Do you remember your sentiments regarding *Death Stranding* in 2019? It might be tough to recall the world before COVID, but your opinions on that game are likely to shape your views on *Death Stranding 2*, which debuts this week on PS5.

In simple terms, *Death Stranding 2* does not aim to appeal to those who were not engaged by the first installment. After spending the initial 30 hours with it, I can verify that it remains predominantly focused on being a post-apocalyptic gig worker who juggles transit planning and calming a baby. There was a slim chance that director Hideo Kojima and his team might reconsider the game’s direction following mixed reviews, but instead, *DS2* expands upon the initial concept.

From what I’ve experienced, the outcome is a larger, more visually stunning, humorous, and charming game than the inconsistent 2019 version. However, be cautioned: if you were not fond of the original, you probably won’t find enjoyment in this one either.

*DS2* sets itself apart by featuring a narrative with characters present for most of the time. The first game had lengthy segments of tedious exposition and uninspiring cutscenes. Its pacing, similar to Kojima’s two previous *Metal Gear* titles, left much to be desired. I cannot provide a comprehensive analysis of the sequel’s narrative without completing it, but after 30 hours, it is at least present. The protagonist, Sam Porter Bridges (Norman Reedus), gains early access to the DHV Magellan, a vessel that allows fast travel between locations and acts as a home base for intriguing characters from *Death Stranding*, such as Léa Seydoux’s Fragile, along with new eccentric characters.

Fragile has a more significant role this time, in contrast to her brief appearances in the first game. The Magellan’s captain, Tarman—who resembles *Mad Max* director George Miller—is a delightful elderly gentleman with a pet cat that may be a demon. There’s also Dollman, a former human now residing within a doll’s form, who provides advice and assistance during gameplay. He is a kind-hearted and endearing character.

The ensemble, thus far, features Elle Fanning’s Tomorrow, a mysterious woman who has a disdain for footwear, and Shioli Kutsuna’s Rainy, a joyful pregnant woman with life-giving rain abilities and a talent for trivia. Sam interacts with these characters more consistently than with the scattered and dull cast of the original. The narrative seems to delve into themes of global interconnection and cultural dominance, but it’s unclear if these elements will culminate in something significant. Knowing Kojima, there’s a 50/50 chance it either explores fascinating avenues or leads nowhere.

While I can’t dive into *DS2*’s storyline, I can discuss the time spent navigating its open world. Missions still revolve around package delivery, focusing on route planning for Sam and his cargo. Like its predecessor, much of the gameplay involves walking with heavy loads, yet missions also promote the use of vehicles, monorails, highways, and ziplines to maneuver through difficult terrains.

When it succeeds, it does so remarkably. *Death Stranding*’s hallmark of playing a somber indie tune as you near your destination returns in full force in *DS2*, occurring roughly 15 times in the initial 30 hours. Hikes continue to be meditative, and I enjoy the gameplay where the primary tension comes from deciding whether to cross a stream or climb a ridge.

There are missions with higher stakes, and here *DS2* differentiates itself from the original. Combat, particularly against humans, is less avoidable. Bandit camps are dispersed throughout the map, necessitating navigation for progress. Combat is more manageable now, with effective non-lethal weaponry and stealth tools available early on.

The central shooting and stealth mechanics haven’t changed significantly, but combat, once tedious, now provides a delightful variety. Stealthily infiltrating bases (until spotted, then going full *Rambo*) is enjoyable and rewarding. This game requires engagement with all its design aspects, unlike the original where combat felt like an afterthought.

Aside from minor tweaks, this is an iterative evolution of *Death Stranding*. Everything that worked in the original, such as the core design loop and the online player-supported transit network, remains intact and functions effectively. *Death Stranding 2* features more characters, increased opportunities for interaction, and a broader array of challenges and solutions compared to the original.

This has been adequate for me after 30 hours, but if you struggled with the vision of *Death Stranding* in 2019, you likely won’t discover much enjoyment in the sequel in 2025.