Simon Cardy, a senior editor at IGN, once did something brave: he admitted his feelings about Death Stranding in public. Not the kind of brave that involves hauling a dozen fragile packages through a BT-infested ravine while a baby in a pod cries about it, but close. He didn’t review the original—Tristan Ogilvie handled that job and gave it a 6.8—but Simon wanted to lay out his personal baggage before reviewing Death Stranding 2: On the Beach. In 2026, that baggage still smells faintly of chiral crystals, and it’s worth unpacking.

The original 2019 sci-fi epic was, to put it politely, divisive. Some players saw a masterpiece about connection; others saw a hiking simulator with a Kojima-sized ego. Simon landed in a third camp: he adored the story, tolerated the walking, and groaned every time the sky started leaking. That’s a very specific emotional weather system, and he owned it. 🚚🌧️

The Story: Glorious Nonsense That Somehow Makes You Cry 😭

Story was the element Simon enjoyed most. He embraced the ever-growing glossary of sci-fi terminology. He got invested in Sam’s bond with Lou, the fractured dynamic between Cliff Unger and Die-Hardman, and the general sense that everyone needed a hug and a good therapist. Die-Hardman’s final scene, performed by Tommie Earl Jenkins, remains one of the most affecting video game performances Simon can remember. Margaret Qualley’s dual roles, Lea Seydoux’s complicated Fragile—he could praise the whole cast. He was also curious about new faces, especially Elle Fanning’s enigmatic Tomorrow. He went on record saying he didn’t trust her at all. In 2026, that remains a healthy policy for anyone in a Kojima game.

Simon likes grand, global stories rooted in deeply personal tales, the kind found in Denis Villeneuve’s Arrival or Cormac McCarthy’s The Road. Death Stranding balances colossal oil monsters and quiet hilltop moments with Low Roar. Birth, death, hope, and grief shine through, no matter how many alien words get thrown at the player over 40 or so hours. That balance is why the story worked for him even when the gameplay did not.

Gameplay: The Slog, the Director’s Cut, and the Blood Grenade 🧨

Here’s where Simon’s relationship with Death Stranding gets complicated. He bounced off the original in 2019 after a handful of hours. The routine of hiking, crossing rivers, climbing mountains, and reaching a delivery location was tiresome. Chapter 3 felt laborious and seemingly never-ending. He put it down.

A couple of years later, he tried again with the Director’s Cut and finished it. The new combat depth, companion bot, and catapult added variety. The online Chiral network filled the world with half-built highways, ladders, and bridges, making the journey smoother than at launch. He rode a motorcycle, set up ziplines, and had a much better time. He hoped Death Stranding 2 would offer those convenient delivery options from the start. In 2026, that hope has been tested, but the original lesson stands: a good zipline can heal more than a stim.

Combat never fully clicked for Simon. He laughed while throwing blood and piss grenades at a big oily lion, but BT encounters often felt like a trudge. He avoided conflict whenever possible, which is valid, but it meant groaning every time rain began. Human enemies in yellow hazmat suits signified tedious stealth. He dodged them too. So when Death Stranding 2 looked more action-heavy, with a bigger arsenal and more dynamic threat handling, he was encouraged. He didn’t want Sam to become a super soldier, but he did want more firepower than a polite detour around every enemy camp.

The TLDR, Now With 2026 Hindsight

Simon’s summary was simple: he really enjoyed the world and characters of Death Stranding, but he didn’t find the moment-to-moment gameplay consistently rewarding. He liked it, just didn’t love it. He was excited to jump back in with Death Stranding 2 because the story looked packed with intrigue and the spectacle seemed like something only Kojima’s studio would create. He hoped the gameplay would match the cinematic ambitions and that the gaps between beautifully sculpted cutscenes wouldn’t feel like a chore. His review was set to drop on June 23rd.

In 2026, the beach has been walked, the reviews have been argued over, and the discourse has done its usual thing: split, meme, and debate whether cargo management is a metaphor for modern life. But Simon’s pre-release context remains useful. It explains why some players will forgive a thousand small frustrations for one perfect moment of connection—and why others will just want a grenade that works. Death Stranding 2: On the Beach may be more action-oriented, more accessible, and more crowded with tools, but the core question is still the same: can a game about walking make the walking feel worth it?

For Simon, the answer was always going to be complicated. For everyone else, it depends on whether they trust Elle Fanning. He doesn’t. That’s probably the most reliable review advice of all.