Hideo Kojima and Yoji Shinkawa Open Up About Death Stranding 2: Connection, Creativity, and Walking Through Loneliness

During the recent DEATH STRANDING WORLD STRAND TOUR 2 in Taipei, we had the opportunity to interview legendary game creator Hideo Kojima and lead artist Yoji Shinkawa to discuss the highly anticipated sequel to Death Stranding. Fresh off the release of Death Stranding 2: On the Beach, both creators reflected on themes of human connection, artistic evolution, and the unique therapeutic qualities players have found in their walking simulator series.

The Endless Cycle of Connection

When asked about Death Stranding 2’s focus on strengthening and losing connections, Kojima revealed that both games share the same core theme. “From the perspective of living things, everything started from nothing—beginning with the Big Bang in space,” he explained. “Planets were born, then life emerged. This cycle continues on and on when you look at the universe from a macro perspective.”

He draws parallels between this cosmic cycle and human relationships. “The same applies to human beings. Children are raised by adults, who then pass on their knowledge and values to the next generation. Those children become adults and pass on to their children. It’s a similar process, in my view.”

Designing Fear in Death Stranding 2 and Walking Through Loneliness

The striking red-armored Ghost Mechs in Death Stranding 2 carry an almost religious presence that feels deliberately out of place in the game’s world. Shinkawa explained his design process: “When creating an enemy character, we always need something distinctive. I started from that idea and thought of a big coffin as a visual motif.”

However, the concept came from Kojima himself. “When I handle the visual design, Kojima always considers how it will look in motion and directs how it should appear in the game,” Shinkawa noted. The coffin design also drew inspiration from H.R. Giger’s Alien, particularly for the giant BT’s head section. When asked about the religious undertones, Shinkawa confirmed, “So yes, as you mentioned, there may be a religious tone—that part was from Kojima’s concept.”

Many players have described the first Death Stranding as “walking therapy for loneliness,” and Kojima’s own experience during the pandemic shaped this feeling. “Not during actual development, but during the pandemic—when the game was being developed—the environment made me feel very lonely,” he recalled.

During his recovery from illness, Kojima began taking nighttime walks that would influence the game’s development. “I think during those walks, the concept and image of the game were forming in my mind—perhaps even shaping Sam’s image,” he said. “The world felt completely empty while I was walking. I felt that loneliness too.”

Creative Partnership and Balancing Vision with Playability

Kojima and Shinkawa’s working relationship began during a job interview when Shinkawa was still in university. Initially interested in zombie shooters, Shinkawa was redirected by Kojima toward Metal Gear Solid instead. “I chose the coin-operated, arcade-style gun shooting division at the time, since I liked zombie shooters and wanted to model things,” Shinkawa recalled. “People were asking if I’d become the modeler for that coin-op project, and I said yes—even though Kojima said it sounded like a crappy game.”

“It was a good decision that you didn’t go, because if you had, there’d be no Yoji Shinkawa here with us today,” Kojima joked. When asked how their relationship has evolved over the decades, Kojima simply stated, “It hasn’t changed from the start.”

Their early collaboration required creative solutions due to limited technology. “Back in the ’90s, there was no email or social media. I used to call him around 5 p.m. and ask, ‘Shin-chan, how are you today? How’s the modeling going?’ And Shinkawa would say, ‘I made a leg today,'” Kojima remembered.

Kojima’s approach to game development centers on creating something never done before, but he acknowledges the need for practical playability. “My core principle has always been to create something that’s never been done before. Within that foundation, both gameplay mechanics and visual presentation must support the central concept.”

He uses alpha testing to bridge the gap between creative vision and player experience. “We let players try it out, gather feedback, and evaluate if the controls and gameplay resonate with a global audience. Through that alpha feedback, we gradually refine the experience so more players can enjoy it.”

Music and New Tools for a New Journey in Death Stranding 2 

The series’ dynamic music system has become one of its most beloved features, with players often describing it as a sign they’re “on the right path.” Kojima’s selection process is deeply personal: “I usually draw inspiration from music I personally enjoy or artists I’m familiar with. I pick tracks that match the tone and atmosphere of Death Stranding.”

