Connect with us


Nintendo Through the Years: 1889-1983

The transition of Nintendo’s primary business focus wasn’t as simple as cards into video games.



Having written about the latest happenings from the video game world on a weekly basis for the last six months, it was all beginning to get a bit samey. Loot box this, microtransactions that; some PR guy says something stupid on Twitter, some execs aren’t happy with their live service game’s performance. It’s all such a depressingly negative world that I felt like we all needed a break (me especially). I subsequently decided to get historical on all yo’ asses and we’re now going to take a look at the crazy ride Nintendo has been on since its inception in 1889.

These articles will follow the same formula as ‘This Week in Gaming News,’ (with all the sarcasm and swearing you come here for) but will instead cover the main stories for each year of Nintendo as a video game company. I know what you’re thinking already – this first one is covering almost 100 years. Well just hush up, yeah? Unless you really want to read five separate stories about Hanafuda cards, I suggest you thank me for glossing over the early days and ending this one with the release of the Famicom in Japan. You’d also have a semi-legitimate claim to ask why I’m bothering with 1889-1979 when they didn’t even make video games, but if I don’t get to talk about Nintendo’s sex hotels, then I just don’t want to do this at all, alright?


Right, let’s talk about playing cards. Playing cards are absolutely nothing special, but if it wasn’t for them, then we’d have never played a Mario or Zelda game. Ever. Clearly, Nintendo couldn’t make video games in 1889 when they were formed by Fusajiro Yamauchi, because people were still getting entertainment out of sticks and dirt back then (Probably. I mean 1889 is, like, super ages ago. I wasn’t even born then or anything). Instead, Yamauchi-san’s company was founded on that age-old principle of making the materials that miserable bastards can use to gamble all their money away with. Truly, a noble pursuit.

Before the Portuguese pissed off Japan with all their Christianity during the Edo period and went and got themselves ‘permanently’ expelled (I assume that’s been lifted now), they had introduced the land of the rising sun to Western-style playing cards in the 16th century. Around the 1800s, Japan’s favorite game of their own making used Hanafuda cards. It was these cards that Nintendo successfully churned out, and they were legitimate pioneers in the business, becoming the first company to ever produce the cards out of plastic.

Nintendo Years 1889

Doesn’t look as fun as Metroid, does it?

As almost all of you will be aware, Nintendo basically translates to the phrase ‘leave luck to heaven,’ although in the case of Hiroshi Yamauchi, it seems he had to leave luck to catastrophic illness, taking over the company in 1949 from grandpappy Fusajiro after he suffered a stroke. It would, however, be the catalyst for Nintendo’s eventual success in worldwide markets, but we’ll get to that. Hiroshi had himself a vacation to the States in 1959 and, upon witnessing the mass appeal of Disney’s anthropomorphic critter mascots, agreed in a meeting with Disney execs to license their characters for Nintendo’s own Hanafuda cards. The mascot seed had been well and truly planted, but wasn’t ready to grow just yet.

Sex, Taxis, Grabby Hands, and Other Ventures

The transition of Nintendo’s primary business focus wasn’t as simple as cards into video games. Oh no, they tried a whole heap of mental shit before they got to the real money maker. You might be recalling that the Japanese have a bit of a reputation for taking their time making decisions and being somewhat pessimistic when it comes to wholesale change. This would, therefore, make you question whether some of the Yamauchi family may have been perfectly happy with their lot as a card manufacturer. It turns out that didn’t really matter, as Hiroshi demanded that all other Yamauchi family members (and any executives) be shit-canned before he took over from his grandpa. The business world is a harsh mistress, but Yamauchi was harsher.

Fact: this is the closest Yamauchi ever got to a smile.

With everything going his own way, Yamauchi was free to be a hard-nosed tyrannical bastard all he wanted, and he was notorious for making tough decisions with little to no remorse. Having grown up in the era of Japan’s disastrous defeat in World War II, Yamauchi would be damned if he himself was going to lose at anything. In 1962 he took Nintendo public and further pushed the company into more and more new ventures; learning from his failures with each one fueling his desire to succeed even more.

