《死亡擱淺2》IGN 9分完整評測：非常成熟的續作！

6月24日，《死亡擱淺2》即將在週四正式解鎖（豪華版現可提前遊玩），IGN編輯西蒙·卡爾迪給出9分評測，盛讚DS2爲凱旋歸來的續作，完美兌現了初代的潛力，更加成熟！本作的舞臺移師澳大利亞，依然延續的小島標誌性的怪誕美學，繼續以人與人的聯結爲核心，串聯起復雜科幻敘事與人文哲思，IGN坦言本作雖非完美，卻因堅守原創性不忘初心而更顯珍貴！

鴨嘴獸的J液、巨大的油膩殺手骷髏、會說話的碰撞測試假人、泡在溫泉裏的木偶，以及諾曼·瑞杜斯的奶頭，別誤會，這不是精神病發作的胡言亂語，僅是我在《死亡擱淺2：冥灘》所見怪異景象的冰山一角！

但若將小島秀夫的作品簡單歸結爲獵奇秀，未免太過膚淺，這種怪誕並非貶義，而是小島秀夫標誌性的藝術，也是狂野創造力的直接體現，這種獨特而大膽的創意，使得遊戲能夠展現出我們從未設想過的事物，從而突破了傳統遊戲的邊界！

從這個角度來看，《死亡擱淺2》堪稱神作——將複雜的科幻敘事與精進蛻變的潛行玩法完美融合，在前作實驗性基礎上築起令人驚歎的高塔。美麗與驚悚交織，細膩與趣味並存，它完全滿足了我對《死亡擱淺》的所有期待！

Platypus semen. A giant, oily killer skull. A talking crash test dummy. A puppet soaking in a hot spring. Norman Reedus' nips. No, these aren't straightjacket blabberings due to another vicious bout of temporary madness; instead, they are just 10% of the bizarre things I've seen in Death Stranding 2: On the Beach. But it would be far too easy to dismiss Hideo Kojima's work as acts of weirdness alone. I think we should encourage such wild creativity, and be excited that someone is willing to show us things we'd never even thought of seeing. When viewed this way, Death Stranding 2 stands as an almighty achievement – a triumphant combination of complex sci-fi storytelling and thrillingly evolved stealth-action that impressively builds upon the experimental foundation of its predecessor. It's beautiful, horrific, nuanced, and crucially, a lot of fun. Simply put, it's everything I wanted Death Stranding to be.

初代《死亡擱淺》雖然引人入勝但不夠平衡，像是一個充滿可能性的謎箱，卻未能完全破解密碼，而續作不僅完美實現了創作目標，更顯露了本系列應有的巔峯形態！敘事更具魄力，大幅優化的玩法也消解了前作系統的諸多晦澀的內容，故事主線更動人，延展末日世界的宏大設定。若非初代擁躉，本作恐難徹底扭轉你的看法，但若你曾像我一樣對系列持觀望態度（譯者注：指的是IGN不看好初代死亡擱淺，僅打了6.8分），這次也會被遊戲深深地吸引！

I found the original Death Stranding alluring but uneven – an intriguing safe full of possibilities that I couldn't quite crack the code to. So with On the Beach, I couldn’t have been happier to find a sequel that triumphs in what it sets out to achieve, and a blockbuster fulfilment of what Death Stranding can (and should) be. It's more confident in both its storytelling and much-improved gameplay, removing a lot of the friction that previously existed in its systems. It also tells a more focused, affecting story that builds out the mythos of its post-apocalypse setting. If you weren't a fan of the first one, then I'm not sure it rewrites the book to an extent that would make you become one here (even though I’d urge you to give it a go). But if you found yourself, much like me, somewhat teetering on the fence, then you may well find yourself falling in love this time around.

