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Independent Growth: How, When, and Why Indie Games Have Come to the Forefront of the Gaming Industry

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Independently developed games have been around since the dawn of the industry, but over the last 10 years or so they’ve really come to the forefront of the gaming community’s attention. A mere decade ago indie games were seen as being significantly inferior to Triple A titles, but now in 2016 we see many publications listing indie titles amongst their most anticipated games of the year. How did this golden age of indies come about, when exactly did it begin, and why have indies been able to captivate audiences the world over?

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While Sega’s early attempts at integrating online functionality into their consoles was admirable, it wasn’t until Sony and Microsoft stepped in that console gamers really bought into the concept of playing over a network. Both the original Xbox and the PS2 featured dozens of games which provided online multiplayer and/or downloadable add-ons, but network features were limited, and online functionality was in the hands of each individual game’s developer, as there were no over-arching systems in place just yet.

The 6th generation of consoles was filled with highlights for the gaming industry, but perhaps none were brighter than the evolution of the online infrastructures available on the Xbox 360 and the PlayStation 3. The introduction of Sony’s PlayStation Network and the massive advancements of Microsoft’s Xbox Live would lead to key changes in how publishers and developers would market and sell their creations.

Chief among the refinements to both online systems was the addition of online marketplaces that weren’t limited to specific games, but were simply available from each of the respective console’s main dashboard. These online stores began to fill up with trailers, demos, and DLC, but there was still something missing, and with the concept of full-on digital distribution still being an intimidating proposition to many big publishers back in the early/mid 2000s, both Microsoft and Sony had to search other avenues in order to find more content to stock the virtual shelves of their online stores.

Meanwhile, on the PC gaming front, famed developer Valve was dealing with an entirely different problem: managing the distribution of patches across their games, and in order to alleviate their issues, Steam was born. After a successful initial launch, Gabe Newell and company sought to expand Steam’s repertoire, and in doing so they began signing their first publisher partnerships in 2005. Thanks to Valve’s ingenuity, independent game developers no longer had to concern themselves with attracting the attention of big publishers in order to distribute their products; the ease of access and affordability of Steam as a publishing platform not only made sharing indie games with a large audience feasible, but relatively easy.

Microsoft was the first big console manufacturer to really take notice of Steam’s advancements as a publishing platform, leading them to create their Xbox Live Indie Games program in 2006. Microsoft made software development kits readily available for download, providing budding developers with all the tools needed to publish their games on the Xbox Live Marketplace. The Xbox Live Indie Games program served as a launching pad for many aspiring developers, and a few indie titles published as part of the program, such as I MAED A GAM3 W1TH Z0MBIES 1N IT!!!1, got respectable media attention.

With indie games becoming readily available on both PC and consoles, gamers around the world were beginning to take notice, however the general consensus was that indie games would never be able to match the quality of games with multimillion-dollar budgets. But that misconception was about to change.

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In the August of 2008 Microsoft held an event called the “Summer of Arcade”, in which they released five Xbox Live Arcade games over the span of five weeks. Users who bought all five games would get discounts, and Microsoft made sure to spend a lot of time advertising the event. Three of the five games (Geometry Wars: Retro Evolved 2, Bionic Commando Rearmed, & Galaga Legions) were created by larger established teams, but the other two, Castle Crashers and Braid, were indie games.

It’s extremely hard to pinpoint the exact moment in time when the public perception of indie games suddenly elevated to the level we see them in 2016, but many people seem to agree that moment occurred for them when they first played Braid. Not to short change Castle Crashers, which was a good game in its own right, but Braid was truly something revolutionary. Beautiful visuals, an interesting plot, and fantastic mechanics quickly propelled the game to the top of the Xbox 360’s “must play” list. Critically acclaimed, Braid is tied for the highest Metacritic score for an XBLA game, and its score of 93 puts it ahead of many massive titles in the Xbox 360’s library, including Halo: Reach, Assassin’s Creed II, and Mass Effect. Prior to Braid’s release, indie games were seen as a side dish, but afterwards it was clear that indies were more than capable of being the main course.

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Being backed by a huge publisher certainly has its benefits. High budget, access to the best resources, and lucrative advertising campaigns can do a lot to not only increase the quality of a game, but also boost sales figures. Yet it’s not all sunshine and rainbows. When your game is being funded by a large publisher, you’re expected to work within their boundaries, their timetable, and customize your game around their beliefs of what it should or should not be.

