Death Stranding - Hideous Kojumbo does it again

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Kojima has always, always, made action-oriented games, stealth or no stealth. Even if he fucked with people who you were playing or what exactly were you doing or what the story was, that was always the grounding force. This time he pretended like that would be it and oops, when it wasn't that, he got completely and roundly mocked and trolled back for making a Fed-Ex simulator. I don't really think Kojima has gotten a taste of his own medicine like this ever, so its really making him salty, which is hilarious to see.

Kojima basically has a huge amount of cultists, but I've really never seen the internet turn on him this much. I suspect it will make him bitter, as someone with his ego is basically screaming 'THEY JUST DON'T GET IT' so for his next game he'll troll harder which will only explode back in his face.

I made a post in the Kojima thread, and I know a LOT will disagree, but I just don't think Kojima's writing (I think his writing is abject trash and has been replaced by better shit for a long time now. I'm bored of his absurdist crap and see it as pretentious filler, trying to be 'mysterious' while hiding your idea under 30 tons of bullshit) without good gameplay appeal can't work in a modern game-play market. The way he does things was when he had no competition story-wise and game-play was still sorting itself out. I just no longer think that works and appeals only to people with nostalgia and people who will buy anything he farts out.

Basically I see Kojima not as a genius but as a dinosaur, whose devices are extremely old hat and have made no progress while the gaming industry has leapt far ahead of him. If he was confident in his idea, he would have let people know, but he clearly wasn't and was very self conscious about it. Now he's facing the consequences for being a pussy.

I know people in this thread will probably lampoon me for this, but there's nothing innovative about 'inventory jenga', micromanagement and 'hold down move to balance'.
"Gameplay was still sorting itself out" like we have mastered video games and there is a formula you can follow to make a good video game, which I assume has something to do with loops because loops are all anyone ever talks about these days. You may not remember this, but there was a time when people laughed at the very idea of a stealth game - 'lol let's play a game where you don't shoot people, how fun!'

Anyway I don't disagree with you regarding kojima needing an editor, but that is Sony's failing, not his. They gave him an unlimited budget and no oversight, and when he went into the Sony offices and said 'haha me make big times clazy game wit hirarious ploduct pracement serring sungrasses and cans of poison' they said 'great! Put all this Sony shit in there too' instead of 'knock it off idiot'.

An artist makes art. Nothing else is required of them. They can be crazy, vain, greedy, stupid, vicious - art doesn't just need adversity, it needs you to put everything you have into it, including your fuck ups and personal failings. It is the editor's job to make it palatable.
 
Here's my take:

Kojima's situation is similar to Shinji Mikami, like Mikami is too known for RE, Kojima is too known for MGS. Mikami was forced to create Evil Within when he wanted to make a sci fi game.

Publishers be like: Sure, you're a famous game director Kojima san, we'll give you 20% of your needed budget for 50% of the profits for the game
Kojima: Ok. I'll make a game about people connecting with each other
Publishers: woah slow down Kojimbo! Why not make a MGS game again, that's what we are funding you for
Kojima: But I wanted to make bridges
Publishers: If you want it your way, we can't give you 15% of your needed budget for 60% of the profits

I think Death Stranding is his best comprimise to satisfy the publishers' demand while trying to make his vision of a game. I think Hideo's situation was much worse than Mikami and the likes, since he's probably poorer than Mikami or Sakaguchi (then again Konami is a famous black company, since they are so many small game companies formed from former Konami employees like Treasure), he had trouble getting a bank loan and renting an office, which he lucked out because the leasor and the banker was familiar with him and like his games.

As for Death Stranding itself, I guess its ok. My biggest complaint is for a game with package autism, when you enter a truck, your package automatically disappear. You should have to load them manually to the truck before you enter it.

If I was a publisher with no regards for the bottomline, I would ask him to make it more grounded. since he said in the interviews that he wanted to make a game that connects people positively, I would ask him to make a multiplayer focused disaster game like the Disaster Report games. the gameplay would fit in more nicely
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They do this from time to time if it's determined that it will help Sony's brand as a whole. Everything in the game is a Sony product or is a musician under a Sony contract. It creates exposure and awareness of all their stuff.
What is the monster branding about? Does anybody know? Dunno if Kojima is anti-corporate as don't know that much about him
 
What is the monster branding about? Does anybody know? Dunno if Kojima is anti-corporate as don't know that much about him
IIRC it's a GamerFuel type situation where they just wanted to be associated with games because you have stuff like Mountain Dew Amp'd and Bang Energy doing similar things.

I think Monster is concerned about Bang because their whole lineup of drinks is zero calories and I think it's slightly cheaper than monster. Bang also tends to taste better in most flavors as well.
 
