![]() While Hideo’s usual surreal, lengthy cutscenes and striking imagery are present and feel unique to the mad auteur, the vast majority of the gameplay in Death Stranding is from the ‘fetch quest’ oeuvre. There’s been a lot of talk from creator Hideo Kojima that Death Stranding is a brand new genre of game, unlike anything we’ve seen before. As he travels vast distances, mostly on foot, Sam will meet characters, form alliances and slowly unravel the mystery of why the world is in such a sorry state (and who, in fact, he really is). But this isn’t your usual apocalypse, there are no zombies roaming around here, just empty vistas of space, delivery-obsessed psychos called MULEs and invisible ghosts called BTs (Beached Things) who drag you into an inky underworld. So too it is with Hideo Kojima’s Death Stranding, an overlong, indulgent work with some amazing moments but far too much of the video game equivalent of Dougie.ĭeath Stranding puts the player in the rapidly deteriorating boots of Sam Porter Bridges (Norman Reedus), who is a gruff squinty man with a complicated past who delivers packages to people in a post-apocalyptic America. Even with its maddening ending and chronic overuse of Kyle MacLachlan’s “Dougie” alter-ego, which was cute at first but got very old. Adore it, loathe or just plain don’t understand it, Twin Peaks season 3 was exactly what Lynch wanted to make. ![]() Not so much because of the shared themes and symbolism inherent to both, although a case could be made, but more the realisation that what I was experiencing was the unfiltered work of an artist who was creating something without compromise. ![]() ![]() As the credits finally rolled on my playthrough of Death Stranding, I was reminded of David Lynch’s Twin Peaks season three from 2017.
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