死亡擱淺系列地玩家會對節奏倍感熟悉，瑞杜斯再度化身山姆·波特·布里吉斯，肩負橫跨險境運送貨物的使命，途中仍要面對人類與非人威脅，每次任務前需研究地圖周密準備：途遇深河？備好長梯架橋通行。BT出沒預警？多帶幾枚血手榴彈招呼。這種"籌備-克服地形/敵襲-抵達目標"的循環構成了《死亡擱淺2》約35小時主線流程的核心內容。

The rhythm will be familiar to those who played the original. Reedus is back as Sam Porter Bridges, once again on a mission to make deliveries across treacherous terrain, often facing human and otherworldly threats along the path. It requires you to be prepared for what faces you on each mission by studying your map and packing accordingly. See a river too deep to walk through in your way? Bring along a ladder or two to cross it with. Spot a warning that BTs (the ghostly threats that stalk certain rainy spots) lurk in the area? Pack a few blood grenades to lob at them. It's this loop of preparation, overcoming both geographical and human/former-human hurdles, and reaching your goal that makes up much of Death Stranding 2's roughly 35-hour runtime when mainlining its story missions.

在墨西哥完成簡短教學後，山姆的目標轉向將澳大利亞接入維繫後末日文明的開羅爾網絡，如同初代連接美國那般。動機爲何？受誰所託？答案需你親自探尋。這片新大陸地貌變化多端，挑戰隨環境輪轉：沙暴肆虐中維持平衡舉步維艱，能見度驟降，地震撕裂腳下土地，貨物滾落難追，暴雨滂沱時河流洶湧暴漲，未來科技對抗原始自然的矛盾感愈發凸顯——地球本身彷彿在抗拒日益數字化的宿命。

After a brief tutorial chapter in Mexico, Sam is given the goal of connecting Australia to the Chiral Network (the online system knitting civilization together after a near-world-ending event), much like he did with the USA in the original. Why is he doing that, and who is he doing it for? You'll have to find out yourself. This new continent offers a far greater variety of locations, as it shifts in its appearance and the challenge it presents with regularity. Sandstorms buffet Sam, making keeping balance all the more difficult while also decreasing visibility. Quakes can shift the floor beneath you and send cargo tumbling. And rivers can rise and grow in size if rain comes down with enough force. It further adds to the feeling of combating nature with this future tech, as the Earth itself seems to be fighting back against its increasingly digital future. Should we have connected? It's a resounding "no," it seems, from Mother Nature.

"我們真的該連接嗎？"大自然給出震耳欲聾的否定。

電影的烙印在這個世界同樣深刻，作爲"電影化遊戲"擁躉，我全程沉溺於遊戲的藝術畫面，即便偶有過度致敬之嫌，比如諾蘭《星際穿越》中直面自然浩劫的蒼涼景觀與孤勇前行、弗萊德金《巫師》裏張力滿載的押運場景和黑澤清《迴路》中未知數字幽靈蟄伏暗影的詭譎氣息，一幕幕光影在我的腦海中交織迴響。

這一切都與初代死亡擱淺一脈相承，但本作的鏡頭顯然更聚焦於動作場面，比如《瘋狂的麥克斯2》中那片險惡的荒漠無疑是其靈感源泉，而喬治·米勒導演本人的客串也絕非巧合，這些致敬不只停留在風格層面，更深度滲透進小島對玩法的構想中，最終淬鍊出了一套遠比前作更側重於動作的革新系統。

Should we have connected? It's a resounding "no," it seems, from Mother Nature.
There’s no doubting film’s influence on this world either, and as a fan of “cinematic games”, I frankly can’t get enough of the artistry on show throughout, even when it may veer into overly referential territory. And those references are keenly on display: The stark landscapes and pioneering strides against the turmoil of nature in Nolan’s Interstellar. The tension-laced delivery of Friedkin’s Sorcerer. The unnerving energy of not knowing what digital ghosts lurk in the dark frames of Kiyoshi Kurosawa's Pulse. Screen-projected flickers of all of these bounce around my brain.
None of this is too different from the apparent cinematic influences of the original, but this time, the lens shifts focus more to action. The dangerous desert expanses of The Road Warrior are no doubt an inspiration, and the guest appearance of Mad Max’s creator, George Miller, is more than a mere coincidence. These are not just cinematic influences for the sake of it, as they inform and instruct Kojima’s approach to gameplay, too, and are reflected in an altogether more action-heavy evolution of the original Death Stranding’s template.

