Death Stranding was all about connection, but after Covid-era metaverse hype, Kojima says that ‘maybe it’s not such a good thing to connect so much’

Death Stranding 2: On The Beach is due for release in June, though the inevitable PC version is yet to be confirmed: let’s just hope it doesn’t take eight months this time. Creator and director Hideo Kojima has been on the interview circuit and, among other things like constantly making Metal Gear comparisons, gives some surprising insights into the themes of both games.

Necessary context here is that, while Death Stranding was developed before the Covid-19 pandemic, it released a few months beforehand. Coincidence though it may have been, it made the game’s themes of isolation, delivery work, and internet-style social connections seem absurdly prescient and, as time went on, even quite haunting.

“Death Stranding was developed before the pandemic,” says Kojima to IGN. “There were movements toward division at the time such as the United Kingdom leaving the EU, and so both its story and gameplay were created based on my thoughts on that during that time. But then Covid started three months after [releasing] the game, and I was truly shocked.”

Brief refresher: the United Kingdom narrowly voted to leave the EU in 2016, following a divisive national campaign riven with half-truths and misguided notions such as “taking back control.” The UK officially left the EU in 2020 and, while opinions differ, the vast majority of economists regard it as an act of self-sabotage, and the political after-effects continue to be felt.

“Now in the 21st century, though, we have the Chiral Network… which is to say the internet,” continues Kojima. “Spanish flu struck in the early 20th century, but we were able to survive this time because we were connected by the internet. We started working remotely, while concerts and live events vanished. We had no choice but to rely on the internet. Children couldn’t go to school or play and had to stare at screens all day.

“I think we didn’t have any other choice at the time. You’d turn on the TV and hear about how the metaverse was the next big thing, but that isn’t how human communication works. You don’t meet people by chance that way.”

I’m very much here for Hideo Kojima just casually dismissing the metaverse, not least because he strikes me as being quite right. And what’s interesting about Kojima’s thoughts is where they lead to, which is essentially that he might have been too starry-eyed about the idea of people connecting in this way.

“This may sound strange, but I made the first game based on the theme of, ‘We’re in danger of being divided and isolated, so let’s connect,'” says Kojima. “Then Covid hit after it came out. After actually experiencing that, I felt that maybe it’s not such a good thing to connect so much. That feeling is foreshadowed in lots of different scenes and settings, including ‘the stick and the rope.’ I think there are portions that players will only understand once they reach the end of the game. What I felt during the pandemic is quite strongly reflected within this title.”

Kojima goes on to talk about the strands that dangled down from the original’s logo, which in the sequel dangle above the logo like puppet strings.

“It’s kind of like the logo for The Godfather,” says Kojima. “This applies to Dollman too, and you’ll find enemies dangling from strands if you go to the weapons factory as well. I added a lot of moments that will make players aware of the presence of different strands. When you really think about it, what does it mean to be connected? I hope you’ll play the game when it comes out at the end of June. You’ve all gone through Covid, so there should be something to resonate with for everyone.”