Perhaps the most impressive fact about Braid’s development is that behind the curtain it was mostly a one man show. Jonathan Blow had a vision and he brought it to life through hard work, dedication, and raw skill. Also, over the duration of the game’s development, he invested $200,000 out of his own pocket to make sure the game lived up to his standards. Though the cost was steep, funding his own work and working within his own guidelines enabled him to maintain complete creative control. Before publishing the game Microsoft attempted to force Blow to make changes to the title screen functionality, but he refused, and Microsoft eventually conceded, publishing the game as Blow intended it to be. Obviously that was the correct choice. Braid is a perfect example of a pure passion project being realized. However, the sad reality is that the gaming industry is a business, and when it comes to business, the prospect of profit will often win out over passion.

The reason we see so many sequels instead of new IPs is because new projects scare publishers. They would rather not risk money funding a new project when instead they can print money by paying a team to develop Call of Duty 727 or Assassin’s Creed 899. The problem is that when the publishers control the projects, the developers lose the passion. A perfect example would be the Halo series. Developed by Bungie, Halo: Combat Evolved sent shock waves across the gaming industry, and single-handedly kept the original Xbox above water during its tumultuous launch period. But after producing 4 mainline entries in the series, the passion was all but gone, and the people at Bungie wanted to move on. Unfortunately, the businessmen at Microsoft disagreed; they needed the Halo franchise to continue going, because it sells, and to businessmen sales are all that matter. The end result? Bungie left for greener pastures and Microsoft created a new development team to continue pumping out Halo titles. Developed by 343 Industries, Halo 4 & 5 still managed to sell well, but fan reception has been poor, and the series has been in a decline. What’s the difference between the original Halo trilogy and the more recent games? Bungie’s Halo games were fueled by passion, whereas 343’s are being fueled by Microsoft’s willingness to milk the series dry.

Another prime example would be Metal Gear Solid V: The Phantom Pain. As good as the game is, it’s clearly an unfinished product. Konami forced Hideo Kojima to release the game despite its unfinished state, and promptly after the game’s release, Kojima quit to form his own development studio in order to once again attain creative control over his projects. While there certainly are great publishers out there who focus on high quality above all else (Blizzard and Rockstar Games come to mind), it’s undeniable that there are plenty of publishers who hinder creativity while focusing solely on the potential sales figures. With greed-focused publishers holding all the power over their developers, it’s sad to ponder about how many games have been modified against their creator’s will. Could you imagine if a large publisher like Konami told Toby Fox that he couldn’t have a gender ambiguous main character in Undertale because it would “hurt sales”? Or a company like Activision forcing Team Meat to dumb down Super Meat Boy because its “too hard”? Thankfully, due to the current landscape of the industry, independent teams have multiple avenues they can choose to follow, while still maintaining creative control over their projects.

The reason that indie games have been propelled to the forefront of the gaming industry is because the small teams developing them are fueled by pure, unbridled passion. Games like Shovel Knight, The Banner Saga, and Nidhogg may not have sold millions of units, and these games may not target large demographics, but they’re all excellent at what they attempt to do, and that’s because they were crafted with genuine care, remaining untainted by the corporate greed that flows so freely throughout the industry. Independent developers have the freedom to create the game they want to make, rather than being forced to create games they aren’t passionate about. That freedom promotes creativity, and that creativity spawns truly innovative and memorable experiences. We’re currently in the golden age of the indie game, and thankfully it seems like the indie era will last a long, long time.

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XO19: Top 10 Best Announcements of the Show

Xbox just had their best XO presentation ever, and it wasn’t even close. Here’s a rundown of the best announcements from XO19.

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Microsoft had a lot to prove going into its fifth annual XO showcase. Console launches are on the horizon, cloud competitor Google Stadia is about to ship to early adopters, and Game Pass subscribers are as hungry as ever for new additions to the lineup. Then there’s the fact that XO has always been looked down upon by the gaming community in general as a lackluster, padded presentation.

All of that changed with XO19. This was, by far, the best XO in the event’s history. In fact, it featured more shocking reveals and genuinely impressive announcements than a good deal of Microsoft’s recent E3 press conferences. From new IP reveals, to first-time looks at gameplay, to a couple “I never would’ve believed you a week ago” shockers, it’s clear that Xbox stepped up its game from years past. Here’s our list of the best announcements of the show.

10. Everwild Reveal

It’s not too often that we get to experience a new IP from Rare. Their last attempt, Sea of Thieves, was a fully multiplayer, always-online affair that gradually garnered a cult following thanks to some of the best community engagement and most consistent content updates in the industry.

