Hideo Kojima’s 2019 game Death Stranding is arguably one of the most divisive games in recent years. A game that bucked AAA trends and delivered something truly unique, and something that wasn’t for everyone at the same time. Some at WayTooManyGames absolutely loved the game (mostly just me), whilst others are mostly indifferent and just missing out on something different in a sea of clones. 

Story

After an event known as the Death Stranding left the world in ruin (connecting the world of the living and the dead, which causes devastating effects), Beached Things (BTs) roam the world. When they come into contact with dead bodies, they cause voidouts, which leave massive craters. Meanwhile, rain, now known as timefall, causes everything it touches to age rapidly in moments. 

Sam Porter Bridges managed to reconnect America to the chiral network and avert the final stranding—now living in Mexico with his adoptive daughter, Lou, in peace. Although the threat of extinction is ever-present, natural phenomena are occurring at a rapidly increasing rate; earthquakes shake entire continents, tar pits emerge, and rivers overflow at an alarming rate. Fragile is now working with Drawbridge on the DHV Magellan, sending them on an adventure to connect Australia to the chiral network and reconnect the wider world.

If this sounds a bit complicated, that’s because the world of Death Stranding is complex, but don’t worry – an in-depth catch-up on the menu does a great job of filling in the details and terminology as well as an in-game journal that lets you access important information at the press of a button (Thank you Final Fantasy XVI). The first game had a compelling core mystery to unravel, but one that often felt like it was missing its full potential. Unfortunately, Death Stranding 2: On the Beach does occasionally fall into this same trap. 

Our villain this time is once again Troy Baker, returning as Higgs, who returns from being stranded on the beach (a personal space between the living and the dead) to torment and exact revenge on Sam and Fragile after the events of the first game. His presence here is much more unhinged. Where, in the first game, he was a mysterious figure; he is fully unleashed, and things get especially weird. Then we have Luca Marinelli as Neil Vana (Kojima, these names are indeed insane), taking on a similar role to Mads Mikkelsen’s Cliff from the first game. Again, I don’t want to spoil anything, but this is another standout character, and whilst not as compelling as Cliff’s story, there’s a nuanced and complex character here. 

Death Stranding 2: On the Beach leans a lot heavier on the more absurd elements of the Death Stranding universe. Characters often break the fourth wall in hilarious ways; dolls are now full-on characters, and so many “WTF moments” that only Kojima can do with more action-packed cutscenes that feel like they are ripped out of Metal Gear Solid. There’s a lot to like with what’s been done here. Though not all elements work here, and I wish characters like Rainy and Tarman had a little more to do. Even Tomorrow, which has been a major part of the game’s marketing, doesn’t get much time to grow. 

Yet, it managed to tell a story with a heart, its themes and messages are prevalent throughout, helped along with a great cast and plot twists that always manage to engage and entertain. Even if some are incredibly predictable, others caught me completely off guard. And whilst the writing can be a little too on the nose and lacking subtlety, it has the trademark exhaustive exposition dumps. In the end, though, it’s pure Kojima goodness with one of the most insane final acts I’ve seen since the insanity that was Metal Gear Solid 2. 

Gameplay 

Death Stranding‘s gameplay loop revolved around deliveries, and not much has changed here. For the most part, you will continue to deliver packages, crossing over harsh terrain, dealing with familiar threats within the Beached Things (BTs), and bandits who want to steal your precious cargo. Death Stranding 2: On the Beach is very much a game about planning your routes and preparing for whatever trouble may await. 

Sam will need to be aware of his cargo, keeping his centre of balance so he doesn’t fall over and damage the goods. Making sure his shoes are in top condition and drinking water (no more weird sponsors) regularly to maintain stamina. Not much has changed in that regard; however, there are a few key differences that the opening section in Mexico really highlights. The first of which is that this is a faster game, not in the sense that you will be sprinting around the map. But in the mind, the game is encouraging you to engage with its combat and stealth systems more than ever before. Within the first five hours, you will be given (non-lethal) guns, blood grenades, and even a bike. The faster sense of progression gives you more and more high-tech equipment earlier on, but never diminishes the core.  

