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The big Death Stranding 2 preview: how a big dollop of Metal Gear is expanding Kojima's bizarre epic
Death Stranding 2: On the Beach
Publisher: Sony Interactive Entertainment
Developer: Kojima Productions
Availability: 25th June 2025
Platforms: PS5
The dark main hallway of Kojima Productions feels like a cinema corridor. Its black walls are adorned with giant film posters for Death Stranding, with side routes leading to meeting rooms and facilities rather than screens. Along another section of wall are a series of signed plaques and polaroids from various stars of film, games, music, and beyond who have each visited the studio. It's as if the very walls themselves are taking us through Hideo Kojima's mind - or are simply an extension of his social media feed.
Kojima's work has always had a strong influence of cinema running through it, Metal Gear Solid and Death Stranding in particular. But in the office that influence is made explicit. Beyond the trophy cabinets celebrating his life's work lies a collection of recording suites, scan and motion capture rooms, a THX certified sound studio, and more. This is film production for a video game, all in one place.
There's a sci-fi edge to it all too. The studio as a whole is starkly monochromatic, from the deep black walls to the sleek, pristine kitchen area. Then there's the Ludens Room: a blinding white ode to the Kojima mascot with a single statue at its centre, which extends to infinity through mirrored walls. From here, a secret doorway takes us to a gallery of Death Stranding artwork and paraphernalia, while another secret doorway leads to an all-white circular meeting room like something out of 2001: A Space Odyssey. Another meeting room features a video feed of the Ludens Room on the wall, into which Kojima himself occasionally appears. He's always watching.
8 Things You Need To Know About Death Stranding 2: On The Beach - Hands On Preview, New GameplayWatch on YouTube
I'm here in the studio to play an intense 30 hours of Death Stranding 2, what Kojima described as a Death Stranding "bootcamp". And if the studio feels like a reflection of the creator, so too does the game: his past and present, his taste in film and music, and his anxieties around mortality and the need for human connection.
On the beach
The first Death Stranding game was Kojima let loose. After a career defined largely by one series - Metal Gear Solid - his acrimonious split from Konami led to the creation of his own studio and a brand new, divisive game full of typical Kojima-isms: a bizarre sci-fi world, advanced technology, and cinematic excess.
For some, Death Stranding offered a profound take on the afterlife and a desire for community that pre-empted the Covid-19 pandemic, all presented in a meditative, mournful tone. For others, it was a nonsensical walking simulator of endless acronyms and laborious gameplay. Either way, it was certainly a clear step away from the Metal Gear Solid games from which Kojima earned legions of fans.
The blacks and whites of Kojima Productions | Image credit: Kojima Productions
What players can perhaps agree on is that the game featured outstanding art design from longtime collaborator Yoji Shinkawa; had exceptional use of pensive, haunting music at key moments; and innovated with its asynchronous online connectivity.
Six years later, post-pandemic, Kojima returns with Death Stranding 2: On the Beach. What's new in this sequel? How has Kojima responded to his critics? And does the story finally make any sense?
On the screen
It's immediately apparent Kojima has put that production studio to good use. The game's opening is visually extremely impressive as it seamlessly blends from cinematic to gameplay, the skin textures on protagonist Sam Porter-Bridges' face are beautifully realistic, and as he descends across a rocky, barren landscape and the camera pans out for perfect framing, a grandiose song from Woodkid plays that's all expressive strings and pounding drums. The sun sets, the rain comes. And all this on a base PS5 in silky smooth performance mode.
Before this there's an optional recap of the first game, but its handful of stills and voiceover are barely sufficient to fully explain its weird intricacies. This is a sequel for those with intimate knowledge of the first game, though with all that exposition now out of the way Kojima is able to focus on telling a story to answer remaining questions instead of endless explanation. This is a much pacier experience as a result that swiftly gets players into gameplay - in under 20 minutes Sam's off on his first big mission and from there key plot beats are sparsely spaced out across playtime.
There's a new addition to the sequel that also aids the pace: the Corpus. As with the likes of Avowed and Final Fantasy 16, the Corpus is an in-game glossary that can be opened at any time to recap plot points and read about characters and places. It's not only an essential resource, it ensures Kojima's script is tight and concise, extraneous detail saved for later reading.