We don’t know what type of game Everwild is yet, but it’s certainly oozing that same colorful, ambient charm that made players fall in love with Sea of Thieves all those years ago. Seeing as how we only got a cinematic teaser, though, it might be quite some time before we’re running around these gorgeous environments.


9. ID@Xbox Lineup

The ID@Xbox team has pulled it off again. Despite being stuck with an almost insultingly poor time slot in the presentation, several of the indies shown off in this short montage rivaled some of the show’s AAA spotlights. It had everything from high-profile indies like Streets of Rage 4, Touhou Luna Nights, and the Yacht Club Games-published Cyber Shadow, to more modest beauties like SkateBIRD, Haven, Cris Tales, and she dreams elsewhere.

The best part? All of these are launching on Game Pass day and date. The worst part? No actual dates were announced for anything shown. Regardless, it’s encouraging that so many high quality indies are continuing to come to Xbox (and that relationships with Devolver Digital and Yacht Club are rock-solid).


8. West of Dead Reveal/Open Beta

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Raw Fury has one of the better eyes in the indie publishing scene. Gems like GoNNER, Dandara, and Bad North have all released under their watch, and West of Dead might be their best acquisition yet. It’s a heavily-stylized twin stick shooter that switches things up by making tactical cover a core part of the experience.

The trailer hinted at roguelike elements being present, and the ever-popular procedurally generated levels should significantly up replayability. How it plays, however, remains to be seen…unless you have an Xbox, in which case you can play the exclusive open beta now before the full game comes to all platforms next year.


7. Halo Reach Release Date

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The Master Chief Collection has long been the one golden goose that endlessly eludes those outside of the Xbox ecosystem. Earlier this year, though, Microsoft made waves when it announced that it was bringing the entire collection over to PC. Reach is the first step in that process, and it’s finally making its way to both PC and Xbox One as part of the MCC on December 3rd.

It’s just a date, but the fact that so many new players get to experience one of Halo‘s most beloved outings at last easily made it one of the highlights of the night.


6. Grounded Reveal

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Who woulda thought? Fresh off releasing one of the best RPGs in years with The Outer Worlds, Obsidian decided to show off a passion project from one of its smaller teams: Grounded. The premise? Honey, I Shrunk the Kids: Survival Edition.

Players take control of kids the size of ants as they fight off actual bugs, cook, craft armor and weapon upgrades, and build shelter to survive in the wilderness of someone’s backyard. As silly as it sounds and looks, and as unexpected a project it is for Obsidian to undertake, it genuinely looks rather promising. The cheerful color palette is a welcome contrast to the dark, brooding aesthetic so many other survival games have adopted. There are plenty of details left to be uncovered, but if early impressions are anything to go by, this is one to keep on your radar early next year.


5. Age of Empires IV Gameplay Reveal

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Age of Empires is one of the most esteemed strategy franchises in history. Despite having this beloved IP in their back pocket, however, Microsoft hasn’t published a new mainline game in the series since 2005. Age of Empires IV was originally announced over two years ago, and after buttering everyone up with the release of Age of Empires II Definitive Edition that afternoon, the first glimpse of gameplay was finally shown at XO19.

Simply put, the game looks gorgeous. Every building is full of detail and the countryside looks surprisingly lush and picturesque. Witnessing hundreds of units charging down the valley towards the stronghold in the trailer was mind-blowing as an old-school fan. They didn’t show off any innovations or moment-to-moment gameplay, but it’s looking more and more like the future of the franchise is safe in Relic’s hands.


4. Final Fantasy Blowout

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Xbox’s success in Japanese markets has become something of a running joke over the years. Though inroads were clearly made with Bandai Namco, many more Japanese publishers won’t go within a mile of the platform. Possibly through working with Square Enix’s western division to put the latest Tomb Raider and Just Cause entries on board, it looks like the main branch has finally decided to give Xbox players a chance.

Starting this holiday, Game Pass subscribers will gradually get every single-player Final Fantasy game since Final Fantasy VII. More shocking still, The Verge reported that the Xbox team is working to get the massively popular MMO Final Fantasy XIV over as well. The sheer value of having every post-Super Nintendo Final Fantasy game included in Game Pass (even XV) is ridiculous. It remains to be seen what the rollout cadence of these ten titles will look like, but considering how long each of these are, one per month wouldn’t shock or disappoint.


