Death Stranding 2: On the Beach Review - Beautiful, Bizarre, and Unchained

Hideo Kojima is an auteur in the sense that he is the rare video game developer whose work bears a unique stamp. Metal Gear Solid is a franchise that works solely because of Kojima’s intricate mind. When Death Stranding was first revealed, I was laughing - not because of how insane it looked, but because it proved Kojima wasn’t a one-trick pony. What he did with Death Stranding was deliver a world unlike anything we’ve seen, paired with a gameplay concept that sounds boring on paper, but somehow found an audience that appreciates the various challenges relating to the task of delivering cargo from point A to point B.

Death Stranding 2: On the Beach continues what was started in 2019, refining the original’s concept ever so slightly. It offers a similar experience, but with higher visual fidelity, consistent performance across the board, and a few new tricks that make gameplay more accessible, challenging, and fun. I had a blast with the sequel. It’s an experience that’s hard to explain, but needs to be given a chance, as I’m still in disbelief that it exists.

Death Stranding remains an acquired taste. If you appreciated the first game, you’ll be somewhat prepared for On the Beach, as Kojima Productions doubles down on its crazy post-apocalyptic world, where the dead roam and the remnants of humanity are still left disconnected, fending for themselves. It’s a visual spectacle, a calming yet haunting experience. Blink and your head could spin, as this is a world filled with unique elements only a creator like Hideo Kojima could string together. I was left confused, but captivated. Emotionally invested, yet still unsure whether I truly understood certain revelations or twists. It’s a journey best appreciated if you’re able to grant the patience it asks for to bring this saga full circle. 

But let’s make this abundantly clear: if you didn’t enjoy the first game, don’t expect the sequel to contain some magical ingredient that will change your mind. On the Beach isn’t trying to be more accessible. This is Kojima’s team doubling down. Kojima Productions knew what they wanted to deliver, and they fully embraced the world they’ve built, finding even more ways to make it complex, strange, and uniquely theirs.

Sam Bridges, back in the saddle

Death Stranding 2: On the Beach picks up 11 months after the first game’s conclusion. Sam has successfully connected the UCA, and now lives a quiet life in hiding with Lou, the BB unit who is now growing like a regular child. Their peace is short-lived, as Fragile tracks them down with a new mission: to connect Mexico and Australia. While these efforts give humanity a fighting chance, much of the world remains in the dark, still struggling with the ongoing effects of the Death Stranding.

This is as far as I’ll go into story details to keep things spoiler-free. What I’ve shared is only a sliver of what On the Beach offers. The sequel spans roughly 60 to 70 hours, and Sam remains at the heart of it all. This time, however, he’s joined by a more colorful cast. Characters like Tarman, Rainy, and Elle Fanning’s mysterious Tomorrow are excellent additions, with each getting just enough backstory to add emotional weight. Returning faces like Heartman and Fragile are also given meaningful moments.

The standout for me was Dollman, a living puppet strapped to Sam’s waist, serving as both companion and guide. Animated at a different frame-rate, Dollman fills the same role as Mimir from the recent God of War games, offering timely hints and banter without being overbearing. Given that Sam is still a man of few words, I initially worried about stretches of silence, but Dollman fills those gaps brilliantly.

Higgs returns as the antagonist, and this is easily a better portrayal of the character in comparison to his work on the first game. He arguably has some one-dimensional elements, but his sadistic flair and ability to push Sam to the edge make him a compelling villain. Troy Baker is phenomenal in the role, lighting up every scene he’s in. Unfortunately, I can’t say the same for Norman Reedus, who plays Sam. Even now, it feels like he’s just playing himself, as his line delivery and body language just keep reminding me that he played Daryl Dixon in The Walking Dead. 

As for Sam as a character, he has grown slightly since the first game, but still feels like the most uninformed person in the room. His confusion mirrors mine as there were countless times I found myself muttering, “What is going on!?” during some of the game’s absurd cutscenes. That said, the confusion never pushed me away, as I was familiar with Kojima’s storytelling. I was more taken aback by the pacing. The game’s rhythm closely mirrors the original: slow, deliberate, and at times chaotic.

Story beats in On the Beach are spaced out, with each new revelation stacking questions upon questions. These get answered eventually, often in the back half, through a barrage of exposition and plot twists. It’s a slow burn with satisfying payoffs, but the gaps between major developments can feel overwhelming. Some questions lingered so long that I forgot about them entirely until the game brought them back up. Despite that, I saw myself invested instead of checking out mentally to get a good grasp of what’s going on in the moment. It felt like a massive puzzle that’s slowly becoming clear in my head, even if one of the game’s biggest twists was obvious from the start.

Still, it was a thrilling ride, though one that might be too much for some. That’s why I want to mention this again - I strongly recommend playing the first Death Stranding beforehand, or for those who have, replay it. Get yourself mentally battle-hardened, as Kojima Productions has quite a show for you. This sequel dives deeper into themes of loss, connection, and the concept of Beaches and its connection with the dead, all while redefining what makes Sam and Lou so special in the grander scheme.