Returning characters and new faces in Death Stranding 2 | Image credit: Kojima Productions
As for the plot itself, the basics are (so far) comparatively straightforward. The 30 hours I played for preview represent around 40 percent of the story, but I won't be spoiling anything here beyond a few points on the premise - in part I'm not allowed to (be it plot, special guests, or musicians), but I wouldn't want to anyway. It's best experienced with little knowledge to fully appreciate its eccentricities, though everything I played can be seen in last year's State of Play trailer. Over that time the plot provided plenty of intrigue and unanswered mysteries, but I still fear a five hour lore dump in the game's final moments could upturn the plot as Kojima did before.
Still, it begins 11 months after the first game, with deliveryman Sam (Norman Reedus) in hiding along with his BB, Lou. After connecting America to the chiral network, deliveries are now completed by the Automated Porter Assistant System (APAS) - essentially, Sam's job has been taken over by AI. Instead, he now leads a comfortable life with his adopted daughter. That's soon disrupted by the return of Fragile (Lea Seydoux), now running new company Drawbridge, who sends Sam out on a mission to connect Mexico to the chiral network. After crossing the Mexican border (yes, there's a wall), Sam's mission soon takes him across the globe (for…reasons) to the outback of Australia, where the bulk of the game appears to take place.
Even with its more comprehensible plot, Death Stranding 2 still has its fair share of weirdness and a lack of subtlety - it's a Kojima game after all. This remains a game about shadowy beings crossing over from the land of the dead that only half-dead babies can see; there's a flying cat made of tar, a woman who can summon rain, a talking stop-motion animated puppet, and a very cool nod to Splatoon; and it's all interspersed with snippets of flashback and one particular nightmarish firework sequence that's one of the most visually spectacular moments I've ever seen. Within all that, there's plenty of room for heavy-handed metaphor and symbolism: Sam begins the game wearing a cap with the words "why me?" as his quest begins, while the names of Kojima's characters - Dollman, Rainy, Tomorrow - are all too literal. Yet with the preamble of the first game done, he's finally free to pair all the excessive, surreal, sci-fi imagery with more relatable characters and human drama, ensuring the cool visuals carry emotive weight.
The sci-fi and religious undertones are strong. | Image credit: Kojima Productions
Kojima explained in a Q&A during the preview that the relationship between Sam and Lou is a key focus of the story for this game. Yet there are broader themes too. "Should we have connected?" the director asks in the game's trailer. I suspect this won't be answered until the game's climax, though extending the chiral network seems as much a method of control as it is communication. Kojima noted the strands of the sequel's logo now fall from above in a nod to The Godfather, hinting at the notion of puppetry. And it seems the theme of connection has been inspired by Kojima's frequent use of social media, though he wouldn't explain further for fear of spoilers. The narrative, Kojima admitted, has been somewhat influenced by his own life - "It comes from a very private place, with thoughts like the feeling of solitude, where the dead come from, or not having closure with a lost loved one," he said - though he didn't go into details. At the least, he wants players to feel what he felt during the pandemic: the desire to move away from an always-online metaverse as we hide away in our homes, and instead move towards the sort of unplanned and coincidental in-person meetings that for him form a core part of the human experience.
On the job
It's that notion that appears to have informed Death Stranding 2's expanded gameplay, too. The world is more dynamic and diverse, there are more options for asynchronous connection, and more opportunities for player expression. Gameplay is an evolution of the first, but there's so much more depth and texture now. Of the time I played, the vast majority was spent experimenting with gameplay systems rather than passively watching cutscenes - despite the prevalence of film production facilities in the studio hinting otherwise. How unlike Kojima!
The game is still focused on taking cross-country delivery jobs through a hostile landscape for social media likes, stacking and balancing a load of boxes on your back, and dealing with momentum-based traversal at a slow and steady pace. Yet Kojima compared the transition between games as similar to that between Metal Gear Solids 1 and 2: where the first game had to introduce stealth gameplay for the first time, the second could build on it; likewise Death Stranding was the first delivery game but now it's been vastly expanded. To me, it feels similar to the difference between Breath of the Wild and Tears of the Kingdom - it's more of the same, but the added depth makes the first game feel primitive by comparison.
Let's start with environments: both the Mexican desert and the Australian outback are far more dynamic than America before thanks to extreme weather conditions. Sandstorms topple Sam over, intense rainfall leads to flooding, and earthquakes shake the ground and screen alike to send avalanches tumbling. There's more diversity too, from barren mountainous outcrops, to white sandy deserts, lush jungle, and moon-like rocky debris, all bathed in blinding sunlight or striking moonlight depending on the time of day (which can impact the temperature of your precious cargo). Plus, creating routes across the map will now signal specific hazards along the way to prepare for in advance. I do miss the rugged and melancholic Icelandic tundra that formed such a core part of the first game's identity, but it feels static by comparison. Here the changing landscape and lighting allow Kojima's cinematography to thrive: from the glare of sunset blooming behind ghostly silhouetted entities, to a giant moon overwhelming the sky lending space-age iconography to match his meeting rooms.