Once you leave Mexico, you are thrust into the vast and expansive open world of Australia, sent once again on a journey to connect the various celebrity cameos to the chiral network, including a VTuber for some reason, but I love it. It gives you access to more powerful technologies to help you on your journey. The gameplay loop is familiar: head to the terminal, pick up packages, then drop them off at the next terminal. If you didn’t like that aspect of the gameplay, then this will do very little to fix that for you. 90% of Death Stranding 2 is making your way from point A to point B and then back to point A again. 

To make things even more interesting, environmental effects are also introduced, starting off with a simple sandstorm that will slow you down and disrupt your bearings. However, they get bigger as the game goes on, with earthquakes, river floods, and a few more surprises as well. None of them felt like they were massively hindering my progress, but I had to adjust my plans on occasion and make slight detours. Not the game-changer we thought they were going to be. Still, stunning effects, regardless, that feel like the world is responding to my actions. 

Death Stranding 2: On the Beach places a heavier emphasis on both stealth and combat, featuring numerous encounters against human enemies that are more frequent than those in the first game, which focused more on the journey. You can sneak into these outposts and take the loot without as much as a whisper, or silently take out anyone in your path. Or, thanks to some enhanced combat options, go in all guns blazing. In many ways, this is taking the core of Death Stranding and blending it with elements of Metal Gear Solid V: The Phantom Pain, and it’s glorious. If you were looking for more action in Death Stranding, On the Beach delivers. 

Dollman will be at Sam’s hip pretty much the entire game. Whilst he seems to just be a snarky sidekick character like Mimir in God of War Ragnarok, he serves a vital gameplay function. Sam can throw Dollman and use him as a scouting tool. Tagging enemies before flying back towards you. On top of this, Sam can drop his backpack, unburdening him from cargo and ensuring it’s kept safe whilst you make your move on an enemy base. AI is pretty simple, but the game does a good job of making you feel like a badass. 

As for the combat, there are some massive improvements. It’s a system I engaged with, and demolishing foes when my stealth plans failed was always a lot of fun. It can still be a little awkward, but getting used to the controls can lead to a surprisingly effective melee system. Death Stranding 2: On The Beach is a postman simulator with an oddly satisfying power fantasy. 

Human forces aren’t the only things Sam has to deal with. BTs also pose a threat, but this time it’s a bit different. Sam’s DOOMs have evolved since the first game, and he can now see BTs in better clarity at a safer distance. I’m still a little mixed on some of the changes to BTs. Whilst in the first game, they provided the most significant threat, they were also a source of friction. Here, BTs feel more spread out and more easily avoided, whilst adding a touch more variety to the bosses you encounter. 

I feel like I was able to take out the patrolling BT farms with greater ease. If you do get caught, you will be dragged into an arena with a larger BT.  There’s a lot more variety in here, but it doesn’t go quite as far as I’d expect. Regardless, boss fights as a whole are a massive improvement, bigger in scope and much more fun to fight. Neil, in particular, has some great boss fights that act as giant sandbox arenas. Providing you with the freedom to approach each encounter in your own way. 

As a whole, Death Stranding 2: On the Beach feels like an evolution of what the original game set down, but with a lot more of Kojima’s past games making their way in.  It does lose some of the challenge along the way, as vehicles become much more viable in all situations. On-foot deliveries become less necessary, and there’s very little risk. However, by removing some of the friction that made the first game more divisive, Kojima has allowed for a more sandbox approach to the gameplay, keeping the pacing much tighter in the process. With so many tools and abilities at your disposal, there’s a stronger sense of choice in how to approach any particular challenge. 

Social Stranding 

What truly sets Death Stranding apart from other games is its innovative use of online connectivity with other players. Whilst you won’t be seeing other players in person, you will see their impact on the world, and they will see your impact. Place a postbox? That will appear for different players. It’s an evolution of the social systems seen in Dark Souls or Elden Ring, where players can leave cryptic messages behind (usually ‘Dog’ or something else) for other players. 

