12/20/2023 0 Comments Most stupid game ever![]() In contrast, Kojima doles out titles like “Elite Handler” after a successful mission. didn’t include repetitive messages to massage your ego but to challenge you to keep going farther. never claimed to be cinematic or a commentary on the state of a nation. and being told the princess is in another castle. The experience is a lot like finding Toad at the end of every stage in Super Mario Bros. These individuals, with few exceptions, say pretty much the same thing - wow, I haven’t seen items like this in a long time, Sam, you’re a true legend, nothing here looks damaged, blah, blah, blah, blah. To do this, Sam must visit an array of marked locations on a map and talk to holographic images of people. The main theme of Death Stranding is reconnecting a post-apocalyptic United States. Why do you have to skip - which can be done by pressing the start button, then selecting “Skip” - three or four cutscenes just to accelerate the process of taking a shower? Why does an activity as boring as a shower even need a single cutscene?Īny sense of basic, decent storytelling is annihilated by Kojima’s idiotic commitment to video game norms. Why does the simple idea of 3-D printing a bridge, for instance, have to come with its own mission that the player must find by holding down (rather than just pressing) a button near a terminal in order to open a hard-to-read menu from which you can initiate said mission? Kojima also peppers the game with cinematics that have no kinetic or thematic purpose. Kojima includes a number of missions that do nothing more than serve as contrived tutorials. The first and most obvious issue is unnecessary length and bloat due to a tremendous lack of editing, which has plagued games as different as Persona 5 and The Witcher 3. This notion doesn’t hold, though, when you tally the common pop game problems that show up yet again in Death Stranding. In theory, Death Stranding is the most original and uncompromising big-budget game in a long time. With each step comes an appreciation for Sam’s immediate surroundings, whether they’re as intimidating as a steep mountainside or as seemingly innocuous as a jagged medium-sized rock on the ground. The potential for embarrassing ambulatory disaster is almost endless. If you lose your footing in that situation, Sam will have to paddle himself to his feet and frantically attempt to recover goods the river has claimed. There’s also a stamina gauge to worry about, a meter that depletes rapidly when Sam trudges through a deeper part of a river. If he starts to sway to the left or right, the player must shift Sam’s weight in the opposite direction to achieve balance. He must organize packages on his body in a manner that reduces the likelihood of him stumbling and falling as he treks across treacherous territory. But in a stroke of genuine design genius, Sam has it much harder than his counterparts in other traversal-focused releases. With Death Stranding, Kojima takes a page from modern independent first-person adventures like Proteus in which walking, as opposed to puzzle solving or combat, is the main type of action. Director Hideo Kojima, famous for the Metal Gear Solid series and often pitied for his messy separation from Konami, has all the creative freedom in the world, but he can’t stop sabotaging an interesting premise with banal and laughably contradictory moments. And yet, Sam shares this observation about himself not too long after he obliterates a phantom squid with grenades made from his own piss, and moments after uttering this dialogue, Sam can barrel through bandit-filled territory and punch the lights out of every last person who tries to steal the packages off his body. At one point, Sam bluntly explains, “Killing monsters and terrorists, that’s not what I do.” The line almost sounds sanctimonious when one considers how often “ambitious” games boil down to boneheaded violence. At first, Death Stranding appears to avoid the cliches we’re all used to seeing, as it involves a protagonist, Sam Porter Bridges, whose main skill is carrying cargo on his back, arms, and legs. There are many reasons to reach this conclusion, from the prevalence of open world ideology to the way developers flatter audiences with made-to-order remakes. The landscape of pop games is in dubious shape.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |