The game is set in the post-apocalyptic United States: after a Void Eruption, the US was filled with Chiral Matter – a black, petroleum-textured substance transformed from corpses that can cause massive disasters.
Not only does the Chiral Matter block airwaves and signals and interrupt communications, it also generates “timefall”, exacerbating the aging process of any object it comes into contact with. To make matters worse, the combination of human corpses and the Beached Things (BTs) – monsters made by the Chiral Matter, triggers powerful explosions. Humans are thus effectively back in the caveman era: everyone is trapped in the safety of underground bunkers.
But the crisis also comes with opportunity. The Chiralium, a crystallization of Chiral Matter, has facilitated the advancement of human technology. Although the original ways of communication were interrupted, people once again established a more advanced Chiral network based on the study of the Chiralium.
The player’s mission is to travel (mainly) on foot from the east coast of the United States all the way to the west, transporting necessary supplies to the various large strongholds while also reconnecting the United States through the Chiral network.
“Connection” is at the core of the game, not only in the storyline, but also in the subtlety of gameplay design. Death Stranding is almost a pure single-player game, but players with similar progress can share all the facilities they have built up for easy access, including signposts, zip lines, bridges, and even highways. Kojima has explained the metaphor in his game designing: players will feel very lonely, and want to desperately restore connections with the outside and other people – which is the actual gameplay.
But is the “connection” real? People initially hoped that the Internet would create a decentralized society that would allow all information and resources to flow freely, but what really makes the Internet so powerful now is what the so-called “spirit of the Internet” opposes: the centralization of power and wealth. Death Stranding seems to have the same problem: the players are connected to eventually rebuild America with the inescapable premise that all players must be subject to the framework designed by game producers. Because it is a game with very little randomness and a fairly linear story flow (in other words,it does not have many characteristics which open world games are supposed to have ), the locations where players should build bridges or set up warning signs for danger areas are almost always fixed.
While we feel the bond with other players, the communication and collaboration that constitute the “connection” are forged into the flesh of what Srnicek calls “platform capitalism”. The “delivery guys” in the game and the real-life workers are internalized in this cooperation and linkage as part of the platform on which they depend. They do really exist in a unified narrative framework, but as invisible persons, or “atoms” that are actually isolated from each other to maintain the “connections that should exist”.
It is clear that this standardized, designer-centric game design and “connection” are at odds with each other: players who appear to be spontaneously connected to each other are in fact firmly controlled by a supernatural force from another universe. And why are we connected? What is the real connection? What does the connection mean to a reborn America? Kojima does not offer any explanation.
Optimistically speaking: in any case, the delightful cooperation and kindness we experience in the game from strangers is real, but we always need to know that Big Brother is watching us at all times.
 Joe Juba. 2019. “Hideo Kojima Answers Our Questions About Death Stranding”
 Tobias Haberkorn. 2019. “Bigger Than the USSR: A Conversation with Nick Srnicek, Author of ‘Platform Capitalism'”
 Paquet, Alexandre. “Delivering Packages in Apocalyptic Times : Utopia and Collectives in Death Stranding.” REPLAYING JAPAN 3 (2021): 77–86.