The mystery surrounding the Death Note has piqued everyone's curiosity about the true nature of the game. Part of this is the use of the creator himself, Hideo Kojima, who also hides his subjects with complex issues, themes, and personal tastes made by a skilled person. It's also because of the unbelievable feeling that there must be more to this game than we've seen so far. Of course players must do more than just the cargo – the video trope game itself and itself. But Death Stranding (its main character named Sam Porter Bridges, and less) can't combine significance.
To rebuild America after the mysterious event that hit the crater in the center of the country and to destroy society as we know it, Sam travels across the country bringing supplies and connecting with packs of survivors. To do this requires loading Sam with various size packages, metals, and burner to finish the shipment – such as breaking down the weak machines and delivering the pizza well.
At first I was frustrated with the nature of the filling when I cut the rocks, covered with moss. While increasing my energy and being proficient in my movements (the area is inherently thankful in terms of what it is and what doesn't move it), I realized that constant struggle is not a fundamental problem in the basic sense of the game. The real issue is that Dead Stranding's gameplay is really as simple as it seems, and the things around it – the story, the combat, and the influster intentions – aren't enough to solidify the title and make players invested.
Dead Stranding has unbiased plans for ways and means to build the world's infrastructure, such as making roads and other useful buildings, but the core of the delivery is not confined to fun trails. Your intentions are straightforward and not surprising; they do not increase Sam's interaction with the world, nor do they require the use of a novel. It's about travel, as they say, but when the journey feels dull, that's not a good thing.
Fighting is part of Sam's journey, but it is neither required nor involved. The multi-faceted spirits called BTs rise to the ground and appear in the air, but it feels more like a challenge than a challenge – the same as a random encounter in an RPG that causes you to swear more of a hot bow. Marauders called MULEs are physically strong and have guns and trucks to hunt you down, but defeating them is easy, whether you're using guns, melee attacks, or cunning. Don't expect the ingenuity or problem solving required of the Metal Gear series; enemies & # 39; A.I. methods and practices that do not increase your interactions with them or encourage testing.
Sure, it's fun to break down the robbers with a piece of luggage in your hand, but you can't drive it from place to place, their suspension is basic, and their looting (unless it's connected to specific machines) isn't particularly appealing since things can be found elsewhere in the world. Combat is not so important that exposing the plain is just as effective as any weapon when handling BTs and MULEs. Even the boss battles, if not even called that, are the simplest of encountering firing and escaping multiple rounds. Missing is the fun and excitement of Kojima's past efforts, to say nothing of the other games. This is a shame, because you can create some useful equipment, such as bomb grenades and hidden gems that you can hide underneath, despite the lack of compelling circumstances to use.
Overall, Dead Stranding's reunion plans are well thought out. Rain and snow (called Timefall) hurt everything they touch, so I love the feeling of being spared an emergency when the weather report shows rain on the way. Creating zip lines and safe houses in useful places is rewarding, especially as they expand the comprehensive network of facilities that provide and provide for your trip.
Dead Stranding's online connection is one of the strengths of the game, not because other real-life players can add useful things like ducks and warning signs to your world, but because it reaches what it's trying to do: Build bonds. I have enjoyed knowing that I help others when I build a bridge or tie a rope to a key location, and I enjoyed praising others for their efforts through the same program. However, this feeling is being met by this familiar moment.
That the game eventually comes up short is unfortunately, because there were times when I was pressured to finish my deployment. Coming to the top of the deck, I thought about where I had come and knew I had to be on the other end of the boat before moving my luggage that felt a little uncomfortable at times. The game is also amazing with visual effects, which helps when using all that time from one place to another.
Try as you might, The Dead Stranding Story doesn't hide its flaws. It's a standard Kojima mix of turning points, turns, themes, but at least I like that it explores real-world topics such as the idea of many variations and milestones in the history of global biology. Like Sam himself, I wasn't sure why I kept going to Death with Symptoms. Maybe there was a little pride in some of the work listed, some work done. Unfortunately, this adds up to a small reward in the end.