3. The Reign of Project xCloud

With Stadia launching just next week, Microsoft had been surprisingly quiet on their cloud gaming front up to this point. The service had gone into preview for those lucky enough to get in and, by most accounts, it had been fairly well-received. The real question came down to what Xbox was going to do to make itself stand out from its competition.

The bombs dropped here felt like the equivalent to the thrashing Sony gave to Microsoft back at E3 2013. Microsoft shadow dropped 40+ new games into Preview for players to test (for free) including Devil May Cry 5, Tekken 7, Bloodstained, and Ace Combat 7. Even better, xCloud will support third-party controllers including the DUALSHOCK 4 and will finally show up on Windows 10 PCs in 2020.

Perhaps the most damning announcement, however, is that xCloud will be integrated with Game Pass starting next year. Only having to pay for a Game Pass subscription to access 100+ games and play them in the cloud (including Halo, Forza, The Outer Worlds, and all those Final Fantasy titles) makes xCloud a far better value than Stadia right out of the gate. If this didn’t force Google to adjust its strategy, we might be looking at a very short cloud gaming war.


2. Square Sharing the Kingdom Hearts Love

Kingdom Hearts 3 releasing on Xbox One was somewhat bittersweet. On the one hand, players who had left the PlayStation ecosystem after playing the first games had a chance to see the arc’s conclusion. On the other hand, new players had no options for going back and experiencing the series’ roots.

Kingdom Hearts HD 1.5+2.5 Remix and Kingdom Hearts 2.8 Final Chapter Prologue finally coming to Xbox next year is a godsend for younger players and new players alike. More important, however, is the tearing down of those over 15+ years old exclusivity walls. Just like with many of the Final Fantasys, the main Kingdom Hearts games had been married to PlayStation systems for years. This shift at Square is an exciting one, and it bodes particularly well for the next generation of Xbox hardware.


1. Yakuza Finally Goes Multi-Console

It seems like Phil Spencer’s trips to Japan finally paid off. In what was arguably the most shocking announcement of XO19 (right next to Kingdom Hearts), it was revealed that SEGA is taking the Yakuza series multi-console at last. Not only are Yakuza 0 and Kiwami 1+2 coming to Xbox, but all three are going to Game Pass next year as well.

Does this mean support from Japanese studios will increase across the board? Of course not. But getting big names like Bandai Namco, Square Enix, and SEGA on board is nothing if not encouraging. Xbox is clearly pulling out all the stops to ensure a diverse suite of third-party support come Scarlett’s launch next year, and it’s the healthiest the platform has looked in a very long time.

Honorable Mentions:

Bleeding Edge Release Date

KartRider Drift Reveal/Closed Beta Announcement

Last Stop Reveal

Wasteland 3 Release Date

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‘Garden Story’ First Impressions: The Coziest of Adventures

Long-awaited Twitter darling Garden Story just released its first demo. Here’s what we learned after playing through it twice.

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Following the unfortunate (but understandable) delay of Animal Crossing: New Horizons, there’s been a distinct lack of chill, aesthetic games to fill the void. Garden Story’s charming environmental art and animation have earned it a dedicated social media following, but it wasn’t until Picogram released a demo just a couple days ago that anyone with a Steam account could actually experience the game for themselves. So, just how fun is this wholesome little RPG?

Setting the Scene

Garden Story’s demo centers around the newly-appointed village guardian Concord (a grape) and their first steps in rebuilding Autumn Town, a community ravaged by a sinister force known as “the Rot.” Chatting with villagers reveals a bit of insight into the situation at hand; it’s soon clear just how much the other townsfolk need the player’s support.

There are several clear parallels to old-school Legend of Zelda titles here, but Garden Story manages to set itself apart rather quickly. For one, this isn’t a solo adventure; the player sets out with Rana (a frog) and Fuji (a tomato) on a friendly quest to be as helpful to the surrounding community as possible. Seeing friends around and watching cute scripted cutscenes between the crew does a great job of instilling a sense of camaraderie and friendship.

In another pleasant twist, everything here is themed around building rather than destroying. Instead of traditional swords and bows, Concord repurposes his dowsing rod and scavenging pick into makeshift weapons. The combat itself calls to mind Stardew Valley; simple, minimal, and clearly not the main focus. There’s a pesky stamina bar that restricts the number of times Concord can attack and how far they can run, frequently forcing players to pause between barrages. In this way, encounters often come off as more of a necessary evil in Concord’s town rehabilitation journey than a main attraction.