起初，遊戲潛行玩法（蹲伏草叢+悄然制伏）看似比較基礎，但隨着武器庫的擴充，遊戲迅速展現出深度，例如那把足以顛覆戰局的麻醉狙擊槍，精準點射匪徒的快感令人上癮，本作或許沒能成爲《合金裝備V：幻痛》那樣天馬行空的潛行沙盒，卻時常能在電光石火間喚起相似的悸動，屢屢帶給我驚喜。《死亡擱淺2》相比前作賦予了玩家更高的自由度，戰鬥體驗也因此更具吸引力，你也必須學會靈活運用多種戰術，因爲這段旅程中形形色色的正面衝突在所難免。

我永遠玩不膩的一個操作，就是將我的“人偶”夥伴發射到空中，把它當作移動天眼來偵察敵方營地，標記並鎖定我的獵物。敵人從未察覺頭頂那個漂浮的小傢伙——這雖略顯失真，卻讓我體驗到一種逍遙法外的竊喜。隨着流程推進，敵人的類型也逐步升級：重甲單位、高機動性敵人、以及對特定彈藥有弱點的敵人，這些都讓遭遇戰的變數陡增，你無法再用一套固定的路數通關。話雖如此，若你槍法夠準，依然能在敵人近身前掃清大部分據點。關鍵在於，無論成敗，整個過程都酣暢淋漓！

What initially presents itself as a pretty rudimentary style of stealth gameplay, mainly consisting of crouching in tall grass and performing silent takedowns, rapidly reveals its layers as your arsenal grows. For example, there’s the introduction of a game-changing tranquiliser sniper rifle, which is something I found super satisfying to pick bandits off with. It may never truly become the stealth-action playground of creativity that Metal Gear Solid V: The Phantom Pain is. But it frequently evokes that same feeling in brief moments, delighting me each time it does. Death Stranding 2 offers a lot more flexibility in your approach compared to the original Death Stranding, making its combat much more engaging as a result. And you’ll need to become accustomed to a variety of approaches as well, because there’s no avoiding confrontation and the many forms it takes this time around.
I never tired of launching my little drone friend Dollman into the air and using him as a portable eye in the sky as I scoped out enemy outposts, marking and identifying my prey. They never notice the small puppet floating above them, which might be a little unbelievable, but also makes me feel like I’m getting away with murder. Enemies develop as you progress, and knowing which are armoured, which have higher mobility, and what ammo type they’re vulnerable to adds variables to encounters, meaning you can't always rely on the same rinse-and-repeat tactics. That being said, if you're a decent enough shot with a sniper rifle, you can clear out most bases before enemies have time to reach you. Crucially, it's just as fun when it goes wrong as when it goes right, though.

《死亡擱淺2》的戰鬥，洋溢着初代所缺失的一種戲謔感。

很多時候，我們按周密計劃，用麻醉狙擊槍逐個放倒守衛，這種打法固然爽快，但更刺激的是，如果一槍失手，我們會被迫在敵羣圍攻中手忙腳亂地切換武器，再比如追車場景，擊斃司機後奪車碾過他的同夥，也會給我們帶來無窮的樂趣，而駕駛着自己加裝機槍的越野車與敵人大戰，同樣非常帶感。總體而言，《死亡擱淺2》的戰鬥設計中透着一種初代簡陋系統所缺乏的戲謔感，它爲整個體驗注入了強大的力量幻想，大幅提升了遊玩樂趣。

敵人的AI算不上頂尖，但這恰好爲玩家提供了戲耍獵物般的快感。在普通難度下，遊戲幾乎沒有挑戰，直到終局階段壓力才略有增加。這份流暢感其實是刻意爲之，得益於豐富的武器系統（包括多種噪音等級的槍械和手雷），玩家得以順暢地推進劇情，畢竟山姆早已身經百戰，在這場橫跨大陸的跋涉中，《死亡擱淺2》讓你化身爲一個更強大的傳奇送貨員。這是一段旅程，而非一場因失誤而需要反覆重來、或是頻繁看到“任務失敗”的嚴苛試煉。甚至連Boss戰都可以全程跳過（但我絕不推薦這麼做——那些震撼的奇觀，如早期的機械觸手巨怪乃至後續更多不可名狀的怪物，實屬遊戲的精華）。

