Death Stranding 2 Is Kojima’s Safest Sequel (And That’s Fine)

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It’s challenging for contemporary gamers, who can easily find spoilers at any moment, to understand the impact of playing as Raiden in Metal Gear Solid 2: Sons of Liberty, as they didn’t anticipate that Solid Snake, the series’ main character, would only appear briefly at the start. For new players, it seemed like Snake would be the central figure in MGS2. The surprise was significant when a new, unknown character with distinctive early 2000s hair appeared instead, taking on the role of mentor for most of the game.

Among the most renowned, if not arguably the most, well-known bait-and-switches in gaming lore, and a clear demonstration of Hideo Kojima’s knack for altering sequels, is an established fact. However, Death Stranding 2: On the Beach deviates from this trend. Unlike its predecessor, it doesn’t reinvent the wheel but rather expands upon the foundation laid by the 2019 series premiere. There are no shocking plot twists or dramatic overhauls to be found here. This might disappoint some given Kojima’s reputation for surprise elements, but it’s a complex facet of an intricate game.

In a distinctive twist, Hideo Kojima’s most prominent games have earned their fame by being remarkably diverse from each other, and this is particularly evident within the Metal Gear series. The pioneering _Metal Gear Solid_ revolutionized the previously 2D series, introducing voice acting, a more intricate storyline, and a fresh perspective. _Metal Gear Solid 3: Snake Eater_ transported the franchise to the 1960s, starring Naked Snake, intensified survival-based gameplay, and was predominantly set in jungles. _Metal Gear Solid 4: Guns of the Patriots_ advanced Snake’s age, overhauled the control system, and marked the first instance of accurate lip-syncing within the series. _Metal Gear Solid V: Ground Zeroes_ and _The Phantom Pain_ featured modular missions that accentuated player choice and were set in more expansive worlds, with the latter introducing yet another new protagonist.

Each Metal Gear game stands alone, avoiding complacency, which is why you won’t find a universal consensus on the best one. Some are deeply drawn to the straightforward and compelling storyline in MGS3, while others appreciate the absurdity of MGS2. Still, others value the seamless controls and open-ended mission design in MGSV. Despite the thematic continuity across all games, whether it’s stealth gameplay or exploring war’s dark side, each title offers a distinct gaming experience.

One method of rephrasing in a natural and easy-to-understand manner: Metal Gear’s unique approach between its entries was instrumental to its success, but Death Stranding 2 may not share that same defining feature. Players continue to control Sam Porter Bridges throughout the game, traversing barren landscapes from hideout to hideout, carrying a backpack laden with various items as they endeavor to connect everyone within the Chiral Network.

In Death Stranding 2, you’ll find an assortment of gadgets designed to make your journey smoother, some of which are brand new and exciting, while others are familiar from the previous game. Familiarity with these tools can soften the ruggedness that made the original appealing, though. The intricate yet refined HUD has been simplified, but it retains much of its original design and sound effects. There’s a greater emphasis on combat, but it doesn’t seem to have been significantly improved over the somewhat cumbersome gunplay in the first game. Visually and conceptually, Death Stranding 2 is remarkably similar to the original game.

In a departure from the norm, Death Stranding 2 appears to break the traditional agreement established in Kojima-led games, which often surprise players by subverting their expectations. A conventional sequel like Death Stranding 2 misses out on that unique element and consequently lacks the distinctive, almost always present, magic that has been a hallmark of games developed by Kojima’s team. The tagline “We should not have connected” which suggested a radical departure was only superficially addressed in the game, appearing more as a catchy marketing phrase left over from Kojima’s daring and intriguing initial concept for this sequel. Despite hinting at an unexpected direction in the final moments of the game, it seems that this sequel reserves such deviation for setting up potential future gaming or cinematic projects rather than exploring it within the game itself.

Choosing to proceed with sequels that iterate upon their predecessors mirrors the approach taken by numerous contemporary follow-ups. Games like God of War Ragnarok, Horizon Forbidden West, Star Wars Jedi: Survivor, and Assassin’s Creed Shadows are merely a few examples of recently released big sequels that choose to expand upon what came before, rather than straying too far from familiar territory. These games often include upgrades but tend to stick within the parameters of audience expectations, indicating the caution publishers generally exercise and the fact that many development teams aren’t granted opportunities for such significant enhancements in their second attempts.