You’d think that most of the world-building was done in the first game, but more lore was added on top of what was already established, as new terminologies like Chiral Rash, Tar Currents, and more were introduced, so much so that I stumbled a couple of times trying to keep up. Thankfully, the game features an encyclopedia of sorts called the Corpus, a tomb of knowledge about anything Death Stranding to give players a brief explanation of everything that was introduced so far, as I can whip it out at any time, either during a cutscene or through the game menu. This real-time lore guide does its best to clarify any doubts as to my understanding of the various aspects of this world.

It’s a wild story, paired with impressive cinematography and fight choreography that reminded me at times of Metal Gear Solid. There were moments that left me genuinely in disbelief that what I was witnessing was part of a video game. Some scenes felt like Kojima just added them in because, heck, why not?

The sequel constantly throws wrenches into its storytelling, and more often than not, it’s impossible to predict how a scene will play out. The final hours are especially remarkable in this regard. I found myself confused, overwhelmed, yet undeniably entertained by what was unfolding in front of me. Even when it didn’t make any sense in the moment, I couldn’t help but smile that a story like this exists.

A walk to connect

Death Stranding 2: On the Beach still retains its unique gameplay, and, yes, it remains mostly as a walking simulator. There’s no other way to put it. Most of the time, you’re going from point A to point B to deliver cargo as efficiently as possible. These journeys still involve navigating bandit camps and BT-infested zones, but the core loop remains plotting your route and managing various terrain that is now more dynamic. You’ll be using ladders to cross rivers that has the potental to flood now, and climbing anchors to scale or descend rocky cliffs with earthquakes randomly occurring. Then, you’ll eventually gain access to more efficient ways to traverse. It’s all about using the tools the right way, which is part of the game’s fun.

On the Beach doesn’t drastically change the gameplay formula. It mostly refines what was already there. The UI has been streamlined and is easier to navigate. New features like the ability to remove your backpack entirely, let you keep cargo safe while engaging in combat without worrying about damaging your deliveries, are great additions.

Sam now has access to more tools than before, including an expanded arsenal of weapons for any threat. Depending on your playstyle, you can equip sniper rifles, silenced rifles, light machine guns, and even deploy mounted heavy weapons. This time, weapons start becoming available early on, which makes Sam far more capable in the first few hours. That’s a contrast to the original, where your only “weapons” at the start were Sam’s bodily fluids, and real firepower didn’t arrive until much later.

The world is more capable now

This shift is welcome. There’s more combat in On the Beach, and I found myself enjoying the option to clear out bandit camps and BT zones to ease the delivery routes for certain jobs. Combat remains simple and functional, as this is still primarily a game about the journey. There’s no magnetic cover system, no advanced crouching mechanics, just basic point-and-shoot as enemies rush in.

Even the boss battles, while larger in scale, stick to this design. When facing a massive BT, you’re still fighting against tar that slows your movement, aiming at clearly marked weak points, then repositioning to safely pull the trigger. These encounters are fun and can be quite a spectacle to those watching, but rarely stressful or tense. That said, there’s a new tool I won’t spoil here that spices up BT boss fights that make them more entertaining than challenging.

However, the expanded access to weaponry has a downside. BT encounters in the open world no longer feel as threatening. What used to be a high-stakes obstacle is now something I often handle by going in fully armed and clearing them out. Stealth is still an option, but brute force is far more efficient in my eyes. As a result, On the Beach is an easier game.

Stealth has improved too, thanks to better tools. You can equip sneaking boots to reduce noise when going close for takedowns. Bandit camps feel to have more hiding spots like tall grass, and we have multiple weapons that are silenced. Recon is more reliable as well, as you can use Dollman to scout an area by throwing him into the air, tagging enemies and points of interest from a safe distance before making your move.

There’s a tool for every situation

The tools in this game add to the fun. Every new place you connect with comes with upgrades that make each delivery feel slightly different, as the journey slowly gives Sam access to buildable structures like bridges, zip lines, generators, and shelters from Timefall (rain that ages anything it touches).

Many tools from the first game, like the exoskeletons, vehicles, or more absurd contraptions like a Cargo Catapult, help Sam deliver heavier cargo, sprint faster, or take more damage. Backpack attachments and vehicle upgrades also return, offering even more ways to prepare for your next delivery. There’s also a passive skill tree now, where Sam can gain perks such as improved damage and accuracy for bullets, make exoskeletons auto adjust your balance to prevent falls, reduced cooldown time for the Odradek scanner, or even silly social upgrades like expanding the range for giving "likes" to objects others have placed. Sam also naturally gets better from climbing, sprinting longer, to being more efficient at specific weapon types, the more you use them in combat.