There's a playfulness in Death Stranding 2’s approach to combat that just wasn't present in the original.
There's a satisfaction in a perfectly planned attack going smoothly as you pick off each guard with a tranq dart, but a thrill when one shot goes awry and you're made to scramble, juggling your arsenal as enemies descend upon your position. Shooting the driver of an on-rushing vehicle before stealing it to run over his friend is always fun, as is dancing around them in a machine gun-turreted off-roader of your own design. Overall, there's a playfulness in Death Stranding 2’s approach to combat that just wasn't present in the original’s simpler, less imaginative system. It brings a dash of power fantasy to the mix, adding to the fun and making it a wholly more enjoyable game to play.
Enemy AI may still not be the sharpest, but it does enable some of that "playing with your food" energy that's always welcome. I played on the normal difficulty and never really found any fight a challenge until things cranked up a little towards the end. This lack of friction is deliberate, though, with the increased toolset, including many different gun and grenade types of varying loudness, allowing you to get through its story at a good pace. This isn't Sam's first rodeo, so when he’s setting out on a continent-spanning trek this time, Death Stranding 2 reflects that by making you feel like a more powerful Porter Bridges. This is a journey, not something that asks you to replay sections if you do something wrong or walk into “mission failed” screens unless you really, really mess up. In fact, even boss battles can be skipped entirely if that particular challenge isn't what you're here for. This isn’t something I'd recommend, though, as they offer some of the most striking spectacles Death Stranding 2 has to offer – a giant tentacle mech is an early favourite, but there are many more monstrosities following later that I'll keep hidden here.

與新角色尼爾（由意大利演員盧卡·馬裏內利以剋制而冷峻的風格演繹）的遭遇戰，更是將你的動作技巧推向極限。在華麗的建築羣中穿梭尋覓武器，於煙火映照的槍林彈雨間加入自己的閃光與轟鳴，堪稱血脈僨張，這些火焰與美感交織的戰場，甚至會讓你恍惚間以爲在玩另一款遊戲，但電影化風格不僅渲染着每一場戰鬥，更浸潤於承前啓後的海量過場動畫中。擊殺敵人後的子彈時間，既有實用性，又爲槍戰披上了炫目的外衣——《死亡擱淺2》的每個毛孔都滲透着大片的野心。

面對更兇悍的自然環境與敵人，山姆也獲得了新的能力來反擊。不同於初代簡陋的角色成長系統，如今的技能點可以解鎖新工具並強化屬性，本作雖非RPG，卻讓玩家能更自由地定製山姆——想成爲潛行大師？投資能抹除足跡的技能；偏愛槍火狂人？強化武器的殺傷力；想化身氣象專家？那就學會精準預判天氣以規避BT區域！儘管所有玩家的任務線都相同，但解決問題的方式卻千變萬化。

Your action chops are also firmly put to the test in the sections that have you face off against newcomer Neil, played with a subtle intensity by Italian actor Luca Marinelli. Scrambling around gorgeous architecture to find new weapons in a series of tense shootouts and adding your own flashes and bangs to the fireworks display backdropping these showdowns is a thrill. They're particularly stunning stages full of flame and beauty that made me feel I was briefly being taken away to a different game. But those lashings of cinematic style are painted across each encounter, and the many, many cutscenes that bookend them. Having time slow down after dispatching an enemy is not only very helpful when faced with multiple threats, but adds a slick layer of style to each gunfight. No aspect of Death Stranding 2 is left untouched by its blockbuster aspirations.
But as both elements and entities fight against you with more vigor this time around, you're in turn given new abilities to combat them with. Unlike the first game’s relatively barebones character progression, now skill points can be used to unlock fresh tools and boost your stats sheet. Death Stranding 2 is by no means an RPG, but it does offer greater and much-appreciated variety when it comes to building out how you want your Sam to play. Want to be a sneaky Sam? Invest in the ability to cover your tracks by scrubbing out your footprints. Want to be shooty Sam? Augment his arsenal so it packs a heavier punch. Or perhaps you fancy yourself a budding meteorologist and just want to accurately analyse the weather and know what BT-infested spots to steer clear of. You'll ultimately be treading the same set of missions as every other player, but the ways you can choose to approach each one are far more varied this time around.

