Considering yesterday’s tease for Death Stranding 2 on PlayStation, I felt compelled to share a few thoughts and give the game a bit of attention, especially since gamers Kirigaya Kazuto and Kugimiya Yui held a brief conversation about the ‘shout’ mechanic. For me, it’s a bizarre echoing mechanic where players can shout, and other players’ characters, also named Sam, respond in real-time—it’s not scripted but actually real multiplayer interaction. The response felt like a highlight of bad game design and, to my knowledge, no other major title has defended this excellence. For what it’s worth, I’m not a fan of this form of “real-world echo.”
Returning to my previous thoughts. As I mentioned, my post was a casual “hey,” which I paired with the new gameplay mechanic, for no reason in particular, and I did not expect my post to go viral or even to gather insightful responses. Those few initial responses made me pause because they reflected an emotional update on the topic of the game. Some of the game’s community members, like Tyler Outland, were already praising the game, having logged over 141 hours, calling it their game of the year. In contrast, others, like Beans, dismissed the title as a flop that nobody bought. This is the gaming community’s classic argument in its full glory.
The shouting mechanic? That’s pure Kojima genius. The original Death Stranding allowed, with the “left ladders and ropes” system, players to assist others in movement. This takes the idea way further. Instead of physical items, players leave voices for others to reply to. It’s really asynchronous and emotional communication.
For instance, Quantum202250 said, “What’s the game’s goal—carting as much crap as possible?” That might be a typical question from someone new to Death Stranding. After that, a_space_alien came in and truly addressed the heart of the matter; it’s the kind of thing you have to encounter. It’s not a package-carrying game—it’s a story about connection in a broken world. The entire experience is about bridging people who are physically distant.
Even the figures for sales are hotly contested in the replies. In response to my inquiry, Grok supplied some information, mentioning that Death Stranding 2 shipped about 1.3–1.4 million units in its first month back in June 2025. So that’s… okay for a Kojima oddball? The original, after all, did about 5 million after a really long time, so this seems consistent. For continuing to call it a flop is Beans for tanking the chance to be on the top 20 best sellers list, which like… dude, not every game needs to be Call of Duty.
While oversoulgaming didn’t directly respond to me, they did offer an insightful comment on review scores vs sales. As I’ve pointed out, or implied, it isn’t Fortnite bad, “dying on the vine”. Death Stranding 2 was, at that time, garnering incredible scores from both critics and players who tried it. Niche games find an audience, and that’s more than all right! No title needs to appeal to, and for, everybody.
The yelling mechanic truly stands out because it builds on the first game’s themes and brings the player interaction into the present moment. Instead of waiting days to collect someone else’s lost cargo, you get an immediate reply, which deepens the emotional connection. It’s as if the player shouts into a canyon, and another player answers from the distance.
I have a different opinion than others who think it’s just scripted replies. PlayStation’s explanation suggested player interactions. The game matches players online and their characters respond to each other. To me, this kind of multiplayer is new, at least.
Shade shared that, particularly with Death Stranding 2, the game has this feel to it where you play for a little, then put it down. You don’t binge a game like this over a single weekend; it’s an experience you come back to. With the shouting mechanic, it encourages you to see what other players have been doing in their worlds.
Kecymetax asked “Is this actually good?” which is the million dollar question. Folks who enjoyed the first game surely have one opinion, and those who thought the first one was a walking simulator most definitely have another. The beauty of gaming is that it truly caters to everyone.
Carter Nolan, like others, dropped the moniker “wild” about the multiplayer echoes set in Death Stranding 2, and that’s a fair statement. Everyone else is dropping new battle royales and competitive shooters, while Death Stranding is doubling down on player cooperation. There is no shooting or fighting. Instead, it’s player nurturing and player connecting. Now it’s even about shouting at players across the void.
The concern GamingFoxGG has about getting as drawn in as they did with Red Dead Redemption 2 says a lot about the immersion Death Stranding 2 has, and the shouting mechanic that allows players to meet while sending packages adds a whole new layer to the experience which elevates the game.
As with strange and innovative works, the game is a disappointment to many but a marvel to few, Death Stranding 2 is very much in line with the nature of innovation Kojima is well-known for. Stigma throwing around of niche and wacky gameplay mechanics is something other developers don’t touch. While seemingly small, the shouting mechanic integrates collaboration and communication to an entirely new level, scaling with the thematic focus of the game, which is on connection. There’s no competition in the game; instead, players cooperate, which is refreshing.
Even without ten million copies sold, those into the game tend to get the most out of it. Moreover, features like the shouting mechanic enhance immersion into the world Kojima built. The strangest of games tend to be the most fun, and this certainly is one of those.
