#and of course troy baker's scenery chewing. the man fasted for DAYS before he got to that set you can tell

[mystery-moose]

DEATH STRANDING (Feb 27th)

In my quest to write down thoughts about art this year, I recently completed Hideo Kojima’s Death Stranding for the first time! I had started it twice already, but stalled out both times because I got distracted or moved onto other things.

Kojima has always been a problematic fave of mine, but Death Stranding might be my problematic favoritest of his work.

The raw gameplay loop is as perfectly calibrated, engaging, and compelling as it was when I first played it back in 2019. It is, as Tim Rogers put it, the Gran Turismo of walking simulators, though I would probably put it more accurately as “the world’s best hiking and logistics simulator.” Trekking across Icelandic wastelands and haunted volcanic plains and up and down mountains is alternately so meditative and so tense that even after a cumulative hundred hours in my save file I was still doing optional deliveries just because I enjoy traversing the world. It’s so singular and unique in the thing it’s attempting to do, and in particular with the atmosphere it’s trying to cultivate, that I can say honestly that I’ve never played anything like it. And that’s a wild thing to say about a game with a big budget these days!

But that’s what you get with Kojima. Especially with Kojima these days, unfettered by corporate oversight or monetary concerns. He wants to communicate something, and by god he’s going to do that whether you or anyone likes it or not. That’s a big reason he’s gotten the reputation he has today. And we can argue about auteurship and how it’s bullshit in collaborative mediums all day (and that’s a fine argument to have) but it’s not like Kojima didn’t put in the hours -- the dude’s been making games since 1986, and been a project lead since ‘87. We can say he got lucky once, maybe twice, but we gotta say he’s worked for his pedigree at this point.

I mean, the man made an entire game about nothing but fetch quests, and he made it fun! What the fuck, right?

That’s to say nothing about the use of music, which introduced me to some tunes that still live on my phone! Or the stark, utilitarian-but-inventive mechanical design of Yoji Shinkawa. Or its story, rooted in absurdist silliness, Tarkovsky-esque surrealism, and bizarre metaphysics, bluntly hammering its central message home even as it weaves numerous other threads (heh) into its narrative through its use of visual symbolism, textual analysis, and iconography.

Of course the pacing is a nightmare, though -- so much of the story is backloaded in the final few hours of the game, including numerous revelations that would be better served earlier in the story. And his treatment of female characters, while much better here than Metal Gear Solid V, is... well that bar is beneath the floor, frankly. I do like the women of Death Stranding, in particular Fragile (yes that’s her name, every character is named like that) but the way the camera treats Fragile in one scene that would otherwise be really powerful, and the way Mama’s subplot goes and what Kojima’s even trying to gesture towards, and then the whole deal with Bridget and Amelie... it’s all just kind of a mess.

Which is basically the story of the story of Death Stranding, really! It’s a mess! A frequently fascinating, rarely insightful, occasionally quite powerful mess, but a mess all the same. Whether or not you can look past the stuff that doesn’t work to examine the stuff that does, or are equally interested in failures and fuckups as successes, determines whether you’ll enjoy the story here. That’s how Kojima rolls, though, has been since Metal Gear Solid 2, though that game probably remains his high point for thematic fascination, if not dialogue or character writing. (Including women! Seriously, he’s only been good at it like one time!)

I’ll say, too, that if you care little for story and want to run purely on vibes, then Death Stranding might very well be for you! The vibes here are totally unique and absolutely immaculate, particularly in the audio-visual department. There is nothing quite like when one of those Low Roar songs kicks in while you’re descending a mountain toward a new city, or Silent Poets coming in as you march across a blasted plain. And again, it all feels so personal; you are listening to Kojima’s personal mixtape, a set of bands he heard that he loved and which he associated with this game he was making, and getting that kind of truly personal touch from a big-budget experience is almost impossible to find in games.

Everything in Death Stranding, for better or for worse, is the product of one man’s mind, a snapshot of the things that move him, scare him, fascinate him, make him think and feel and wonder. And they’re all things he wants YOU to think about and feel and wonder. Some of them are stupid, for sure! Others are obvious or shallow. But more than anything, they’re all honest. Death Stranding is one of the most earnest, sincere artistic expressions I’ve seen in any big-budget media, and if that interests you at all (or you’re really into traversal mechanics in games) I’d absolutely recommend it.

Or if you like to point and laugh at the man who put a guy named “Die-Hardman” into his story. Rest assured that Kojima is absolutely laughing too.