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An Analysis of the Game Awards Death Stranding Trailer

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It finally happened: The Game Awards gave us the next long-awaited trailer to Hideo Kojima’s Death Stranding. But what can we glean from the trailer? How much of it is symbolism and how much of it hints at game mechanics? Let’s explore, shall we?

We can probably start with the obvious: Norman Reedus (or as one character in the trailer calls him, Sam). He wears clothes identical to those worn by the other characters in the trailer. This implies they’re part of an organization that, given they’re equipped with robots that can detect invisible, eldritch creatures, are clearly are trying to fix whatever’s causing the rules of life, death, and nature to twist over themselves in Death Stranding.

Speaking of invisible creatures, if the trailer is to be believed, they are powerful and Lovecraftian in scope. They can transform the ground into an oily mire, summon oil-soaked corpses from that mire, forcefully age people, and reverse gravity. Odds are if players run into these creatures, they will have to deal with all these problems (and possibly more). Given that any one of these obstacles is a seemingly guaranteed death sentence, stealth will likely play a key role in the game, and the trailer spends a lot of time displaying what players will have to watch out for to avoid certain oily death. The video goes to great lengths to demonstrate that the robots are specifically designed to detect these creatures, but since the trailer shows the creatures leave oily hand prints, dissolve nearby corpses, and are barely visible in heavy rainfall, odds are players will be forced into situations where the robot is either absent or useless.  Luckily, the trailer effectively demonstrates the creatures are blind and deaf and can only detect respiration, which implies breathing will likely be as important a mechanic in Death Stranding as blinking is in SCP: Containment Breach. The trailer also establishes that these creatures, while they actively hunt living humans, lose all interest once their victim dies, which indicates players might encounter bystanders they have to kill to spare them from a fate far worse than death. Of course, since the person who provides the merciful death in the trailer is attacked shortly afterwards, these situations will likely be presented as moral dilemmas: do you risk your own hide to save someone from a gruesome fate or let him or her suffer so you have an easier time finishing an objective that will hopefully solve everything? Knowing Kojima, this will also be an important game mechanic, And before I forget, the non-invisible floating creatures from the end of the first trailer show up again in this trailer, which could be the invisible creatures turned visible (maybe they’re only invisible while hunting and visible while resting). As for the giant creature in the trailer, that’s anyone’s guess. A giant boss? All five creatures combined into one giant Lovecraftian Voltron of oily evil? Symbolism? Your guess is as good as mine here.

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Now, let’s talk the confusing aspects of this trailer, and I don’t mean the symbolism — I’m not ready to discuss why a baby is living in Reedus’ lungs just yet. The two most perplexing parts of the trailer are the floating man and the baby that has been a recurring element throughout all the Death Stranding trailers. Given the lack of information, this section will be less analysis and more speculation, but that won’t stop me from trying. Given the floating man’s visually distinct clothes and robot, he is probably the leader or a high-ranking member of Reedus’ organization, but that does not explain why can he float and teleport (or why he points in a fashion similar to Mads Mikkelsen in the second Death Stranding trailer). He could simply be some enigmatic character who will further the plot and make players ask why he has superpowers (those seem to be a running theme in Kojima’s games), or alternatively he represents what Reedus will eventually become in Death Stranding: a superpowered human better equipped to survive in a world where the laws of death don’t apply. As for the baby, it’s clearly important to the plot of the game, but why? The most likely possibility is it’s the antithesis to the invisible creatures and the key to defeating them, but that remains to be seen.

While it’s difficult to analyze intentionally cryptic aspects of the trailer, I was able to find one tiny detail shown in a blink-and-you’ll-miss-it moment that will likely have huge implications in the game. Near the end of the trailer, a car door is emblazoned with the words the words, “Bridges: United Cities of America.” That label could imply the game takes place in a future where America is combined all of its (contiguous) states into one big state. Perhaps (this is me spitballing here, so don’t quote me on this) this new United Cities of America became so obsessed with unity it developed a project to unite humanity that resulted in these invisible creatures, and they’re trying to fulfill the project’s goal and unite everyone…in undeath. Or Bridges could be an organization that wants/wanted to unite America and ended up creating hell on Earth. It would explain why the word “Bridges” is emblazoned on everyone’s clothes in the trailer.

