“The rope and the stick are two of humankind’s oldest tools. It’s a key excerpt from a Kōbō Abe novel called “The Rope,” and the words dangle in front of you for just a moment before they’re replaced by some cryptic narration about the Big Bang: “Death Stranding” begins with a quote that distills the ethos of his entire career. Margaret Qualley ‘Would Really Love’ to Be on Broadway At a time when video games can finally look like movies as much as movies have started to look like video games - when people like Kojima and James Cameron are working towards similar ends with many of the same techniques - Kojima has created a bizarre masterpiece that doesn’t just blur the line between these mediums, but also illustrates the power of knotting them together. Is it a film that you play? A game that you watch? Does it invite all of the same criticisms that have been leveled at Kojima’s work since last century? Yes, yes, and yes. ![]() “Death Stranding” could be described as the best “video game movie” ever made, but that doesn’t quite capture what makes it feel special. The open-world experience has enough contemplative moments to make it feel like a “Grand Theft Auto” sequel directed by Andrei Tarkovsky, and it’s the greatest achievement yet from the most eccentric and forward-thinking designer of a medium in which virtually every large-scale project is created by committee. ![]() Hideo Kojima’s “ Death Stranding” is massive, moody, and - as usual for the video game auteur - weird as hell.
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