從懸浮的棺材滑板到會發射追蹤導彈的機械犬，遊戲中的創意似乎永不枯竭。

本作的技能可以自由裝卸（類似《尼爾：機械紀元》的芯片系統），讓你能根據任務類型靈活調整配置，進一步釋放策略空間。升級路線會根據你的遊玩風格解鎖：偏重戰鬥的玩家可以獲得半自動瞄準能力；如果你經常爲他人的設施點贊（例如便捷的貨物彈射器），那麼聯網建築（如橋樑、發電機）在你個人世界中的出現頻率就會提升。這些細節讓《死亡擱淺2》更貼合玩家的習慣，也印證了它打磨前作粗糙邊緣的決心。

除了技能，山姆的新奇小工具與武器同樣令人目不暇接。通過完成支線、提升散佈在地圖各處的據點星級，你將以穩定的節奏解鎖新裝備，其中一部分則需要推進主線劇情來獲取。例如，對BT有特效的“迴旋血鏢”，威力顯著，但每次投擲都會消耗你的生命值。工具的設計愈發天馬行空，幾乎每項任務都能讓你獲得新的破壞性或潛行玩具。從懸浮的棺材滑板到會發射追蹤導彈的機械犬，遊戲中的創意似乎永不枯竭。

From coffin hoverboards to homing missile mechanical dogs, there really is no shortage of creativity on show.
These perks can also be freely plugged in and out (reminiscent of how Nier Automata's fantastic chip system functions) and offer great flexibility, further enhancing your freedom when preparing for specific types of missions. Upgrades get unlocked in accordance with how you’ve been playing; if you take a combat-heavy approach, you’ll be rewarded with new skills like a semi-automated lock-on ability for your guns. Find yourself dishing out likes to other players' items you see, such as a helpful cargo catapult? You’ll unlock a perk that increases the number of other people’s online constructions, like bridges and generators, that appear in your world. It’s a nice touch that further makes Death Stranding 2 feel like an experience that is in step with you, and another indication of its formerly rough edges being sanded down for a much more enjoyable time.
On top of perks, there is also no shortage of new gadgetry and weaponry available to Sam. Completing side missions and increasing your star ranking with each of the outposts dotted around the map unlocks these options at a consistently good rhythm, as well as some that open up when you complete certain story events. The blood boomerang is particularly effective against BTs, for example, but comes at the cost of draining your lifeforce with every hurl of it. And the tools get weirder and wilder from there, coming at such a regularity that you'll be moving on from one shiny toy of destruction or subterfuge to the next with each mission. From coffin hoverboards to homing missile mechanical dogs, there really is no shortage of creativity on show.

但這些裝備不僅用於戰鬥——無論《死亡擱淺2》如何強化動作元素，核心依舊是完成跨越澳大利亞的運貨目標。廣袤的地貌自然催生了新的運輸系統。沒錯，這世上再沒有比真正的六節單軌電車更絕妙的東西了。當你面對需要運送數百公斤化工品穿越崎嶇海岸的任務時，這套設施堪稱天降神兵，但這需要你與線上社區的其他玩家通力協作來建造。

即便如此，我仍奉行“儘量避免徒步”的原則。《死亡擱淺2》在這方面相當體貼，很早就爲玩家提供了載具（相比之下，初代需要數小時才能摸到方向盤），因此我經常駕駛着自己改裝的越野車長途跋涉，自動拾取貨物的功在流程中備受我珍愛，它幫了我大忙，讓我得以將大部分旅程視作一場慢節奏的後末日拉力賽。

But it isn’t just in combat that these accessories have their uses either, because no matter how much Death Stranding 2 has cranked up the action this time around, it is still fundamentally about porting cargo from one location to another across Australia. That vast expanse naturally leads to new delivery systems. Yes, turns out there really is nothing on Earth like a genuine, bona fide, electrified six-car monorail. This new structure is a godsend when it comes to a handful of missions that require shipping hundreds of kilos of chemical materials over a rocky coastline, but it does call on quite the combined construction job between you and the online community.
That being said, I did settle on travelling on foot as little as possible quite quickly. On the Beach is very kind in that it gives you a vehicle very early on this time around, especially when compared to the many hours it took to fire up an engine in the original. I therefore made many of my long-haul treks via a custom off-roader equipped with a handy auto-pick-up tool for loose cargo that I nursed for much of my playthrough. It served me incredibly well, and I had a fantastic time treating most of my playtime like a post-apocalyptic rally racer, albeit at slower speeds.