Rebuilding a Community

So, how does one go about aiding the town? The method highlighted in the demo was by attending to a quest board with three different types of requests: Threat (combat), Repair (exploration), and Want (gathering). Each is accompanied by a task that plays an integral part in keeping Autumn Town safe and in good working order (e.g. clearing out Rot, finding sewer access so new resources can flow into town, and so on).

Aside from fulfilling requests, there are a few interesting hooks to incentivize hitting every shiny thing you come across regardless. The more different types of items are scavenged, and the more catalogues are filled by being updated with new materials, the more literature becomes available to give little bits of insight into Garden Story’s world and history. Then, in another parallel to Stardew Valley, any leftover resources can be sold in the pursuit of buying tool upgrades.

While the full game will feature four locations to explore and tend to, there was still plenty to do in Autumn Town itself by the end of the demo. Rana mentioned that villagers will post new requests daily, and the demo even featured a mini side quest (called “favors”) that led me to obtain a brand-new tool. Between daily requests, favor fulfillment, and dungeons spread across four different regions, it’s looking like there will be a good bit of content here for those who really want to hang around Garden Story’s world for as long as possible.

Ambient Appeal

Though it remains to be seen just how enticing its complete gameplay loop and accompanying systems are, Picogram’s latest is already delivering on its core appeal: being a cozy, relaxing experience. The color palette is soft, the lighting is moody, and the soundtrack is right up there with the Animal Crossing series as having some of the most mellow, loopable tunes around.

In fact, it’s the sound design in particular that gives Garden Story such an intimate feel. From the sound of a page turning when entering and exiting buildings to the gentle gurgles of a bubbling brook in the forest, it’s clear that composer Grahm Nesbitt poured a ton of love into making this one feel just right. Here’s hoping the full game more than delivers on all the potential shown here.

Garden Story is slated to release in Spring of 2020 and is available to wishlist on Steam.

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How Asynchronous Online in ‘Death Stranding’ Brings Players Together

Hideo Kojima’s latest game creates a sense of community by aiding other players on the same perilous journey.

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Death Stranding

Video games have always been fascinated with the idea of player interactivity as a means of crafting a power fantasy. The player typically goes on a hero’s journey, eventually culminating in them being the one and only savior of the world inside the game. Typically associated with single-player games, MMOs also crafted that same narrative but with the conceit that everyone is going on this journey. Often the acknowledgments of other players are in multiplayer-specific features such as PvP and Raids. Destiny is a great example of a series that takes players on the same journey and makes no promise that the story is different between players by even allowing them to engage in playing story missions together. It all feeds into the larger narrative of Guardians fighting together to save the Light. A game that handles this very similar and perhaps more successfully is Hideo Kojima’s Death Stranding.

While lacking any direct player-to-player interaction, Kojima’s latest game is drenched in the conceit that community is crucial to triumph over adversity. You can read many articles about the game’s ideas of community from fellow writers on the site. What hasn’t quite gotten the attention it deserves is how revolutionary Death Stranding feels in terms of utilizing asynchronous online to greatly affect the game itself. Games like Dark Souls and other FromSoftware titles have included the ability to leave notes (which Death Stranding also offers) that help (or trick) players as they venture throughout the world on their own. How those notes’ effects are manifested are often on a much smaller scale – helpful at times but often to warn players of an impending way they might die. They don’t have a large impact on the player, only a temporary means of cheating death. 

Where Death Stranding becomes something greater in scale is in what it lets other players do to other peoples’ single-player experiences. In the game, you play as Sam Porter Bridges who is tasked with reconnecting America from coast-to-coast. At first, the game thrusts Sam into its narrative, taking the reluctant, isolated character and forcing him to eventually realize the importance of hope and connections in dire times. As Sam starts bringing more and more people onto the Chiral network (which allows instantaneous communication and the transferring of 3D-printable goods), so too does the game open up and reveal its ultimate goal: to bring players together.

Death Stranding

This doesn’t mean players will ever talk to other players, and the game very much avoids any real negative actions that can be performed on players. In fact, someone could play the game without ever actively engaging with online features. Instead, the game will passively hand out “likes” to other players whose ladders are used or roads are driven. If one wanted to fight the game’s narrative and instead keep Sam isolated and away from the community that the Chiral network provides, they could definitely do that – no matter how antithetical it would be to do so. Death Stranding even offers an offline mode that would nullify all of that and keep the experience solely on the player’s impact on the world and no one else’s. 

