The original Death Stranding is one of my favourite games. I often ponder how it even exists in the same way the rest of the industry does today. It did a lot for Hideo Kojima and his team, proving his mettle as an independent developer since he left the traditional publisher space in 2015. But entering his fourth decade of game development, Kojima is starting from a good place with Death Stranding 2: On The Beach. The rules and the world are firmly established, and as a result, Death Stranding 2 doesn’t waste any time getting into it. The result is what is easily Kojima’s most well-paced game and even more choice for players in how they approach their deliveries.
Death Stranding 2: On The Beach takes place a few months after the previous game. Sam and Lou are living off the grid in Mexico, enjoying the time they finally have together. Their quieter, simpler life is short-lived, however. Fragile, played by the indomitable Lea Seydoux, rocks up and tasks Sam, being one of the best porters she knows, with a new job. Following some events that I won’t go into here, Sam and Fragile find themselves travelling to a new continent – Australia. Their mission is simple – connect the continent once more, though this time, there are a few more surprises in wait for them.
Having spent thirty hours playing the game two months ago at Kojima Productions, I walked away from Death Stranding 2 with one overwhelming question – will Kojima nail it? There were so many aspects of the game that I enjoyed during my preview, but I was especially interested in how the plot would come together. While Kojima is up to his old tricks here – there are two scenes in the back end of the game that eclipse twenty minutes each – I’m pretty chuffed to admit that he’s well and truly done it. It’s a story that won’t be as prophetic as his previous works, but it’s still a satisfying experience where both the journey and destination can be enjoyed in equal measure.
Death Stranding 2 feels similar to the original in many ways. The core concept remains the same. Most missions involve Sam transporting large amounts of cargo from one point to another, avoiding enemies along the way or, an even greater threat, the environment. While this concept is similar, it’s how you can carry out these objectives that make Death Stranding 2 feel different from its predecessor. As such, the most significant change to Death Stranding 2 is the changes to the systems surrounding the core gameplay, making many different approaches much more viable.
While it’s admittedly in stark opposition to the credo of the first game, violence is just as feasible an option when responding to enemies in Death Stranding 2. As such, the combat is significantly improved in subtle ways that make combat flow a whole lot better. Sam has more evasive manoeuvres that he can pull off, and a wide breadth of weapons and tools (some humourous) gives more ways to tackle sticky situations. I spoke previously about how the game felt as tactilely satisfying as Metal Gear Solid V, and I still think that way, having spent well over a hundred hours on the game across both playthroughs. Combat just feels good here.
But it’s not just about how Sam behaves; it’s about how your enemies behave, too. The AI, in general, is much more improved in Death Stranding 2. Enemies no longer have divine knowledge of your position the second you enter their territory and instead behave a lot more realistically in flanking you or tracking you down if they spot you from a distance. It also means that stealth is more viable here, too. But even if you’re unseen, you’ve still got to be careful. I left a vehicle full of cargo on the outskirts of a base during an infiltration, only for a guard patrolling to notice it and drive it away. It was humorous but also realistic.
In this moment of frustration, I found beauty in Death Stranding 2. It feels alive in many ways, and it’s this sense of liveliness that will no doubt lend itself to creating great little stories for many players to share between them. Somebody will have found that cargo in the same base during their playthrough, and my carelessness has indirectly positively helped somebody else. In that aspect, it doesn’t feel like an actual loss for me as a player. This is at the core of what makes Death Stranding 2 (and its predecessor) so appealing. This new genre, of sorts, the “strand game”, allows players to connect in so many direct and indirect ways. There is still, truly, nothing else like it.
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But beyond those who live within this world, the world itself has had a few upgrades to feel more alive, too. Weather effects like sandstorms, quakes, floods and even avalanches can impede your progress – whisking away cargo or destroying structures you’ve built. All of these effects feel pretty significant when they do happen to you, but not in a huge amount to the point where they feel artificial, annoying, or excessively gamey. They feel real, and while it’s hard to plan for them – there are forecasts, but they’re not always accurate – they can make any delivery harrowing and keep you on your feet.
But one thing I will admit I was wrong about was the boss battles. I previously compared them to Zelda or Horizon, but being able to repeat these moments has humbled me in my assertions ever so slightly. All of the boss encounters in Death Stranding 2 are visually spectacular; one in particular is one of the best I’ve ever seen and solely made me appreciate my PS5 Pro. But most of the battles play out rather similarly – dodge some attacks, shoot at them for a bit, and just come out on top. The improved combat mechanic certainly helps to improve these battles, but they only stand beside and slightly above the original game’s big bad encounters, not dramatically above.
Beyond these boss battles and the main quest line, there is still a bunch of optional content you can approach in your downtime, too. Many of these orders are similar in structure to the previous game – carrying out deliveries for preppers at each settlement and maxing out your affinity with them to unlock new equipment. A few of them have extended storylines that are well worth your time. I won’t ruin anything here – but the Pizza Chef, Ghost Hunter and Fisherman quest lines were easily some of my favourites. All of the missions, whether optional or not, are so moreish. I’d often say “just one more” before each session ended, but it was never just one more. It was usually several.
And that’s what is so compelling about Death Stranding 2. It’s such a devilishly simple and yet addictive gameplay loop that I often found myself not wanting to pull away from it. To have to replay the first thirty hours again following my preview and not be bored is already a considerable achievement. However, it’s the way Kojima and his team have taken that simple gameplay loop and augmented it with numerous improvements that make it shine as a sequel. The combat, the enemy AI, the weather effects and the general liveliness of the world all come together with great stride here. It’s an experience that removes a lot of friction between the player and the game, but it doesn’t do so while betraying the spirit of the original like other sequels have previously.
Though it’s hard to believe I’ve gotten this far into a piece about Death Stranding without talking about the original soundtrack. An eclectic mix of original songs and licensed music, this is Kojima at his curatorial best here. While some LOW ROAR tracks make an appearance here, as expected, Woodkid and returning composer Ludvig Forssell do great work in creating new music that perfectly suits this new adventure in a new continent. The original music, especially the synth-laden tracks, ooze the atmosphere for you to sink into, harkening back to my days aboard the Normandy in the Mass Effect games. It’s a stellar soundtrack that I will continue to spin outside of the game for years to come.
And, of course, the performances deliver, too. All of the series stalwarts are here, giving their best to tell you this tale that Kojima has worked so hard to weave. But it’s the newcomers that I find especially shine here. Luca Marinelli, as the enigmatic and elusive Neil, especially turned in a phenomenal performance that made me feel something more than Mads or Tommie ever did in the original game. Similarly, Shioli Kutsuna excels here as Rainy, effectively juxtaposing her tragic backstory with a sunny disposition. And, of course, I’d be remiss if I didn’t give a shout-out to Troy Baker. He’s everywhere now, but I’ll forever remember him as Higgs, and Death Stranding 2 only seeks to cement this as a career-best performance, chewing up every scene he appears in.
All in all, Death Stranding 2: On The Beach feels like a perfect sequel to Death Stranding in many ways. While it doesn’t reinvent the wheel by any means, it does an incredible job of improving practically every aspect of the original game. Whether it’s the better pacing, the engaging but intriguing story, the improved combat mechanics or all of them, Kojima and his team have crafted yet another game that cements why he is such a revered figure in this industry. And I can’t wait to see what he does next.