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We will have to wait until Death Stranding is released to see how close I am with my analysis. Will the baby be a MacGuffin or a red herring? How much of what the creatures do in the trailer make it into the game and how much is just for show/the sake of hype? One way or another, I am excited to see what Kojima has in store for us with the game, because I don’t have to overanalyze a trailer to know it’s going to be awesome; certainly better than the dumpster fire that will be Metal Gear Survive.

All you have to do to get my attention is talk about video games, technology, anime, and/or Dungeons & Dragons - also people in spandex fighting rubber suited monsters.

Gaming

Ubisoft says that future Assassin’s Creed games will need more time to be made

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As Assassin’s Creed Shadows is about to sneak up on people in November, Ubisoft says that the time between developing games needs to be longer to find the “right balance.” Shadows has been in development for four years, longer than any other game in the series up to this point. That includes the huge open-world epics Assassin’s Creed Odyssey and Assassin’s Creed Valhalla.

Shadows lead producer Karl Onnée (thanks, GamesIndustry.biz) says that the latest AC game took 25% longer to make than Valhalla. He says this is necessary to keep the quality of the series that it is known for: “It’s always a balance between time and costs, but the more time you have, the more you can iterate.” You can speed up a project by adding more people to it, but that doesn’t give you more time to make changes.

Onnée says this has as much to do with immersion and aesthetics as it does with fixing bugs and smoothing out pixels. This is because the development team needs time to learn about each new historical setting: “We are trying to make a game that is as real as possible.” We’re proud of it, and the process took a long time. In feudal Japan, building a house is very different from building a house in France or England in the Middle Ages. As an artist, you need to learn where to put things in a feudal Japanese home. For example, food might not belong there. Get all the information you need and learn it. That process takes a long time.”

You’ll have to wait a little longer for Ubisoft to work on each game. Are you okay with that? In what part of Shadows are you now? Is it interesting to you? Leave a comment below and let us know.

 

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Gaming

You can now pre-order Lollipop Chainsaw RePOP on PS5

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You can now pre-order Lollipop Chainsaw RePOP, a remaster that Dragami Games and Capcom both created. You can now pre-order the PS5 game on the PS Store for $44.99 or £39.99. If you have PS Plus, you can get an extra 10% off the price.

The company put out a new trailer with about three minutes of gameplay to mark the start of the pre-order period. Lollipop Chainsaw RePOP is a remaster of Grasshopper Manufacture’s crazy action game from 2012. You play as Juliet, a high school student who fights off waves of zombies.

The remaster adds RePOP mode, an alternative mode that swaps out the blood and gore for fun visual effects. It also adds a bunch of other features and improvements that make the game better overall. You can expect the graphics and sound to be better as well.

The game will now come out on September 12, 2024, instead of September 12, 2024. Are you excited to get back to this? Please cheer us on in the section below.

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Gaming

This Call of Duty: Black Ops 6 zombies trailer is way too expensive

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Is there really anyone who is following the story of Call of Duty’s zombie mode? We’ve known about the story in a vague way for a while, but we couldn’t tell you anything about it. It looks like the “Dark Aether” story will continue in Black Ops 6, but we don’t really know what that means.

For those of you who care, here is the official blurb with some background: “Requiem, led by the CIA, finally closed the last-dimensional portal, sending its inhabitants back to the nightmare world known as the Dark Aether, after two years of fighting zombie outbreaks around the world during the Call of Duty: Black Ops Cold War timeline.”

Wait, there’s more! “Agent Samantha Maxis gave her life to seal this weird dimension from the inside out.” Even worse things were to come: senior staff members of Requiem were arrested without a reason by the Project Director, who turned out to be Edward Richtofen.

Black Ops 6 will take place about five years later, and it looks like it will show more about Richtofen’s goals and motivations. The most important thing is that you will probably be shooting an unimaginable number of zombies in the head. This week, on August 8, there will be a full reveal of the gameplay, so keep an eye out for that.

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