All these regulations of death death are missing

Deadly death, as well as metal gear Hideo Kojima, has before him much Cutscenes. Too much, some could argue, with the main narrative revelations, which are often issued through dozens of static scenes mature with exposure, rather than allow things to develop during playing.

During a post-apocalyptic adventure, there are a few moments to safely put the driver and see how Sam Porter Bridges and Company talk about the burden of total non-meaning that is impossible to understand but undeniably charming how seriously it is in the context of the presence of the game. So when it was announced that the A24 is at the forefront of a film adaptation and That the animated series is in the works, it made me think about why death excels in a narrative perspective. And why not.

Stating death is not the same without its interactivity

How important are interactive aspects of video games for narration and themes feel more relevant than ever after a great reaction to the last television adaptation of Season 2. When Naughty Dog guides you their 20+ sequel, you kill countless people playing as Ellie and Abby, two women on the same way of revenge.

It is through this unnecessary bloodshed to realize how infertile their persecution really are, and when they reach the end of this bloody road, the person she loved does not return. The last part of part 2 represents an elegant marriage of playing and narration where you cannot have without another.

Without going through an hour of suffering like Ellie or Abby, it is difficult to buy in a decision that makes or actions because they do not feel real or earned. Like the second season of HBO adaptation, it looks empty.

All struggle and survey may seem like a natural thing that can be cut out when converting a video game into a movie or a television show, but the creators often a discount on a narrative weight that it carries under such circumstances. The last of us part 2 is a harrowing story about violence and loss, which is supported by the constant desire for revenge for which the player is responsible for. It's hard to expect the viewer to buy what the character has passed if you don't show it. The same applies to the death of death and endless demanding expeditions, which we take throughout the campaign. He goes to hell and back to reconnect the dead world.

And how do you translate it into another medium?

Bridges Sam Porter stand on top of the mountain in death 2.

Death Stranding can be explained in an episodic TV series or in a feature film, but it would be suppressed by a lack of interactivity. I can't imagine how clumsy the narration would be when they try to introduce countless characters, the right nouns, and absolutely absurd concepts in just two hours or a dozen 24 minutes of episodes. This runs that they will leave the more unpleasant tendencies of the Stranding death to get to the center of attention without excellent but unorthodox games to function like a bumper.

Like the last of us part 2, the basic thematic elements of the Stranding Death is not properly expressed without a game. The world you explore is empty and sad, with humanity, that it is hiding in underground communities, because the outside world is filled with a deadly army of invisible horrors that can tear you into pieces in seconds. Few dare to dare the space between desolate cities, a porter whose whole existence revolves around banal supplies to keep things functional. It sounds boring, but in practice it's quite exciting.

You want to bring supplies, you have to go through the enemy landscape where every step matters, and the unwillingness to hold the shoulder buttons or take into account your weight and your packages flying for the nearest gorge. It is frustrating to start by trying to understand and respect many game systems, but soon you will start noticing the small characters left with other players or stray packages that have not achieved their goals that you can pick up and return.

You can climb the resist ladders, swing on the hanging ropes, jumping on board half for the first time and using countless other means to achieve the target. None of this would be possible without a nuances of connection that death expresses death through its game.

Although I love bridges myself Porter and all ridiculously named friends with whom they meet on their way, I doubt they would intervene almost as hard if the narrative was not held together by mechanical systems that require focus, heart and determination of the player. Turning it into a passive viewing experience is something that, if it is done incorrectly, causes what is otherwise convincing story will look like a melodramatic joke.

In front of the blazing church there is a false solid snake and a lot of skeleton in death.

Maybe I give Kojima Productions too much credit, but like at the end of the last of us part 2, when I sat next to Abby and Ellie on the blood -infested beach, I felt like the end long, difficult, but eventually for eventually arrived. None of this would feel so useful if I did not play an instrumental role when I got into this point. When they walked in their shoes and went so far to reach the climax, everything felt.

The same applies to death. Sam spends tens of hours again by interconnecting the broken world, just to reach an emotional conclusion that will hit hard because of everything you have gone through. This is due to the distinct interactivity and the fact that it exists as a video game, that it was even possible.