He is almost doll-like, a Sim from The Sims, a being that has its own needs and wants. Sam's virtual body has a wholeness rarely granted to videogame protagonists. Death Stranding dedicates a fair amount of mechanical space to Sam’s human waste, to using the toilet and showering, to drinking and getting drunk. Sam’s feet will bleed if his shoes wear out, he has to sleep and shower regularly to perform his best. There are obviously the normal videogame concerns of health and injury, but there’s a great deal more here. Death Stranding is obsessed with Sam, and by extension Reedus, in the way that Uncharted is obsessed with Nathan Drake or Super Mario is with, well, Mario.ĭeath Stranding goes beyond those examples because it is interested in the mundanities of living in Sam's body. The game's hiking theme means animating, and creating systems around, Sam’s careful footfalls. Sam’s player character status means that the player will spend dozens of hours looking at him. That preoccupation is, of course, inevitable. Reedus, though, gets the brunt of the game’s preoccupations as the game’s hero deliverer Sam Porter Bridges. It faithfully recreates the presence and movements of genuine stars like Norman Reedus, Mads Mikkelsen, and Léa Seydoux, as well as the likenesses of a smattering of director Hideo Kojima’s favorite filmmakers. It is also the kind of spectacle that only AAA games can really provide, considering the extreme amount of specialized equipment and expertise the tech requires.ĭeath Stranding is no exception, providing both spectacle and obvious cinematic ambition. Accurate expressions help stretch the perceived gap between games and blockbuster movies. Motion capture is, at least in some sense, a product of the videogame drive toward realism.
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