As for Death Stranding itself, I guess its ok. My biggest complaint is for a game with package autism, when you enter a truck, your package automatically disappear. You should have to load them manually to the truck before you enter it.
We will see when it comes to PC with how much people can mod the hell outta this game.
 
Self-Indulgence is bad because its the equivalent to having your head up your ass. You get this tunnel vision and only revel in aspects that you enjoy, which do not serve your art or your story. Instead of having an organic flow to something, you force it to the way you want to be.

Here's the thing: If you want to enter the commercial space as an artist, like it or not, you HAVE to serve your audience. You can't simply flout them. If you want to write for people, you can't waste their time. More often than not, if you treat writing as an artform, the commercial space WILL reward you. Even Vonnegut found mainstream success. When you find this success, typically people want you to keep doing what you're doing. When you suddenly get tired and bored of them and just go 'lol fuck you', I have absolutely no respect for you as an artist.

The problem is when you go off the rails, buy into your own bullshit and have no one there to ground you, the story goes to shit. If you're writing just for you and accidentally happen commercial success, fine. But if you go intentionally entering that space, especially Kojima, it is downright disrespectful to your audience to go "Here's a $60 walking sim for which I lied to you for years about. Eat it up plebs, you just don't get it."

I cannot tell you how many stories would have been saved by a writer's room that weren't just yes-men to the ego and editors who served the egotistical creative. If Vince Gilligan didn't respect the opinion of his writers and editors, Breaking Bad wouldn't have been a masterpiece. It would have gotten fucked from the beginning.

The best art comes from adversity. Having constraints, fighting with your editor, taking the criticism from other writers, being humble have all made stories better. Meanwhile you have successful figureheads who cannot restrain their own egos once they get big, listen to nobody and generally their quality slams into the dirt.

I completely disagree. Too much has been butchered by trash hacks who didn't have a decent editor punching them in the face to keep shit in focus. This is when all good artists fall, exactly what you said. They do what they want, flout their audience, disregard their editors and 'I'M WRITING FOR ME'. Well nigger, don't expect anyone to fucking buy it and don't come crying to me when it turns out what you were doing for yourself was equivalent to burying yourself in shit and calling it gold.

This is why I don't 'champion' egotistical faggots who do what they want, because they always bitch and moan and whine that nobody is praising them anymore and they abandon their work. I will never champion a egotistical cunt who flouts their audience for self-indulgent re.tardation, because every. fucking. time. they come back and whine and cry that no one appreciates their genius. These people can get fucked. They took the risk, they have to eat what comes of it. But they never, ever accept it.

Just like Kojima. He KNEW people wouldn't accept it. Instead of being honest, he mislead people and did something completely different except for his fucktarded 20 hours of cut scenes. Then when it turns out he wasn't honest with his 'art', guess what he does? He goes and cries to the press and the media that people just don't 'get it'. He doesn't go, 'I know I was going to lose some people along the way, its different from what I did. I just felt like this was the natural evolution for me.' He cries about how nobody understands him and Westerners aren't buying his $60 Fed-Ex sim.

The only way I will ever champion someone like this if they take responsibility for their creative decisions. Find me an egotistical, head up his ass creator who does this. IF you can, I have a bridge in Brooklyn to sell you.
This might sound exceedingly obscure here but...
Is it possible that Death Stranding might be the video game equivalent of Fernando Pessoa's 'book of disquiet'?
 
So this is now two Kojima games in a row after Tyce went full skullz where there's been a guy with a skull face, and now you're literally throwing jenk bombs at people?
The first one I could write off as a coincidence but now this is getting kinda weird.
 
This might sound exceedingly obscure here but...
Is it possible that Death Stranding might be the video game equivalent of Fernando Pessoa's 'book of disquiet'?
I'd say it's closer to American Psycho (the book, not the movie version) in that an extremely uncharitable take on it would be "A laundry list of brand names that's sometimes broken up by inane edgy rambling." Though it's obviously not a perfect comparison either way. The Book of Disquiet is more of an equivalent to the "my diary, tbh" shitpost that used to be popular on /lit/ a couple of years back.
 
Got to chapter 5, before I start fucking around in the mountains though, I think I'm gonna rebuild the road network all over the map. Ziplines are neat but when you gotta move 4K kgs of cargo you just can't beat a nice smooth road.
Also,
killed the miniboss that appears if you get taken down, the dog-like version. Wasn't too bad, his attacks aren't very quick, I just hurled a few grenades to make him all red and angry and then unloaded with hematic rounds. Getting on top of a building helps. Gotta say seeing that thing dissolve and the rain stop and the sun come back out was pretty nice. I'm surprised Kojima didn't program it to make some Low Roar song to play after doing it,though.
 