You will often find infrastructure items such as postboxes, ziplines, bridges, or timefall shelters to protect you from the elements or allow you to move around the world with ease. Though it feels just a touch overtuned in its current state, the moment I connect a region to the Chiral Network, the map is full of items almost immediately. I would have preferred the Chiral Network to start “weak” and as you raise the rating of each region, more and more structures would appear. Regardless, the Social Strand systems are well done, and there’s always something to do. Working with the community to indirectly build roads and monorails remains as rewarding as ever. 

I would often start deliveries, then go on ridiculously long chains as I pick up other abandoned loot from the lazy porters who drop it off at another base—building and upgrading infrastructure to enable more dynamic gameplay for myself and others worldwide. As well as maxing out many of the preppers in the process. Interacting with the Social Strand Network easily made my playthrough twice as long as it needed to be, yet I loved just about every moment of it. 

DECIMAting the competition

Running on Guerrilla’s Decima engine, which we last saw in Horizon Forbidden West, and is simply gorgeous, Death Stranding 2: On the Beach takes that to the next level. It’s a gorgeous game and straight up one of the best-looking games I’ve ever seen. The vast scope of Australia looks stunning at just about every turn.

That’s not to mention some of the best character models we’ve ever seen, with a shockingly good amount of detail that blew me away on every cutscene. I was often left shocked by what I was seeing on a base PS5. Better yet, the game runs smoothly with two modes. Performance mode managed to hit that 60fps target most of the time, with only a few noticeable drops throughout my entire playthrough. It’s a technical marvel that finally makes this generation feel somewhat worth it. 

Norman Reedus returns as Sam Porter Bridges and once again keeps that reserved approach, yet unleashes an emotional vulnerability that I wasn’t expecting throughout the story.  Alongside these, we have Lea Seydoux delivering a significantly improved performance compared to last time, joined by newcomers Shioli Kutsuna and Elle Fanning. However, it’s Troy Baker’s Higgs that once again steals the show in what I’d argue is his very best role since Joel in The Last of Us, who brings in the unhinged energy we’d expect from a Kojima villain. 

Ludvig Forsell returns to compose the soundtrack, and he once again one-ups himself, providing an epic and electrifying soundtrack that immerses you into the game world. This time, though, he is joined by Woodkid, who lends his talents to elevate the soundtrack to the next level—together, coming together to deliver one of the best soundtracks of the year that isn’t Clair Obscur: Expedition 33’s. Elsewhere, we have more licensed music that plays in key moments, and whilst I think the first game handled this better, there’s still a solid effort here.

On the Beach

If you didn’t like the first game, I think it’s safe to say you won’t like Death Stranding 2: On the Beach either. The only complaints I have are just minor, making the game a touch too easy. Yet, all of this rarely diminishes the fun that I’ve had with the game. 

Death Stranding 2: On the Beach is everything I would have wanted from a sequel. An emotionally charged story that fully leverages the franchise’s potential, whilst iterating and fixing some gameplay issues that make it a much more digestible and thrilling experience. In many ways, it finally feels like the true successor to Metal Gear Solid. 

 

 

Graphics: 10 At this point, Kojima is just flexing—some of the most stunning visuals I’ve seen.	Gameplay: 8.5 Yes, you still spend a bulk of the game delivering packages, but with a lot more MGS sneaking in there.
Sound: 10 Excellent performances from one hell of a cast, with Norman Reedus, Léa Seydoux, Troy Baker, and Elle Fanning. Mix that with Woodkid’s soundtrack, and we have something special.	Fun Factor: 9.0 Death Stranding 2: On The Beach took everything I loved about the first game and made it even better.
Final Verdict: 9.0

Death Stranding 2: On the Beach is available now on PlayStation 5. 

Reviewed on PlayStation 5.