameplay often feel disjointed, almost like they could have come from different games. But if you enjoy both it won’t be as big of an issue.
Pick this up if you want the usual Kojima insanity, this man tells stories that are unique and oftentimes brilliant but also challenging and they will take a lot of thought. If you ever find yourself wanting to go for a long beautiful walk, Death Stranding will be there for you as well. But I’ll also be honest if it wasn’t for Kojima’s name, I don’t think this game would have sold as well. Even with all that, I still heavily enjoy this title, but it’s not going to be for everyone.
If you enjoyed this review or want to know what I think of other games in the bundle, check out the full review on or subscribe to my Youtube channel: https://youtu.be/NoQjv8lnYiY
A true walking simulator.
Hideo Kojima is probably best known for Metal Gear Solid. After Leaving Konami he created Death Stranding, a brand-new and strange game. A few years after that he released the Director’s Cut which has a decent amount of new content, including new missions, cutscenes, abilities, and areas. Death Stranding is a unique game telling a Kojima-tier story about a post-apocalyptic world.
It’s hard to explain why the game is good without explaining the story, and that story is filled with important secrets, so this is a game to tackle a bit blind On the other hand the gameplay is a mixture of exploration and walking which probably will sound odd but is strangely compelling
There are two issues I feel are important for Death Stranding. The first is that while there are tons of different things to do, the core of the game is getting from point A to B, and many people complained about the lack of combat in the game. The other is that while this has a great crazy Kojima-tier story, the story and gameplay often feel disjointed, almost like they could have come from different games. But if you enjoy both it won’t be as big of an issue.
Pick this up if you want the usual Kojima insanity, this man tells stories that are unique and oftentimes brilliant but also challenging and they will take a lot of thought. If you ever find yourself wanting to go for a long beautiful walk, Death Stranding will be there for you as well. But I’ll also be honest if it wasn’t for Kojima’s name, I don’t think this game would have sold as well. Even with all that, I still heavily enjoy this title, but it’s not going to be for everyone.
If you enjoyed this review or want to know what I think of other games in the bundle, check out the full review on or subscribe to my Youtube channel: https://youtu.be/NoQjv8lnYiY
Melhor jogo da gen
I've never hated a game I love so much. So frustrating. So great.
I am BB, and you are too… No; BB is the two of us. Together. The Death Stranding? We connected it.
J’ai chialé perso mais c’est pas une compét
skip all the cutscenes and i think this might be a masterpiece, honestly.