Among those failures were restaurant chains, taxi services and sex hotels – the latter ironically being something that would likely make serious bank if Nintendo decided to go back into it now, with its full branding and characters getting down and dirty with the punters. Ew, you sick bastards. Once Nintendo put its collective dick back in its pants, the focus was truly shifted into the toy market. No longer were their playing cards being made for dingy gambling dens, as the bright and colorful Disney characters were being lapped up by young lads and lasses by the bucket load.

Nintendo Years 1970

Actually, based on that red peripheral, maybe this was designed to grab penises

The company’s first proper toy was the Ultra Hand, and was another example of Nintendo leaving luck to whatever celestial body you pledge allegiance to. It was initially just a side project created by some chump working maintenance at one of Nintendo’s factories, but Yamauchi saw it in action and took a gamble. The Ultra Hand – a plastic, extendable grabbing device that almost certainly saw its way to pinching more than one Japanese lady bum in its time – went to market in 1970, launching the career of the lowly maintenance guy and changing his life forever. The man in question, Gunpei Yokoi, would later go on to create a little-known grey plastic handheld gaming device that we may or may not get to in the future.

Stupid Ape

With a burgeoning toy business now fuelling Nintendo’s rising success, they finally decide to try tapping into Japan’s video game market. They began by securing the rights to distribute the Magnavox Odyssey in Japan and eventually, in 1975, created their first arcade game – EVR Race. The company carried on creating arcade games exclusively in Japan for another six years, churning out such originally-named titles as Space Firebird, Space Fever, and Space Launcher – none of which were trying to capitalize on the popularity of Space Invaders or anything ridiculous like that…

Alongside their arcade machines, the Rain Man of the maintenance world, Gunpei Yokoi, was cooking up another hit of his own. You see, Yokoi was living in the sort of barbaric, medieval time where downtrodden salarymen would slave away in the big cities and have nothing to do on their train journeys home aside from staring at their calculators like morons. Noticing this, and assumedly after getting bored of writing 8008135 on his own calculator every evening, Yokoi harnessed the LCD screens of the math machines to create the simplistic, yet incredibly popular, Game & Watch.

Nintedo Years Game & Watch

I’m still not convinced this is more fun than writing 8008135 on a calculator

Nintendo was soon ready to go international, and Yamauchi called on his son-in-law Minoru Arakawa to spearhead Nintendo of America. After all, ‘Mino’ was living out in Vancouver with Yamauchi’s daughter Yoko, spoke English, and had a graduate degree from MIT. Mino needed to decide on the first game Nintendo would launch in the States and, having moved down to New York to set up the NoA office and realized how much of a cesspit of crime and murder the city was at the time, he plumped for Nintendo’s biggest hit of 1980 – the shoot ‘em-up Radar Scope.

The game did…fine. It broke even, but Arakawa was only able to shift a third of the 3000 arcade units he’d been shipped. Yamauchi needed some fresh blood on the ideas front, so back in Kyoto he solicited ideas from the entire company and somehow came across Shigeru fucking Miyamoto (I know, right? The luck of this guy!). Miyamoto impressed Yamauchi so much that he was set up with Yokoi to work on a new game. Initially, the two decided to capitalize on the upcoming Popeye movie, assuming that securing the rights would be a walk in the park. Well, assuming things makes an ass out of you and Miyamoto, and when Nintendo couldn’t get the Popeye licence, the assets were quite literally monkeyed with, and thus Donkey Kong was born.

Despite starting out in just a couple of Seattle bars, the future Cranky Kong quickly became a sensation. Arakawa and his team had initially hand-converted the remaining 2000 Radar Scope machines into DK cabinets, but by the end of 1981 there were 60,000 of them in North America. By 1982, 50 of them were being made a day, with the game making Nintendo $280 million over those two years.

Of course, you can’t make a fat chunk of change with a game about a giant ape called Kong for long without pissing off the rights holders of King Kong, and sure enough Universal came a-knocking with lawyers in tow on June 26th, 1982 to sue Nintendo for copyright infringement. Yamauchi, the hard-nosed bastard that he was, wasn’t just going to settle matters, so off to court, the two companies went. Future lawyers reading this need to pay attention to the following point: if you’re going to sue a company for copyright infringement over King Kong, make sure you definitely didn’t prove that King Kong was public domain in 1975 so you could make the movie in the first place. Because that would be really fucking stupid.

The Brooklyn Bros.