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I'm absoutly loving this game

It nails the sense of adventure perfectly with wandering through all the giant barren landscapes with your footprints showing behind you and all the systems with the cargo management and such actually add to the game and and make it better

The combat against the MULEs is really fun and actaully feels tide to the rest of the game instead of exectuives wanting action in it

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Alright, finally had time to start it. Probably 10 plus hours into it.

Went in with zero expectations and have avoided all spoilers, knee jerk reactions and most reviews beyond a few friends opinions.

I'm no where near a galaxy brained genius, but this is clearly not a game for knuckle dragging shooter fans. Personally, I love the challenge of trying to clear the terrain and I'm sure anyone who hikes or mountain climbs will understan the appeal of this. If anything, the BT's kind of take me out of it as I get into it and suddenly stealth action kicks in but it's a minor complaint.

So far I've been getting my story fix. On the nose like usual but I dig it and find this world facsinating
especially as someone who lives in a city that has been taken over by soulless drones that remove the human element considering some of the backstory I've been reading in game.

I'd also like to see the term MULE being used for all these twitter addicts who need their like fix since the descriptions in game for the likes and MULE's fit this social media nightmare we live in.

Anyways, initial impressions are good so far but it could change.

Also, its been awhile since I've been impressed by the tech side of games.
 
20 hours in and then some. Starting on the mountains but gonna go back and take my time and complete some more tasks before continuing.

Reading through all the comments I avoided before playing and it makes me glad I went in with zero expections and mostly blind beyond the trailers shown because holy hissy fit some of you are throwing. No idea what was expected, but funny enough once the game gets going it feels like MGSV part 3, so it's confusing what the issue is other than people expecting instant gratification from what little gunplay was shown in the trailers rather than a slow burn game that wants you to explore your options.

Only nitpicking I have is BT's could of been implemented better and the opening story bits are clunky and worried me initially but otherwise in a world of annual releases of the same shit, rereleases, remakes, I'm happy this even exists.
 
20 hours in and then some. Starting on the mountains but gonna go back and take my time and complete some more tasks before continuing.

Reading through all the comments I avoided before playing and it makes me glad I went in with zero expections and mostly blind beyond the trailers shown because holy hissy fit some of you are throwing. No idea what was expected, but funny enough once the game gets going it feels like MGSV part 3, so it's confusing what the issue is other than people expecting instant gratification from what little gunplay was shown in the trailers rather than a slow burn game that wants you to explore your options.

Only nitpicking I have is BT's could of been implemented better and the opening story bits are clunky and worried me initially but otherwise in a world of annual releases of the same shit, rereleases, remakes, I'm happy this even exists.
I'm going really, really slow. Can only play it for a few hours a week, so at Chapter 3 now. I think if expectations are either zero or more realistic/expected, then it's a more enjoyable game. It sounds stupid or lame to say that yes, at this point in time, I enjoy being post apocalyptic UPS man without the need to do much shooting. I enjoy doing these slow walks and climbs up mountains and cliffs to deliver some things and it's nice to see what other people have made or contributed to. Have had my ass saved a few times by someone having built something in the right place at the right time. A rope to the bottom of a cliff when outrunning a lot of MULEs for example. The music and framing is on point for certain portions of the game and the story isn't as confusing as the trailers made it out to be.

Have to agree with the BTs and the implementation. Only got caught once, when I was on a bike and went "fuck it", and then the mandatory boss fight. It really wasn't hard. More or less was there to make me burn through my grenades and blood packs rather than kill me. Still memorable though. Sneaking bits aren't difficult because you can just throw a hematic grenade and none of the others will notice.
 
Kojima's situation is similar to Shinji Mikami, like Mikami is too known for RE, Kojima is too known for MGS. Mikami was forced to create Evil Within when he wanted to make a sci fi game.

Publishers be like: Sure, you're a famous game director Kojima san, we'll give you 20% of your needed budget for 50% of the profits for the game
Kojima: Ok. I'll make a game about people connecting with each other
Publishers: woah slow down Kojimbo! Why not make a MGS game again, that's what we are funding you for
Kojima: But I wanted to make bridges
Publishers: If you want it your way, we can't give you 15% of your needed budget for 60% of the profits

The problem with this take though is that Sony is the publisher and they gave him a limitless budget and funded his studio.
 
The problem with this take though is that Sony is the publisher and they gave him a limitless budget and funded his studio.
The problem with this is that 505 is a publisher of this game too. We might not know the full details of the deal, if its just distribution rights or anything, but it is safe to assume that since 505 partially funded games like MN9 and Bloodstained, it is safe to assume that 505 has some controlling stake too compared to just publishing rights like Raw Danger.
 
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