It’s a lot to manage, but I found real enjoyment in planning the right loadout for each job. It’s satisfying to be prepared for anything, as the whole experience feels surprisingly calm and enjoyable, especially with its social online features.

The social experiment that elevates the whole game

On paper, the gameplay might sound boring. But its appeal is infectious. I’d happily spend an hour going back and forth just to help contribute to the shared world, whether it’s by building roads, connecting monorails, or placing charging stations at key spots to make things a little more convenient for everyone.

When playing online, your contributions and those of nearby players are blended into one world, even though you’re not actively playing together. Reloading your game can bring unexpected changes, like a ladder suddenly placed on a rocky slope, or a road segment you were helping build suddenly being completed thanks to others. Structures deteriorate over time, but you’ll get notifications when someone repairs what you left behind. In return, you earn "likes" from the community for the things you’ve built. A sense of appreciation informs you that your actions have a positive impact on those who are in the same spot as you in the game.

It’s a fascinating system that mirrors the way we feel when people interact with something we post on social media. There’s a rush of satisfaction when others respond to your creations, and Death Stranding captures that in a completely original way. I feel good when I see players appreciating what I’ve added to the world. One example: a single ladder I placed kept getting likes, clearly showing that many players were taking the same route and using that ladder to bypass a tricky climb. 

I didn’t think much of Death Stranding’s online features, as it works just the same. They felt like a cool extra. But during the review period, our online access was limited. As I progressed into the later episodes of the game, those features eventually became unavailable, likely to prepare for the release of the game. So for the final episodes, the world changed. Playing offline made me realize just how lonely the game feels without them.

The journey from one location to another felt empty at this point. Without shared structures or signs of other players, I was crossing vast open plains, deserts, snowy peaks, and dense forests completely alone. Without the online layer, the world felt dead. In that second half, I focused more on completing the main objective. But in the first half, I had constantly gotten sidetracked just so I could build with the rest of the player base. It felt like being part of a living, helpful community.

When I went offline, building roads and maintaining everything alone became a daunting, joyless task. That contrast gave me a deeper appreciation for what Kojima Productions achieved. It made me see the genius behind Death Stranding in a whole new light.

A near-flawless technical marvel

It felt like the developers had a clear vision in mind. Every small detail feels more upgraded than evolved. The environments are more dynamic this time around, with weather effects that make nature feel alive and even threatening. Each location is breathtaking in its own way, from the icy mountains to the unending deserts to lush forests. This is a gorgeous and polished game. And for a game that demands so much interaction with the world as a core component, you’d expect bugs, such as players clipping through rocks or weird triggers from the terrain. But no, the experience is near-flawless. The level of polish here is second to none, a rare sight in modern triple-A development.

The world feels more alive than ever. Detailed lighting and a newly added day-night cycle bring moments that are naturally photo-worthy. I often found myself pausing just to admire a sunrise or sunset while making my way to the next destination.

Is Death Stranding 2 for you?

When I first encountered the delivery gameplay and online systems, I wasn’t on board. I revisited the first game multiple times before fully committing to it. It took a lot for me to appreciate what Kojima Productions had built. But once it clicked, it was hard to let go. On the Beach builds on that same foundation with a more upgraded feel as everything has been turned up by a notch or two on every aspect of the game. Even on a base PS5, it stands as one of the most technically impressive games I’ve played as Kojima Productions feels to have become masters of Guerrilla Games’ Desima Engine, an engine that has fueled the Horizon series and others. There are no frame rate drops, barely any loading, and a world that just feels complete and smooth to play, either on quality or performance mode. It’s a technical marvel paired with a gameplay experience you won’t find anywhere else.

And when you pair all of that with an insane, head-spinning story only Hideo Kojima could create, you get a game that many will adore, while others may struggle with. Some will bounce off due to the style of storytelling. Others may find the delivery gameplay dull. That’s a fair reaction, and I can’t blame anyone for it. But what I can say is that Death Stranding 2: On the Beach deserves a chance. If you have the patience and come in with an open mind, this is the kind of game that can stay with you long after the credits roll. And you’ll be in an exclusive group of people who will struggle to describe this experience to anyone else.

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Verdict: 5 / 5 (Exceptional)

PROS

• A fascinating world with a wild, imaginative setting

• Gameplay is refined in both delivery and combat

• A visually stunning world made more dynamic with barely any bugs and performance issues

• Colorful cast of characters with depth

• A story that can be entertaining thanks to Kojima’s unique mind

CONS

• Story pacing can feel stretched out and occasionally overwhelming

• More combat encounters, but the mechanics still feel basic

• BTs in the open world aren’t as impactful as they were in the first game

What I’ve Played

• Completed the story with a game time of over 70 hours

• Experienced the game with online features on and off

• Have connected most of the new continents 

• Played on a base PS5

*This review is based on a PS5 review copy provided by Sony

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