Did Hideo Kojima Craft Another Strange and Marvelous World?

A As a teen in South Australia during the late 1980s, I developed a fascination with Australian New Wave Cinema, partly due to the Mad Max trilogy. One day in class, my high school English teacher rolled in a TV trolley and presented us with a screening of Nicholas Roeg’s classic. We were spellbound. Fast forward 40 years, and I’m now immersed in Death Stranding 2, Hideo Kojima’s expansive apocalyptic saga. Occasionally, it feels like I’m reliving that classroom experience. The game unfolds in a devastated Australia, where cities have vanished, and the landscapes are as stunning and prophetic as those in Roeg’s films.

After 45 hours of gameplay, I’ve made minimal progress in the storyline. Instead, I’ve explored the wilderness and delivered packages to remote outposts. Set in a world ravaged by catastrophic events, the game showcases a supernatural explosion that transforms the landscape. As you traverse the expansive ochre desert towards the coast, you witness sunsets behind shimmering mountain ranges, and tides reflecting the sky. Unlike typical open-world games, where environments remain static save for day/night cycles, Australia in Death Stranding 2 feels magical and ever-changing. Earthquakes might send boulders tumbling down mountains or trigger a massive dust storm, while snowy avalanches can engulf you. Along your journey, you can construct roads, power generators, and jump pads, all of which other players can discover and utilize. Each visit to a location feels novel.

Kojima cites George Miller as his inspiration, and the influence of the Mad Max films — with their chaotic, desolate energy — permeates the game. It examines the interplay between technology and isolation, portraying feudal tribes and scarce resources amidst an adrenaline-fueled atmosphere. Yes, he’s influenced by Roeg as well; while there are hints of mythic resonance from Walkabout, the game may lack the profound undertones of colonial guilt. On the remote fringes of the game map, a rocky outcrop evokes memories of Peter Weir’s Picnic at Hanging Rock.

I’ve spent countless hours driving along the highways of this game, picking up parcels and delivering them to remote locations. Why? Sitting in front of the screen until 2am, I felt compelled to ensure that a shelter received its fluffy pajamas. The magic lies in creating a timeless Australian landscape that is subject to moments of extreme change — echoing the transcendental techniques employed by Weir. This world is both enchanting and menacing, which is utterly captivating.

A few years back, Weir expressed this about Picnic at Hanging Rock: “What I aimed to achieve was an oppressive atmosphere of unresolved tension. To evoke claustrophobia within both place and relationships. We labored intensely to construct a hallucinatory, mesmerizing rhythm that made you lose track of reality.”

In essence, that’s my experience with Death Stranding 2. It’s a game filled with hallucinations and engaging rhythms. You drive and drive, eventually returning to the same locale hours later—only now there’s a road or a marker left by another player who perished during the night. This creative interpretation of Australian landscape captures what Grand Theft Auto has aspired to achieve in American cities. It’s about interpreting and distilling a sense of place from an outsider’s lens. So, when I finally unlocked a new area for exploration, the sense of wonder mirrored my first viewing of Walkabout on a rainy afternoon in Manchester. I’m certain it will take me months to uncover it all.

What to Play

A few months ago, I interviewed the creator of Quantum Witch, a unique pixel art adventure about a shepherdess who lost her flock and was caught in a metaphysical conflict between clashing gods. Nikki Jay, raised in a religious cult, escaped to forge her own path, and her experiences deeply inspire the game.

Developed with minimal assistance from Paul Rose, the inventor of the iconic Teletext Gaming Gin digitizer for Channel 4, it blends point-and-click mechanics with a postmodern deconstruction of the genre, punctuated with eccentric undertones. If you enjoy irreverent humor, you’ve come to the right place, or you’re simply looking for something delightful and quirky.

Available at: PC
Estimated playtime: Five hours or more

What to Read

• In more troubling news for game industry employees—Mind-Annoyed Developers have begun to Make a Rocket Boy. Following a disastrous launch, the studio has seen significant layoffs. Games plagued by bugs and AI glitches have received negative reviews from both players and critics, with IGN reporting that up to 100 staff members have been let go. What a disaster.

• Eurogamer features an amazing interview with voice actor Ashley Burch, discussing whether video games can positively impact mental health. Burch shares her own experiences with obsessive-compulsive disorder and how Harvest Moon 64 aided her coping mechanisms.

• We love in-depth explorations of classic video games, and Gamespot has produced an amazing piece about how a designer crafted the best level in Deus Ex—the Aeon Storm, a legendary role-playing adventure from Dallas Studios, filled with intriguing details about the alternative rendition of Hong Kong.

What to Click

Question Block

This comes from Adam:

“I’ve been enjoying Be Brave, Barb, from the developers behind the fun Daddish series. I appreciate its straightforward, bite-sized gameplay, reminiscent of my experiences with the Game Boy Kirby titles.” What’s your favorite snack-sized game?

After my initial experience with the eerie short horror title Thin, I’m now obsessed with curious mini horror games, adding titles like Mouse Washing, Murder Case, and PT to my list. I’m also fond of classic PlayStation minigames like BISHIBASI Special and Point Blank. From the rest of the team, Keza is into WarioWare, The Lonely Mountain, and Pokémon Trading Card Game (“yes, still,” she says). Tom Regan enjoys Edith Finch’s Remains, Florence, and Inside; Christian Dongran mentions short-burst games like Loop Hero, Tetris Effect, and Sifu, while also noting, “Guardian Quick Cryptic is my favorite ten minutes of the week.” Sarah Maria Griffin loves Short Hike, and of course, the delightful Untitled Goose Game is a perfect little gem.

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