He carefully places these tracks at specific trigger points. “The music only plays when there’s no danger around and the player reaches specific locations,” he explained. “These trigger points are chosen with great care—typically in scenic, dramatic, or emotional landscapes. I playtest the game extensively myself to fine-tune how and when the music is triggered, including the camera work.”

For Death Stranding 2, Kojima’s favorite addition is the Ring Terminal, replacing the handcuff-style device from the first game. “In the first game, Sam used a handcuff-style terminal as part of Bridges, symbolizing restraint. But in Death Stranding 2, Sam is no longer part of Bridges, so using handcuffs again would feel off.”

The new device, worn on the thumb and activated with a thumbs-up gesture, reflects Sam’s changed circumstances. Shinkawa, meanwhile, has his own favorites: “I personally really like the pick-up roader and tri-cruiser bike in the game—because I’m a big fan of vehicles.”

His design philosophy prioritizes the gaming experience over realism. “My design philosophy is to create something that can only exist in a game—or in film or animation,” he explained. “If your vehicle is stationary and you push the analog stick, the wheels still respond and shift direction. Real-life cars don’t do that, but I intentionally designed it to give a stronger sense of interactivity.”

Finding Meaning in Player Connection

Despite mixed initial reviews for the first game, Kojima feels vindicated by the sequel’s existence and continued player support. “One thing that left a deep impression on me was the Social Strand System—a core mechanic I created. Many players said it gave them a unique sense of connection, even while playing solo.”

The pandemic gave special meaning to player feedback. “I received messages from players who felt isolated and found emotional comfort in the game. That kind of feedback means a lot to me and makes me feel I made the right decision.”

Kojima has been particularly moved by the global response since the sequel’s launch. “It’s been about a week since Death Stranding 2 was released, and I’ve seen players around the world playing in different ways. That brings me a lot of joy.”

Development Pressure and Evolution Through Experience

Both creators have developed their own ways of handling the intense pressure of game development. Kojima embraces stress as creative fuel: “There’s no limit to the amount of stress I carry, but I don’t complain. For me, pressure is the fuel that drives creativity.”

When he does find time to decompress, Kojima turns to cinema. “When I have time, I enjoy watching acclaimed films from around the world. It helps reset my pace and inspires me. I don’t try to eliminate pressure—I embrace it as something essential for making better games.”

Shinkawa takes a different approach, finding peace in simple moments. “For me, the best way to relax is simply driving home after work. That’s when I feel most at ease and most like myself. But honestly, I enjoy game development so much that I don’t feel much pressure.”

After nearly 40 years in game development, Kojima’s motivation has shifted from personal satisfaction to serving his global fanbase. “When I was younger, I made games for myself—projects I personally wanted to create. But now, with fans around the world who love my work, my motivation has shifted. I no longer create just for myself—I create for them.”

Technology has also opened new creative possibilities for Kojima. “Thanks to technological advances, things I couldn’t even imagine back then are now possible. I’ve had the chance to work with world-class actors and musicians—something I never dreamed of when I started.”

Shinkawa’s perspective changed when he became a father 20 years ago, bringing new energy through witnessing fresh talent emerge in the industry. “What keeps me excited now is seeing fresh talent—new creators and new works—emerge in the industry. That brings a lot of energy into my life.” This personal experience particularly influenced his work on the character Lou in Death Stranding 2.

A Message to Players

As Death Stranding 2 continues to find its audience worldwide, both creators expressed hope for the game’s impact. Kojima emphasized the game’s flexibility: “This game is about reconnecting a fractured world through delivery, but it supports a variety of playstyles. Whether you prefer combat, stealth, or simply experiencing the story, the game gives you the freedom to do so.”

Shinkawa connected the game’s themes to real life, drawing from his own parenting experience: “As I mentioned, my child was born 20 years ago—and that changed my life. When working on the character Lou in Death Stranding 2, I felt a deep emotional connection. In the game, players are constantly working and delivering—just like in real life. I hope players can find their own meaning and reflection through the experience. I truly hope you enjoy the game.”

Through Death Stranding 2, both creators hope to rebuild the connections that were broken during the pandemic, offering players not just a game, but a pathway back to each other.

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