Death Stranding 2: On the Beach Review

Bold, bizarre, and breathtaking – Kojima’s sequel is stranger, smarter, and far more satisfying.

Platypus sperm. An oily, menacing skull the size of a car. A sarcastic crash test dummy. A puppet unwinding in a steaming onsen. Norman Reedus’ exposed chest. No, this isn’t the fever dream of someone trapped in a sensory deprivation tank – it’s merely a sampling of what you’ll encounter in Death Stranding 2: On the Beach. And while it would be easy to label Hideo Kojima’s latest as simply “weird for weird’s sake,” that would be missing the point. Underneath its absurdity lies a deeply imaginative, meticulously crafted sci-fi epic. It’s an evolution of everything that came before – emotionally layered, mechanically richer, and, crucially, an absolute blast to play.

Where the first Death Stranding fascinated me but often left me feeling like I was solving a puzzle missing half its pieces, On the Beach delivers on the potential of its predecessor. It’s more assured in its direction, more refined in its gameplay, and tells a more engaging, focused narrative. If the original was an experimental sketch, this is the full-scale mural.

A World Worth Getting Lost In

Familiar rhythms return. Norman Reedus reprises his role as Sam Porter Bridges, tasked once again with connecting isolated communities – this time across a hostile, transformed Australia. Deliveries remain central, but the terrain, enemies, and weather are more dynamic and dangerous. Rivers swell, quakes destabilise the ground, and sandstorms blind your path, all contributing to the feeling that nature is resisting your attempts to rebuild civilisation. The game’s quiet thesis? Maybe we shouldn’t have connected everything after all.

After a tutorial in Mexico, the game opens up with Sam now attempting to integrate Australia into the Chiral Network. You’ll pack ladders, rig your gear, and prepare blood grenades to take on spectral BTs – a familiar, yet better-executed loop. Gameplay has been noticeably streamlined, reducing friction from the first game, with tools and vehicles made available much earlier. There’s a newfound generosity in design – your journey remains challenging but less punishing.

An Action-Rich Evolution

Where Death Stranding leaned heavily into solitude and traversal, On the Beach injects far more action – and does it well. Stealth is still present, but your options are vastly expanded. Silenced weapons, tranquiliser rifles, and explosive gadgets offer multiple approaches. One moment you’re carefully surveying a camp with your floating drone companion, the next you’re unleashing chaos with a mounted machine gun. Combat is more flexible, more satisfying, and has an energy the original often lacked.

The enemy AI still has its blind spots – literally and figuratively – but that actually enables a playful cat-and-mouse element. You can approach encounters tactically or turn them into absurd action movie spectacles. And even when chaos breaks out, it’s rarely frustrating. It’s a power fantasy wrapped in cargo straps, and I loved nearly every second.

New Gear, New Perks, New Possibilities

Skill trees and perks introduce welcome progression. Whether you want to specialise in stealth, go full combat mode, or master meteorological analysis, you’ll find systems that support a range of playstyles. These can be adjusted freely, much like Nier: Automata’s chip system, adding depth to how you approach missions.

New equipment arrives at a steady clip. The blood boomerang is an early standout, but expect much weirder gadgets – from levitating coffins to robot dogs with missile launchers. The creativity here is unrelenting, each new tool offering another way to problem-solve or wreak havoc.

And you’ll need it – not just for combat, but for the game’s central act: delivering things. Huge deliveries. Weird deliveries. Time-sensitive, fragile, or just plain ridiculous ones. The missions themselves are consistently varied and addictive, with that “just one more job” loop firmly intact.

A Deeper, Wilder Story

Set nearly a year after the original, On the Beach picks up with Sam attempting to live a quiet life – one that, naturally, falls apart. What follows is a twisting narrative so dense and strange that it occasionally feels like it’s beamed in from another dimension. But it’s also thematically rich, touching on isolation, grief, digital over-saturation, and even the creative soul’s resistance to automation.

It’s part introspective think piece, part global crisis drama, and part philosophical argument against AI replacing human expression. Kojima’s thematic obsessions – from tech anxiety to military overreach – are still very present, but better woven into the story this time around. The game’s self-reflection, particularly around legacy and letting go, feels poignant – especially considering Kojima’s long history with Metal Gear.

Unforgettable Characters in a Surreal World

Reedus remains a reliable anchor, his performance more nuanced this time, though Sam still functions more as a conduit than a deeply emotional lead. Supporting characters, however, are rich and textured. Lea Seydoux’s Fragile is captivating. Elle Fanning’s Tomorrow brings a haunting presence. And Dollman – your floating puppet sidekick – adds both utility and oddball charm.

Troy Baker’s return as Higgs is especially memorable. He dominates every scene with a theatrical energy that perfectly suits the game’s operatic tone. Clad in a mask and wielding a flaming guitar, he’s Kojima at his most unhinged – and it works.

The performance-capture work is some of the best in gaming, with every twitch and glance adding weight to conversations. These aren’t just digital puppets – they feel lived-in, scarred, human.

A Sense of Scale and Style

Visually, On the Beach is stunning. Australia becomes an alien landscape – Mars-like deserts, looming celestial bodies, and post-apocalyptic wilderness merge into something dreamlike and unsettling. It’s often beautiful, sometimes horrifying, and always immersive.

Music, too, plays a vital role. Forssell’s score and contributions from Woodkid, Low Roar, and others elevate key moments into something cinematic and emotional. One long drive near the end – set to a particular track – left me breathless.

The Decima Engine runs beautifully on PS5 Pro, delivering both technical prowess and artistic splendour without compromise. Guerrilla Games deserve credit for crafting such a robust foundation.

Verdict

Where the original Death Stranding felt like a strange, stumbling first step into new territory, On the Beach is a confident stride. It takes bold creative risks, most of which pay off in spectacular fashion. The narrative is complex and heartfelt, the gameplay more refined and rewarding, and the world itself feels richer and more reactive than before.

Yes, it’s unapologetically odd. And no, it won’t convert everyone. But Death Stranding 2 is that rare thing in gaming – a AAA title that dares to be different, that has something to say, and says it in a voice entirely its own.

It’s not just a game. It’s a vision.

Score: 9.5/10