PS5 DEATH STRANDING 2: ON THE BEACH | 26 GIUGNO 2025! | -2

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mamma mia l'hype inizio a sentirlo bello pesante :bruniii: sto cercando di giocare di tutto per alleviare e far passare la settimana :asd:
 
Iroquois Pliskin ha detto:
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Attenzione agli spoiler :asd:
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First impressions.

DS2 looks breathtaking, the intro is pretty much a Tech showcase showing the scale of the game, Possibly the best looking game I've seen this generation.

There are only two Graphic mode options atm, one for fidelity and another for performance (This could change in future patches). I've only played on Performance mode so far and it's been a stable 60 FPS with no noticeable dips and/or stuttering.

DS2 definitely has upscaling and I suspect it's PSSR because I had one minor instance of artifacting. Normal PS5 will likely have FSR if this is anything to go by.

If you haven't played DS1, there is a recap of the story.
 
Alla fine l'ho preso in Digitale (non deluxe), 90GB, mortacci loro :asd:, fortunatamente me lo sta già facendo scaricare. :gogogo:
DAI CHE MANCA POCO :hype:
 
Iroquois Pliskin ha detto:
First impressions.

DS2 looks breathtaking, the intro is pretty much a Tech showcase showing the scale of the game, Possibly the best looking game I've seen this generation.

There are only two Graphic mode options atm, one for fidelity and another for performance (This could change in future patches). I've only played on Performance mode so far and it's been a stable 60 FPS with no noticeable dips and/or stuttering.

DS2 definitely has upscaling and I suspect it's PSSR because I had one minor instance of artifacting. Normal PS5 will likely have FSR if this is anything to go by.

If you haven't played DS1, there is a recap of the story.
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Ma io volevo la modalità bilanciata a 40fps :sadfrog:
 
Speaking of the thematic and aesthetic differences between “DS1” and “DS2,” what inspired the transition?
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I planned “Death Stranding 2” before the pandemic and was already testing some things out, but after the pandemic hit, I fell quite ill. For the first time in my life, I thought I could never make another game, and I felt very isolated. I didn’t know what to do. I couldn’t even visit the hospital. I was in a crisis unlike anything I’ve ever experienced before in my life. But as the pandemic raged on, I knew I had to keep working on the game – for the sake of the company.

Fortunately, we had the internet during the pandemic. It was a totally different situation a hundred years ago during the Spanish flu. So, although the pandemic was worldwide, we were still connected and could order things on Amazon, have virtual calls with doctors, hold interviews via Zoom, and companies started remote work. You didn’t have to go to the office. No one at Kojima Productions came to the office either; I was the only one there. Yoji came maybe twice a week or so. I was all alone and had no one to talk to about my ideas. The only form of communication was through email, and those were used to just send reports. Creating something in an environment like that was extremely difficult.

When it came time to do the performance capture, it was all shot in LA, but we couldn’t go there due to the pandemic travel restrictions. I directed remotely from Tokyo, but it was nearly impossible. Even drinking parties and music concerts were held virtually.

Around this time, the term “Metaverse” started to become widely used. Many people moved out of the city and relocated to the suburbs. But remote work was very inefficient. Progress on game development was very slow. It was different from shooting a movie where everyone gathered on set and filmed together, after passing inspections for COVID.

We also hired new staff through virtual interviews during the pandemic. They would come in on the first day, only to never see them again after that. You don’t get to learn who they are or understand them. Even on Zoom calls, some people blur their background, so you can’t tell where they are or what they’re doing.

The message behind the first “Death Stranding” was, “Humanity will go extinct if we remain isolated and divided.” Then, I really wanted to rewrite “Death Stranding 2” after experiencing the pandemic. I don’t want to say too much and give away spoilers. Even this interview – we could have done it over Zoom like we did last time. But, this time you are here, and we are talking face to face. And you probably experienced a lot of unexpected things on your way here. I’m not denying technology – I think remote work has its advantages – but that’s not all that we need. We need to see one another in person.


By the end of 2022, we were allowed to travel to LA to do performance capture for the first time in about 2 years. That night, we went out to dinner with the actors, and I thought, “This is what we need.” We need to be together, shoot together, and celebrate together.

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Between “Death Stranding” and “Death Stranding 2: On the Beach,” are there specific ways the second game was created that differed from the original? Were there new visual effects that you enjoyed making, or things that you could do with this game that you couldn’t do with “Death Stranding 1”?
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Technology doesn’t just appear out of nowhere; it’s always been cutting edge, even back in the days of “DS1.” Some people might say, “Oh, it looks nicer now,” but behind the scenes, there’s been a continuous technological evolution that’s never stopped. For example, when we scanned Léa Seydoux for “DS1” and “DS2,” we used the same scanning process. We created her model and did performance capture. We put her in a suit and wrote dots on her face, and she did all the movements and acting.

It’s the same with “Avatar 1” or “Avatar 2.” But you compare the two and you see that “Avatar 2” is much better. The technology wasn’t necessarily new; it was the same between 1 and 2. In “Death Stranding,” you can see the difference between Léa’s face and how it’s much better in “DS2.” What we did, however, did not change. All the expressions and rigs we created for her face – it looks much more photorealistic. I’m not yet satisfied, but it’s better.

Something revolutionary doesn’t just pop up. Things advance slowly, day by day, as an extension of the already existing technology. But there are breakthroughs sometimes, maybe every five or ten years, and those can be game changers. Right now, the performance capture technology involves going to a studio filled with cameras, wearing a suit with markers and balls on it, and having a camera in your face that’s attached to a helmet. That may change in the next five years, and maybe that’s when technology will step up drastically. But typically, it’s a gradual change, like from “DS1” to “DS2.” Everything has become better, in a way, but the way you do it hasn’t changed yet.




You may have seen the scene of Norman Reedus and Léa kissing in the teaser trailer. We shot this during their performance capture. They can’t really kiss with the cameras in front of their faces, so we asked them to pretend like they were kissing and holding each other while being careful not to bump their cameras. We shot that from all angles – 360 degrees. Then, we had them take off their helmet cameras and asked them to kiss for real. We shot that from 360 degrees also, and we blended both of those data. However, in the future, you may not need a camera in your face – that will be the revolutionary breakthrough years from now. You could be shooting a live action film, but maybe there are lasers or something and instead of just 2D data, you can capture 3D data at the same time, meaning you could change the camera settings afterwards or make it into a game without having to reshoot anything. That’s what’s probably going to happen in the next five to ten years.

So, to reiterate, we didn’t really have a breakthrough in technology between “DS1” and “DS2” but rather a slow progression. When I first started in the games industry, we didn’t have CD-ROMs and putting dialogue in required too much data. Later, when CD-ROMs were introduced, you could add music and dialogue. Further down the line, compression technology enabled us to have cutscenes in games. With the arrival of the PlayStation, games could now appear in 3D. These were breakthroughs in technology, but we didn’t have anything like that during “DS1” and “DS2.” I’m sure we’ll see it in the near future, though.
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variety.com

Hideo Kojima on How His Illness Affected ‘Death Stranding 2,’ Developing A24 Film Adaptation and Why His Collaboration With GU Is About More Than Fashion

Video game legend Hideo Kojima opens up about how the pandemic shaped the plot for "Death Stranding 2" and plans for A24's "Death Stranding" movie.
variety.com variety.com
 
Mamma mia, sangue e sudore in sto gioco :sisi:

Curioso di come il senso "should we have connected?" troverà significato in questa trama.
 
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