Sequels have consistently emphasized this aspect over time, with the trend becoming increasingly noticeable as technology has advanced. It’s challenging not to attribute this evolution to technological advancements. This is evident yet again in the Metal Gear Solid series. In 2005, Kojima explained to Game Informer that the “Solid” in the title represents 3D, as the PlayStation 1 was the first console with sufficient power to bring about a realistic third dimension. The CD format of the system also enabled voice acting, allowing Metal Gear Solid 1 to tell a more cinematic story.

The improved processing power of the PS2 enabled games like MGS2 (and later MGS3) to offer more immersive environments. The Blu-ray player on the PS3 allowed for longer cutscenes and larger game worlds in MGS4, although Kojima couldn’t resist mentioning that even the large Blu-ray discs were still too small. The visual leap between generations was significant and clear; Old Snake in MGS4 had nearly three times as many polygons compared to Naked Snake’s model in MGS3, a difference noticeable to anyone with eyes. In fact, Old Snake’s mustache alone contained about the same number of polygons as an entire enemy soldier in MGS3.

The gap between the polygon count in Death Stranding and its sequel isn’t as vast. Although the changes in Sam’s model between the two games are obvious, they aren’t as drastic as those seen in the Metal Gear Solid series. To be honest, such a significant increase in polygons now feels tedious and mostly results in minimal improvements. Death Stranding 2’s loading times are almost non-existent, but there isn’t any other striking feature that clearly shows it couldn’t run on a PS4, at least not to the same extent as its Metal Gear predecessors.

In terms of visible differences between generations or unique structure, Death Stranding 2 appears to follow a familiar pattern, which might lead some to consider it as an underwhelming sequel. However, this assessment overlooks the fact that it’s still a distinct game when compared to other titles in the market, setting it apart despite its apparent similarities to its predecessor. The high standards established by Kojima and his teams should be considered, but they should not overshadow the unique qualities that make Death Stranding 2 stand out.

In essence, Death Stranding stands alone as a singular phenomenon within gaming; it’s an unprecedented masterpiece with its own distinct character. Despite the shared theme of delivery work in both games, nothing quite compares to it. The game requires players to strategically decide what equipment to carry, navigate around each minor obstacle like bumps and rivers, and barely survive treacherous snowy mountain terrains – all feelings that are uniquely captured by this series alone. Kojima Productions has managed to gamify movement effectively, transforming it into a captivating core mechanic, even though they have drawn from familiar themes in multiple ways.

In the tale of Death Stranding 2, we find an intriguing mix of the unexpected and the familiar, clearly bearing the distinctive touch of its creators. Laden with obscure terminology, plot twists reliant on convenient plot devices, humorous instances, and extravagant action sequences that are both over-the-top and artfully framed – it’s a unique blend of KojiPro’s greatest strengths and occasional eccentricities. There’s a sense of sincerity and emotional depth that softens the impact of its more questionable or illogical moments. For every heartfelt exchange between Dollman and Sam, there are ten instances where “Chiral” is used to explain some strange phenomenon related to nanomachines, but it’s a tradeoff worth considering, given the overall balance. If Death Stranding 2 had opted for a more distinctive setup to distinguish itself from its predecessor and minimized self-indulgent elements, it might have been ideal. Yet, the unique style of KojiPro’s games remains captivating, making it difficult to resist completely.

The sequel to Death Stranding, titled Death Stranding 2, draws strength from its contrasting nature. Unlike other sequels from Kojima’s studios, it doesn’t offer a unique selling point of its own and instead leans heavily on the original Death Stranding. This can be disappointing when innovation and fresh ideas are expected from such a studio known for reinvention. However, normalcy is subjective, as Death Stranding 2 remains an odd game for those who enjoy traversing timefall-scarred landscapes at a leisurely pace while listening to Low Roar’s melodious background music. These soothing melodies may be an echo, but they are still an echo from a distinct and clear source.

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2025-06-26 18:46