Of course, Donkey Kong wasn’t all big monkeys and frivolous lawsuits; there was another crucial element at play here, and his terribly literal name was Jumpman. For where there cannot be Popeye, there can be a mustachioed handyman in overalls to slayeth the beast. Despite later being cast as the villain (and now named after the manager of the warehouse where arcade machines were being built in the States – Mario Segale) in Donkey Kong Jr. Mario would eventually get his very own arcade game for his eponymous role in 1983’s Mario Bros. He even got a ‘brother’ by way of a palette-swapped doppelganger known as Luigi. I would say that only the elite amongst you will know that Mario was replaced by Stanley the exterminator in Donkey Kong 3, but he’s had such a huge and iconic gaming career since then that I’m sure you’ve all got a tattoo of him already.

Lord alone only knows what the hell was going on with the Miyamoto household’s water system if he thinks that crabs and turtles are the cause for most plumbing emergencies, but the game was set in a sewer with loads of pipes, so Mario and Luigi are plumbers now, right? Shut up. The inclusion of the green guy meant that Mario Bros. was, of course, a multiplayer title, inspired by 1982’s Joust.

Later added into Super Mario Bros. 3 as a minigame, almost everyone reading this will know how simplistic Mario Bros. is, albeit in a distinctly charming way. This, ultimately, would go some way to highlighting just how overcrowded and strong the arcade market had become. For all the success Nintendo was having with its Donkey Kong games, there was always another Pac-Man, Space Invaders, Gradius or Asteroids sequel around the corner. It was time to expand further into new markets. New players. New…homes.

Good Ol’ Fashioned Famicom Entertainment (Systems)

Moving into the home video game market wasn’t an entirely new venture for Nintendo, and it certainly didn’t appear to be the smartest idea in the wake of the infamous video game ‘crash’ of 1983. If the arcade market was over-saturated, the home market was a claustrophobic clown car clusterfuck. More bloated than my gut after a curry, Atari’s domain had seen literally over a hundred competitors emerge and nearly bleed the industry dry with countless shit stain consoles not even good enough to bury in a New Mexico landfill.

Companies were going bankrupt, gamers were going anywhere else and toy stores were going right off letting any more home consoles take them for a ride. Crucially, none of this put Nintendo off, for the video game market in Japan was actually very healthy indeed – largely because North America’s was so bollocksed. Thus, in 1983 they released the Famicom in Japan. In fact, with all these companies doing themselves in, Nintendo was free to veritably waltz in and take over. And take over they bloody well did.

This wasn’t a snap decision so much as it was just lucky timing. Yamauchi had been planning a home console for years – before Donkey Kong, even – and he truly believed this was the future of the company, cancelling Nintendo’s arcade division to pump all the company’s resources and expertise into the Family Computer. The console released in Japan on July 13th, 1983 with three launch titles: the arcade ports of Donkey Kong, Donkey Kong Jr. and, yes, Popeye – the licensed game Miyamoto had finally been able to make.

For the first time in this tale, it seems that heaven was dishing out bad luck rather than good. Unlucky for some it certainly was, as the version of the Famicom that launched on the 13th was…well, it was pretty fucked. A faulty chip was causing games to freeze and crash, and retailers were pissed. So, too, was Yamauchi, who definitely didn’t want his company associated with a bad product right at the beginning of their attempt at global success. He ordered a recall of all shipped consoles – including those that weren’t even broken – and offered gamers the chance to send their machines to Nintendo for a free repair.

Nintendo Years Famicom

I’d fire my entire family from my Grandad’s company to get one of these…

The botched launched could have killed the company, but Nintendo’s acts of good faith with their consumer had impressed across the board. A tech company was taking responsibility for its mistakes – the Famicoms pulled from shelves were all rebuilt from scratch – and fixing them for free. Sales for the end of 1983 were reciprocal. Over 500,000 consoles were sold. Nintendo’s maiden voyage into the home console market had been rocky, but they’d steadied the ship for the journey ahead, and we’ll get to that next time.

Crotchety Englishman who spends hundreds of pounds on video game tattoos and Amiibo in equally wallet-crippling measure. Likes grammar a lot, but not as much as he likes ranting about the latest gaming news in his weekly column.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *



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.




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


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


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


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


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


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

Continue Reading


‘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.



garden story

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.

Continue Reading


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.



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.

Continue Reading