Death Stranding is a story of juxtapositions. It’s a game where someone can monologue 10 minutes straight about the unification of a divided America, before Junji It pops into a comm link to ask if you’ve seen his figurines . It’s a tall story of the integration of a divided society and what it means to maintain a connection to a world without physicality, broken against the face of the abyss of repeated shooting at Mads Mikkelsen and fighting ghosts using grenades made of your own piss and shit.
Death Stranding Director ' s Cut is a game of more juxtapositions. Not too content to let the 2019 offerings lie, Kojima Productions is back for another round with Norman Reedus ' Sam Porter Bridges nearly two years later. The result is even more exciting additions: for every heartfelt moment of discovery amid new story content, there’s a racing minigame that borders on the annoying. For every critical mechanic who feeds on the excessive Death Stranding philosophy, there’s a literal cannon that fires cargo for you to quickly run and recapture. There are a lot of smaller additions scattered throughout the re-release of Death Stranding, and they don’t have to worry about caring about what came first.
It is impossible to review the new content of Death Stranding Director ' s Cut without first reviewing the aforementioned philosophy of the base game. In 2019, Death Stranding continued game director Hideo Kojima’s fascination with the cultural and social aspects of America. If the Metal Gear Solid series is representative of Kojima’s fix on America’s upcoming shadow on the world stage, with politics and proxy wars spreading around the world, Death Stranding is a look inside America in through social standards, examines how people function in a diverse society after a culture of self -care and personal benefit has been taught to them over the past 300 years.