And yet, with Death Stranding 2, I find myself effortlessly falling into that trap. It is a game, simple yet out there in equal measure, that bears the mark of one man so clearly that it almost warrants its own descriptor. Orwellian, Kafkaesque, Kojiman.
It's the story of a cold outcast afraid of human touch forced to reconnect America, and by doing so, to learn to connect with its people himself.
Death Stranding is a story of connection. Conversely, Death Stranding 2 is a story of loss, of grief.
Following the events of Death Stranding, Sam and Lou disappear. We rejoin them months later, hiding out in rural Mexico.
Tracked down by Fragile on behalf of Drawbridge, the spiritual successor to the now-defunct Bridges, she hires you to continue your work, this time reconnecting Mexico and, more importantly, Australia.
Flanked by a largely new cast of characters, with a few familiar friends aboard the DHV Magellan, a ship that acts as a travelling home of sorts, Sam sets out to take on the vast, unforgiving Australian continent.
By virtue of Sam's newfound propensity to connect with his fellow man, this game's story morphs into one that is not entirely his.
The stars of the first game who offered up their likeness to the altar of Kojima, Léa Seydoux, Troy Baker and more, are joined by the likes of George Miller, Debra Wilson and Elle Fanning.
The way the story unfolds is, again, akin to the first game. The stage is set early on, introducing the threads of conspiracy that run throughout its story.
Some of these story beats resolve quite quickly. Others sink into the metaphorical tar, almost forgotten until rearing their ugly heads 30 hours later.
Obtuse and, at times, seemingly incomprehensible plot points pop up regularly, as gripping as they are confusing.
If you've been watching the trailers, then you will already know who the game's prominent antagonist is, but I will again play coy with the details.
Every cutscene they grace with their presence ripples with energy. It's infectious. Put simply, these are the kinds of scenes that elicit an audible 'Hell yeah!'"
In your encounters with Neil, Sam is sent careening through decadent set pieces, from a carnival showered with sparks to ice-cold underwater depths.
Now a legendary porter, Sam is capable from the off. There's no fumbling around, being drip-fed tech, weapons and vehicles across his journey. Within the first few hours, you're effectively as kitted-out as you were deep into the first game.
Overall, combat is much more prevalent this time around. Local bandits are being heavily armed by an unknown benefactor, at times requiring you to perform some Metal Gear Solid-style infiltrations to take them out.
In Death Stranding 1, combat was often best avoided. In 2, it feels encouraged, easy almost, to go in guns blazing.
Every neck snap and shotgun blast feels cathartic. The formerly stoic Sam Bridges reduced to a wreck, mentally ill and lashing out at a world that took everything from him.
View Green Video on the source websiteA new upgrade system allows Sam to spend points to unlock certain specific buffs, strengthening your preferred playstyle or perhaps making up for your shortcomings.
That being said, later on in the game, you are faced with a trek to deliver a single package the entire length of Australia, rewarding players who took the time to develop each area and build infrastructure.
Australia also makes for a phenomenal locale to explore. A far cry from the largely homogenous greens and greys of DS1's continental United States, Australia is veritable collage of biomes.
Experiencing this world is a delight, not least because Death Stranding 2 is a strikingly beautiful game.
Its live-action opening segment pans slowly into gameplay, revealing that what you thought was real had been in-engine footage all along. I have rewatched the footage over and over, still scarcely believing the technical wizardry Kojima Productions has pulled off here.
Death Stranding 2 is a game that I could talk endlessly about. This review could easily be twice, or even three times, the length if I allowed myself the indulgence.
Death Stranding 1 and 2 may tackle different, at times almost opposing, themes, but what links them is that, at their cores, these are two intensely human stories.
I understand Sam's grief implicitly, because I have grieved as he has, I have mourned as he has, and it's clear that Hideo Kojima has too.
These connections, and the loss of these connections, are what make us human.
Death Stranding is an outstanding work of art. A treatise on the nature of humanity from perhaps gaming's greatest auteur. This is not Sam Bridges's story, but the familiar tale of every person who has ever lived, and an experience that I will never forget.
Perhaps my father is waiting for me on a beach somewhere. Perhaps Kojima's parents are waiting for him. Maybe we'll find out one day, but for now, we both have too much left to do here on earth.
Check out more of our Gaming coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Read More Details
Finally We wish PressBee provided you with enough information of ( Death Stranding 2: On the Beach review – An outstanding work of art )
Also on site :