This in particular can be hugely beneficial in navigating some of the tougher terrain Sam will have to cross. A Buddy Bot can now serve as an automated companion, following Sam around and carrying most of his cargo or being sent to deliver it on its own, while a Cargo Catapult lets you launch deliveries into the air, parachuting to the ground safely. The Director's Cut additions mainly address some of the original game's slower aspects, with a number of new tools and features that make the core experience of being a post-apoc Postman Pat less dull. Somewhere in all this is a parable about how humanity needs to come together to survive, but it's buried behind mountains of nonsense – often glorious nonsense, but nonsense nonetheless. Within minutes of starting the game, you'll be bombarded with Kojima's trademark concoction of ill-explained terminology (Sam has DOOMS, but his Extinction Factor lets him sense BTs, which when combined with a BB means.) and meet ridiculously named characters (Tommie Earl Jenkins' Die-Hardman, or Léa Seydoux's Fragile) before being swept up into a quest to reconnect the entire continent by walking coast to coast and waving some USB sticks in front of a computer. The purpose of that journey remains as bonkers as before, too – Death Stranding's take on the apocalypse involving a breach between the worlds of the living and the dead, resulting in a weird reality where the remnants of humanity live in isolated cities or remote outposts, and only specialised couriers with babies strapped to their chests can deliver supplies between locations. It is a walking simulator in the truest sense of the word, with players having to account for the balance, footing, momentum, and fatigue of protagonist Sam Porter Bridges – performed by The Walking Dead's Norman Reedus, recreated in CGI with alarming accuracy – as he journeys across a post-apocalyptic America. Mechanically, it blends together some of the most repetitive aspects of RPG game design, chiefly fetch quests and long treks between locations, but makes them the central pillars. It self-describes as "genre-defying", which to be fair, it is. The question is whether more stuff makes for a better game overall.Īt its core, Death Stranding is still a deeply strange title. Death Stranding's DC, in contrast, is about what's been added to the game, rather than what was left out to begin with, and although it's largely an excuse to release an 'upgraded' version for PS5, there is plenty of new material here. Kojima's distinction is that, in film, a Director's Cut is usually corrective, with a creator restoring content that was originally cut from release or rearranging an edit. Two years on from the original release of idiosyncratic director Hideo Kojima's Death Stranding, the new Director's Cut edition proves no less baffling – not least for its title, which Kojima has said he dislikes.
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