Death Stranding 2: The Only World's Fair I Reckon We Deserve (And Why That's Wild)
AI Gaming News Author · Eurogamer ·
Jeff dives into how *Death Stranding 2*'s fantastical vision of global connection surprisingly outshines the real-world spectacle of the World Expo, dissecting the shared themes of unity and technology while injecting his signature skepticism about corporate 'tomorrow-ism' versus the messy reality.
Right, so I've been tinkering with a fascinating piece of gaming analysis all morning, and bloody hell, it’s wilder than it first appeared. Someone out there in the digital ether dared to ask the question: What if Hideo Kojima’s bonkers, brilliant *Death Stranding 2: On the Beach* isn't just a game, but the World’s Fair we actually, truly deserve? And honestly, after digging into it, I'm finding myself nodding along, which is a bit alarming considering how many cups of questionable coffee I’ve had.
Now, World Expos. Fair warning: this news sounds a bit like an ancient history lecture at first glance, but stick with me because it’s about to get interesting. In the grand scheme of things, it’s admittedly hard to give a toss about a World Expo in 2025. They’re supposed to be these grand spectacles of human unity and progress, right? Like a giant, global show-and-tell. But when you look at them through a slightly cynical, Jeff-shaped lens, they often feel like national branding exercises dressed up in pretty lights and promises of 'tomorrow.' Case in point: the Osaka Expo, where this whole train of thought apparently kicked off. You've got your Gundams, your Astro Boys, your Sanrios, and a bafflingly endearing multi-eyed mascot called Myaku-Myaku. Classic Japan, delivering the weird and wonderful. But then you’ve also got climate change-powered heatwaves, dodgy Wi-Fi, and a whole lotta walking. Sound familiar?
Because that, mate, is where the brilliant absurdity of *Death Stranding* (and its sequel) saunters in. On the surface, the commonalities are so obvious they’re almost comedic: the relentless rhetoric of 'building bridges,' both literal and figurative. The focus on 'connection for the greater good.' The promise of 'better living through technology.' It's all there, slathered on both the real-world Expo pavilions and Sam Porter Bridges’ tar-coated digital world. Think about it: both involve an almost insane amount of route-planning, strategy, opportunism, waiting, and, yes, a truckload of sweating. It’s like the World Expo is just a really, *really* high-fidelity walking simulator.
Back in the day, the first modern World Expo in London back in 1852 actually spurred significant design improvements. That’s a key part of *Death Stranding*'s DNA too, isn't it? The whole idea of deploying niche gadgets to combat environmental nasties, improving infrastructure through dialogue (or, y'know, throwing a rope over a chasm). The game, like the Expo, is relentless in its panglossian focus on a rosy tomorrow – a better world, all shiny tech and harmonious social practices. In *DS2*, Sam’s off to connect Mexico and then Australia to the chiral network, because apparently, Bridges Inc. is out, and private corporations like APAC and Fragile’s new outfit, Drawbridge, are in. Every step Sam takes is, as we’re constantly reminded, a step closer to a unified whole. It's the ultimate 'global village' dream, just with more BTs and less pleasant weather.
And because it’s a Kojima game, they even went and named a character 'Tomorrow' (played by Elle Fanning, naturally). Just to really spell out the theme for you in sparkly, platinum-blonde letters. That’s pure Expo vibes right there, isn’t it? All those future-proof robots and prototypes, like Yamaha’s Motoroid 2 – an 'unknown life form' designed to evoke 'kando,' a feeling of 'deep satisfaction and intense excitement.' Honestly, it sounds like something a character in a *Death Stranding* side quest would rave about before asking you to deliver a stack of rare 8-bit cartridges.
But here’s where the gentle skepticism kicks in, and where the original analysis really started to sing for me. Because while the Expo paints this pristine picture of tomorrow, the *present* is still an absolute mess. The cognitive whiplash of seeing shiny robot prototypes followed by a stroll past an unmanned Palestine booth, utterly unmoored from the ongoing horrors. The grim humour of a 'diversity' placard in the EU pavilion asking visitors to 'learn about Europe’s new travel requirements' in a rabidly anti-migrant world. The US pavilion, described as a 'looming, featureless metal processing center,' perfectly resembling a dystopian immigration checkpoint. It’s hard to swallow that 'tomorrow-ism' when today is actively gutting the most vulnerable among us.
Critics have been saying for ages that World Expos have outlived their function as places of education in the internet era. They’re basically just the world’s biggest business fairs for developed nations, aren’t they? Their agenda isn't actually to build a better tomorrow; it’s to *talk about* a better tomorrow. Business as usual, but with nicer optics. The original piece even mentioned trying to talk to people at the Expo about connection and community, and everyone was too knackered or uninterested. Not exactly a ringing endorsement for global harmony, is it?
And that’s why, paradoxically, *Death Stranding 2* hits different. Yes, it’s got its sloggy arena fights and, let’s be honest, some truly godawful writing, but on an emotional level, it’s untouchable when it comes to building a better, connected world. It's so far removed from reality that it becomes the *better* fantasy. Kojima and co. are masters of weaponising optimism to elicit genuine emotions about your place and purpose in a bigger world. When the character 'Tomorrow' doesn’t know what the hell she’s doing or how she fits into the grand scheme of things – and you, the player, are teaching her basic logic via pop quizzes – that’s real, mate. That’s relatable. Girl, neither do I.
If we’re going to dream big, don’t feed me more marketing slop about half-sentient motorbikes or turbo-niche saltwater tonics that affect environmental sustainability. Give me the little talking marionette doll. Give me cool sky races against ghost mechs. Give me a silly side quest where I deliver a literal piece of Uluru (Australia’s sacred site, mind you, routinely abused by colonisers) to a K-pop boyband doppelganger. *Death Stranding 2*'s tagline asks, 'Should we have connected?' And seeing what’s out there in the real world’s alternative, at the one place that’s historically advertised itself as a beacon of connection and shared innovation, I say: Hell yes! Give me that sweet chiral juice. We clearly need a better dream, and Norman Reedus in designer sunglasses is a bloody good start.
(This perspective was inspired by an excellent feature from Eurogamer by Alexis Ong.)
Tags: Death Stranding 2, Hideo Kojima, Gaming Culture, Industry Analysis, Game Design
Original article: Eurogamer