Environments are far more varied this time | Image credit: Kojima Productions
And once the chiral network expands following each mission, the world comes alive further in a flurry of signs and structures left behind by other players. The asynchronous online connectivity remains as unique as ever, with small discoveries like a perfectly placed ladder from another player feeling momentous mid-mission. Now it's been expanded with more structures, including ziplines that now curve slightly, safe houses for checkpoints, and (my personal favourite) ramps that shoot Sam across the air like Sonic the Hedgehog. You'll even spot NPC porters lugging cargo across the world, to whom you can offer a thumbs up. There are still laborious moments of collecting the materials necessary to fully connect the world with roads and, now, monorails, but there's satisfaction in pottering around helping other players. Kojima even amusingly compared this aspect of the game to Animal Crossing.
There's far more customisation this time around too: for Sam, for his backpack, and for vehicles. Sam naturally and explicitly levels up his abilities through use, be that increasing his stamina or his proficiency with different weapon types. Moreover, as his porter rank increases in different areas following the completion of each mission, new buffs are unlocked on a skill tree. For instance, more time in stealth will allow for buffs like better noise cancellation and enemy alerts, while more time in combat will unlock improved bullets and a better scanner range. It's RPG-lite, but it adds to the feeling of Sam being an extension of your playstyle and adapting to each mission.
Then there's backpack customisation, with Sam able to fabricate various attachments: extra ammo pouches, shields, and the like. This later extends to vehicles too. Not only was I able to add an arm to a truck that would automatically grab lost packages, I then attached machine guns to automatically shoot enemies as I drove through bases in tank-like fashion. After previously trudging through on foot, that felt particularly cathartic.
Sam can customise his backpack with lots of useful attachments | Image credit: Kojima Productions
Trudging on foot, though, remains a viable strategy, but the game doles out new options and equipment quickly to encourage a change in approach, be that familiar skeletons and carriers or fresh ideas. There are plenty of useful extras to find in side quests too: I nabbed some powerful gloves that allowed me to punch mech enemies in the face, as well as a cute otter hat to float in water. The game isn't entirely frictionless - there'd be no fun in that - but all these extra options mean you'll spend less time tripping on rocks and more time experimenting. And while individual changes are small, they're transformative in totality, making for a game that's far more engaging than the first. Death Stranding 2 isn't just about walking from A to B to see the next cutscene, but makes traversal fun and puzzle-like, with multiple solutions - as it should have been all along.
On the trigger
That goes for combat too. There are broadly three ways of approaching combat, be that against human enemies or the game's infamous BTs: stealth, shooting, or avoiding encounters altogether. With all the new traversal methods, that third option is certainly possible - though you'd be missing out on the fun.
In many ways, Death Stranding 2 feels like Metal Gear Solid 6 - an extension of the open world design and smooth transition between stealth and combat the fifth game provided. Mexico and Australia are filled with enemy bases to infiltrate, with Sam able to sneak around for silent takedowns, or simply fire away with powerful weapons. He's given a whole load of options, from pistols and assault rifles and shotguns, to grenade launchers, a blood boomerang (we're in Australia, after all), and the return of my favourite rope-firing Bola Gun. Weapons are punchy and combat can be explosive, if a little easy.
Both stealth and combat are viable options | Image credit: Kojima Productions
Before all that, though, Sam can wear different camouflage types before hiding in some conveniently placed long grass (make sure your pack isn't too tall) and throw tiny puppet Dollman into the sky to scout out and tag enemies, Assassin's Creed-style. Sam may not have Big Boss's suite of gadgets and manoeuvrability, but when he's sneaking through jungles in the dark, dodging spotlights before throttling enemies from behind, it certainly feels like a middle finger to Konami.
Combat against BTs, meanwhile, is more active this time. The previously invisible enemies are more visible now, not to mention the new Watcher type that can properly see Sam rather than sense him, resulting in some tense sneaking. And with plenty of weapon types to retaliate with, BT encounters are no longer a tedious lesson in holding your breath but shootouts against nightmarish visions. BTs may have lost some of their fear factor as a result, but when the rainfall comes Death Stranding 2 remains darkly atmospheric. As for bosses, I only fought a couple in my playtime and while they were fantastically surreal, I'm still waiting for that Psycho Mantis or The End moment.