Yet there’s a reason the online mode is the default mode. It was near the end of Episode 3 (which also happens to be when the game unloads almost all of its mechanics onto the player) when I finally realized the impact I was having on other people’s games. I had spent an entire day playing the game, but focusing largely on delivering premium deliveries – these are optional challenges that essentially boil down to carrying more cargo, damaging cargo less, or getting to your destination in a set amount of time. Death Stranding doesn’t ever tell you the best way to get somewhere. Instead, it places a wide array of tools in front of you and assuming the Chiral network is set up in an area, it can provide a rough guide on places to avoid or infrastructure already built. However, one of the key pieces of infrastructure missing for my playthrough was roads. My efforts immediately became focused on building a network of roads that made their way all throughout one of the larger areas in the game.

The game doesn’t ever make you build roads. It tells you the option is there but it doesn’t force your hand. Often tools will be introduced, like zip lines and floating carriers, but the game never demands that they’re used. Of course, engaging with those tools will make your life easier. There are easy ways to start building infrastructure in Death Stranding: ropes and ladders can help to scale mountains or plummet depths. Those will remain in the world for other players to use and will even appear on their maps as they hook up areas to the Chiral network. So, someone who plays the game earlier than someone else could lay down ropes and ladders, and depending on when the other person starts playing, they will find those once they have progressed to a point where they are traversing that area. Where the game becomes even grander in its sense of community is the realization that the more players commit to building roads or setting up zip lines, the more other players benefit.

Death Stranding

The reality is that ladders and ropes are temporary – they cannot be rebuilt, they can only be replaced. The game’s Timefall – a weather phenomenon that acts as rain but ages anything it comes into contact with – can reset an entire map after a while if there is nothing more substantial placed on the map. So in my game, I decided that whenever I could build a road, I committed to doing so. This could mean going to multiple waystations and collecting materials that have amassed over time from deliveries, or going out in the world and finding these materials like Chiral crystals. At a certain point, I would load up a truck with multiple deliveries that were on or near the roads I had built, as well as with as many metal and ceramic materials I could load into the truck before it reached capacity. As I delivered packages, I’d replace them with more deliveries and more materials from each waystation. Eventually, I’d find myself at a point where a road was not built yet and would then build that road.

Community stands as the strongest component of Death Stranding .

In contrast to a game like Dark Souls, actions in the world such as providing notes on the ground or helping another player with a boss battle is helping them cheat death. The community that is being built is not one that has any lasting effect on the world in the game. No Man’s Sky may let players interact with each other and further their knowledge of the universe within the game, but often that help is relegated to an isolated planet. It’s a more contained impact. Hideo Kojima created a game where players don’t just build infrastructures for themselves, they can intentionally or inadvertently assist other players throughout their games. This leads to players like myself creating strand contracts with other players who have built things I liked in the game. A strand contract is a powerful feature because it means more of that players’ roads or other items built for the world will show up more frequently in my game.

Every Action in Death Stranding Creates Hope

One of the perks of building so many roads is you also get a lot of likes, whether passively given because someone used the road or actively provided by a player because they not only used the road but were appreciative that someone built it. It’s hard not to feel important in someone else’s life when you’ve made their experience less cumbersome because they no longer have to drive over rocky terrain or through enemy territory but instead can take a highway to their destination. What’s better is that more substantial developments like bridges and roads can be repaired by other players and even upgraded. So while I laid the initial roads down, I actually haven’t spent any materials repairing them. Instead, notifications come in and tell me players have repaired roads I’ve built. There’s no real reason to do that unless the infrastructure built was necessary to their journey through the game – making it easier but also providing the same feeling of helping out a larger community. 

Community stands as the strongest component of Death Stranding – a game that doesn’t even try to be subtle in its intentions. Traversing Kojima’s version of post-apocalyptic America is harrowing on your own. With just your two feet and a package to deliver when the entire world itself is trying to stop you from doing so, America isn’t just divided – it’s hostile. Where Death Stranding shines brightest is when it offers a helping hand. Players aid one another to achieve the same unified goal: save the country. All of this is under the assumption that the country can be saved, but there is no denying that seeing someone else’s rope hanging off a steep cliff, or a Timefall shelter where it rains Timefall on a constant basis, is one of the most satisfying feelings. In Death Stranding, it isn’t enough to know that you’re making progress, but that everyone is willing to assist others to reach the same end goal. It’s a game where every action creates hope and is built upon the idea that we are at our best when we work together.

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