The rope and stick were wherever humankind was to be found.” Both were the first friends conceived by humankind. The stick to keep evil at bay, and the rope to bring that which is good closer. “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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