The Metal Gear influence on combat, at least, was indirect. "There are so many people all over the world asking me to make another Metal Gear, so I added more options for combat," he said. "When I was working out those mechanics, I was a little worried because many of the staff that worked with me on Metal Gear still work here, and we kept saying to each other, 'Does this feel too much like Metal Gear?' It wasn't on purpose."
Is that you Snake? Luca Marinelli appears to be doing a Mads Mikkelsen. | Image credit: Kojima Productions
Still, between its futuristic aesthetic, the bleeps and bloops of its sound effects, and its open world stealth design, Death Stranding 2 certainly feels reminiscent of Kojima's past games. But there are direct references too, ranging from knowing winks to the eye-rollingly absurd. While the mysterious Snake-like character (Luca Marinelli) is a fun nod, the presence yet again of a cyber ninja/samurai character feels a little tired. The new DHV Magellan mobile ship is a Metal Gear in all but name, but it does at least have the convenient ability to fast travel. Later, one limbless character even refers to their "phantom pain" - I'm surprised it wasn't accompanied by an exaggerated side-eye to camera.
I have mixed feelings on all this. As a Metal Gear fan, it's fun to see familiar characters and themes return, plus combat in Death Stranding 2 is vastly improved. It's as if Kojima is responding directly to detractors of the first game, to give the people what they supposedly want. Yet compared to the originality of the first game, the sequel's over-familiarity feels like a step backwards. Kojima is often perceived as this visionary director, but is he offering fan service or running out of ideas? What's left for his forthcoming espionage game Physint?
On the playlist
Perhaps my favourite new feature of Death Stranding 2, though, is its music player. Available partway through, it allows players to create playlists of collected tracks and listen at any point (within the chiral network). Low Roar's music was intrinsically linked to the identity of the first game and its most prominent moments, but it's wonderfully freeing to be able to create similar moments yourself as you explore each peak and valley, tilting the camera just so for the most expansive view.
As for the songs themselves, I'm not able to say which musicians are now involved. At the least, following the death of Low Roar's lead singer, the soundtrack here is a greater mix of artists and styles, though Woodkid has taken the lead - Kojima even mentioned the artist's worry at living up to the Icelandic band's work. To select songs, Kojima simply calls up his favourite artists. "It's almost like my hobby, putting hobby songs in the game," he said.
The social strand gameplay remains inventive, while vehicle combat adds new diversity | Image credit: Kojima Productions
The music, then, goes hand in hand with gameplay and setting - what's lost in singular vision is gained in variety and surprise. Like the shift to sunnier climes, the music brings a less dour and more hopeful tone to the game as a whole - it feels less about fearing death and more about preserving life.
And the music still leads to some spine-tingling moments beyond all the sci-fi hokum - for me, that's what Death Stranding is all about. As Sam emerges from another bunker, he treks carefully over a moon-like landscape as deep bass rumbles and an ethereal voice begins. He crests a hill as the music climaxes, a grand monolithic structure dominating the horizon as his tantalising goal. We're not in Iceland anymore, but it's still those quiet, pensive moments of pause after heated battle that hit hardest of all.
I emerged from the sci-fi bubble of Kojima Productions with my head spinning with plot theories and unanswered questions, but I ultimately enjoyed my time with Death Stranding 2 far more than the original. It's tighter, pacier, more dynamic, more gripping. Just as I was tired with traversal, a new upgrade or piece of equipment enticed me back in; just as the sparse story left me wanting, a new bizarre curveball of Kojima weirdness had me grinning; just as I thought I knew what Death Stranding 2 was, it surprised me once again. It's as if Death Stranding was a mere design concept, and its sequel is properly fulfilling its promise with a big dollop of Metal Gear - as long as you're willing to buy into the world and suspend your disbelief once more.
Death Stranding 2 is clearly a labour of love, filled with carefully balanced gameplay systems, exceptional visuals, and extraneous details and secret scenes (Dollman certainly likes his music), all wrapped up in Kojima's irrepressible sense of cool. Like the studio he works from, the game is a gateway into his post-pandemic mind as, now in his 60s, he contemplates life, death, family, human connection, future legacy, and - most important of all - which musician he'll be listening to next. In that sense it, so far, feels like the most Kojima-game yet, a culmination of all his prior achievements.
I still don't know why we shouldn't have connected, but in this instance I'm glad I did.
This article is based on a press event at Kojima Productions, for which PlayStation assisted with travel and accomodation.
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