#Bridge Baby

[pedroam-bang]

Death Stranding (2019)

[hawkmothmoon]

Yesterday was the three year anniversary of one of my favorite games, DEATH STRANDING. Here’s some paintings I did of two of its characters—Mads Mikkelsen as Cliff Unger and Troy Baker as Higgs Monaghan. You know I love painting villains (and Mads, I should paint him more.)

I’m thinking of repainting these at some point but in the interest of showing progress here they are as is!

I also wanna thank all the folks that have reblogged and liked my art so far. I loved being on tumblr back in 2012-2015 or so, when I was in my early/mid 20s. I’m probably a senior citizen at 34 here but uhhh I’m glad to be back!

Cliff!

Higgs!

Higgs and Cliff details!

[vincesaturn]

pod baby

[boredtechnologist]

Analyzing Hideo Kojima's "Death Stranding" requires delving into the game's multifaceted narrative, themes, and mechanics, drawing on a range of philosophical disciplines including phenomenology, existentialism, eco-philosophy, and theories of connection and isolation.

1. Phenomenology and the Experience of the Game World: "Death Stranding" immerses players in a world where the boundaries between life and death, physical and spiritual, are blurred. This can be analyzed through the lens of phenomenology, particularly the work of Edmund Husserl and Martin Heidegger. The game's portrayal of a world where the dead and living coexist challenges players to reconsider the nature of reality and perception, resonating with Husserl's ideas about the subjective interpretation of experiences and Heidegger's concept of 'being-in-the-world' - how we engage with and understand our environment.

2. Existential Themes of Isolation and Connection: The game’s exploration of isolation and the need for connection aligns with existentialist themes. Drawing from Jean-Paul Sartre’s notion of existential isolation – the idea that individuals are fundamentally alone in their subjective experiences – "Death Stranding" showcases the protagonist Sam's journey as a metaphor for human existential crises. However, in contrast to Sartre’s somewhat bleak outlook, the game also incorporates Albert Camus' philosophy of finding meaning in an absurd world, particularly through human connection and solidarity.

3. Eco-Philosophy and the Relationship with Nature: "Death Stranding" presents a post-apocalyptic landscape that forces players to navigate and connect a fragmented world, reflecting eco-philosophical ideas. Philosophers like Arne Naess, who pioneered deep ecology, emphasized the intrinsic value of all living beings and the importance of a harmonious relationship with nature. The game’s depiction of a ravaged Earth, where human actions have severe consequences, echoes these eco-philosophical concerns, urging players to consider their relationship with and impact on the natural world.

4. The Ethics of Technology and Artificiality: The game’s use of advanced technology, such as the Bridge Babies (BBs), and the artificial environments created to sustain life, can be analyzed through the work of philosophers like Hans Jonas and Martin Heidegger. Jonas’ ethics of responsibility and his caution about technological advancements pose relevant questions about the moral implications of using technology to manipulate and control natural processes. Heidegger’s critique of technology and its alienating effects is also pertinent in understanding the game's narrative.

5. The Concept of Death and Mortality: "Death Stranding’s" central theme of death invites reflection on mortality from a philosophical standpoint. Arthur Schopenhauer’s pessimistic philosophy, which views death as an integral part of life, and his exploration of the will to live despite suffering, offer insights into the game’s narrative. The constant presence of death in the game challenges players to confront their mortality and find purpose in a transient existence.

6. Derrida and the Notion of Hauntology: Jacques Derrida’s concept of hauntology – the presence of elements from the past as spectral or haunting forces in the present – is a useful framework for analyzing "Death Stranding’s" narrative, where past events and deceased individuals continue to impact the living world. The game’s portrayal of timefall, an accelerated aging process, and the presence of BTs (Beached Things), entities from the afterlife, resonate with Derrida’s ideas about the persistence of the past and its impact on present reality.

In conclusion, "Death Stranding" offers a rich tapestry for philosophical exploration, intertwining themes of phenomenology, existentialism, eco-philosophy, technology, mortality, and hauntology. Through its immersive world and narrative, the game invites players to engage with profound questions about human existence, our relationship with nature and technology, and the ever-present reality of death and memory. Kojima's creation stands as a compelling intersection of gaming and philosophical inquiry, challenging players to ponder deeply about the nature of our existence and connections in an increasingly fragmented world.

[boltsj]

The Christmas easter egg should have been a Santa outfit for Sam and an elf outfit for BB, tbh.

[maniccrystalhippie]

My husband has been playing Death Stranding and yk what he just told me? That snow is like the timefall. Which means, canonically, people can't make snow angels :(

EDIT: thank you to the tumblr user that informed me that snow angels are possible as long as it's not actively snowing. this is wonderful news.

[atwas-gaming]

Believe it or not, this is actually a marked improvement. I've put in about 12 hours on this game so far, and I'm not the best at stealth games, anyway, so this wasn't bad for me. (Easy Mode, btw.)

[pangur-and-grim]

Belphie kept sticking his tiny head through the rope bridge, which meeeeeans I had to cut it down. I don't want anything terrible happening while I'm out of the room!

[brooklynbridgebirds]

Common Grackle fledgling, Brooklyn Bridge Park, Pier 6.

[edorazzi]

Page 27 of my Miraculous Mentor AU comic A Matter of Trust! In which Felix makes a decision that may have consequences... 🦋🌊

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[pedroam-bang]

Death Stranding (2019)

[your-littlesecret]

well. okay then.

[ivorysodapop]

Hurts me a lil

[inkfamy]

#it's funier to imagine all of the combaticons have no idea why Bruticus is obsessed with first aid#like individually they think First Aid is alright but once they all get together#oh boy what the fuck @gayrob0t

I've been thinking about this all week because it's so fucking FUNNY. Bruticus de-combines back to the Combaticons and Onslaught is just immediately grabbing each of them by the lapels and screaming "WHICH ONE OF YOU HAS A CRUSH ON FIRST AID" but they're all like "nah man he's not my type". Vortex gets the blame because he's a little weirdo but he adamantly denies it like "dude he doesn't even like blood, what kind of medic doesn't like blood"

Bruticus is effectively taken out of any battle by just gently placing First Aid within his visual range. Onslaught is losing his entire goddamn mind. The Decepticons come up with a variety of Ridiculous Schemes to kidnap and hide First Aid just so they can get Bruticus to fight instead of cooing over his favourite tiny medic

[fuckyeah-bridgerton]

screaming crying throwing up LOOK AT THEM TOGETHER

[atwas-gaming]

Death Stranding again tonight. I think the story's starting to make some sense. I absolutely do not trust Die-Hardman or anyone at Bridges, and I'm wondering if maybe some government scientist or somebody caused the Stranding by poking their nose somewhere it didn't belong. (No spoilers, plz- I've only played 8 hours of the game, I'm still within walking distance of Central Knot.)

Had a bit more real gameplay tonight, instead of it being all cutscenes. I'm loving this method of sharing between players.