初代中部分令人感覺拖沓的環節確實被消除了，這是件好事。

正因爲能早早獲取實用設備，體驗流暢度顯著提升。但即便如此，我仍然覺得貨物管理有些繁瑣。雖然物品欄和菜單系統有所簡化，但操作起來依舊不夠便捷，在長達數十小時的流程中，我翻看菜單所花費的時間遠超預期。

所幸，任務本身充滿魔力，始終吸引着你點擊“再送一單”。強烈的好奇驅動力（謝天謝地，續作極少有強制回溯的設計）更是助長了這種感覺，無論是爲一位蘇格蘭流行歌手找回丟失的袋鼠，還是向一位VTuber派送披薩，你永遠無法預料下一步的際遇。多樣的任務條件也保持了新鮮感：限時送達、易碎品需輕拿輕放等要求，迫使你爲每次行程調整策略，無法機械地複用相同的裝備與戰術。

持續的目標感與逐步解鎖的新裝備，令整體體驗的回報感更強。戰役的結構遠勝前作：無論是對抗瞬移機甲時的火力傾瀉，還是駕着輕舟渡河的靜謐時刻，都巧妙地交織在一起，絕妙地服務於它想要講述的那個複雜的科幻故事。

It just feels like some of the original Death Stranding’s friction has been removed
Again, it just feels like some of the original Death Stranding’s friction has been removed, and for the better, with the decision to introduce this helpful equipment early as opposed to it being held hostage for many, many hours. I do still think that managing the cargo on these trips is a bit of a pain, though. Inventory systems and menus have been streamlined a bit but are still fiddly, and I spent a little more time than I'd have liked scrolling through them over my few dozen hours.
The missions themselves are incredibly moreish, though, with that “just one more job” itch that I always had to scratch. There’s a great sense of forward momentum which aids this sensation hugely, with backtracking, thankfully, a rarity in the sequel. Whether it's recovering a lost kangaroo for some Scottish popstars or delivering a pizza to a VTuber, you never quite know what’s around the corner. Varied mission conditions also keep things fresh; these range from having to complete orders within a set time limit or being extra careful with fragile cargo. Again, these parameters force you to adjust how you prepare for each mission and ensure that you can’t just use the same toolset and methods on every run.
It's this consistent drive alongside a drip-feed of new equipment that makes the whole experience more rewarding. The overall structure of Death Stranding 2’s campaign is leaps and bounds above what came before, and whether it's unleashing bullets into a teleporting mech or gently navigating a river, it all feels intertwined beautifully and serves the complex sci-fi story it aims to tell to fantastic effect.

生命如灘

《死亡擱淺2》的故事設定在初代事件的11個月後，曲折的情節始於山姆，他本想着和嬰兒Lou一起隱居避世，但不出所料這份寧靜的幻想很快便化爲泡影，對於後續的發展我不會劇透，但我可以保證，其中半數的劇情反轉都將超乎你的想象。

我能透露的是，粘稠感貫穿了整個故事：焦油、淤泥、原油、鮮血，而比這更濃郁的是懸疑氛圍——在一個接一個的創意風暴中，祕密接連揭曉，信息密度之高在遊戲界獨步天下，故事的主題包羅萬象，從個人的心路歷程到全球性的議題，深刻探討現代生活與無孔不入的技術，故事犀利地剖析了數字化的存在如何侵蝕人類的靈魂（在後YQ時代，現實互動顯得尤爲珍貴），字裏行間更透露出小島秀夫對於“藝術及個體表達永遠無法被AI取代”的信念。

Set 11 months after the events of the original, On the Beach’s twisting tale begins with Sam attempting to settle into a quiet life off the grid with baby Lou but, inevitably, that dream is swiftly ended. Where it goes from there, I won’t even dare to spoil, but I guarantee that you won’t see even half of its reveals coming.
I can say, though, that there’s an ongoing trend of viscosity throughout. Tar, sludge, oil, blood – you’ll wade through it all. But it's also thick with intrigue, as the secrets continue to be uncovered in a flurry of ideas so dense I’d struggle to point to its like elsewhere. The themes it tackles are multifold. Some focus on a more personal level, and others are global. The latter is a treatise on modern life and how technology infests every part of it. It’s a strong story of how increased existence in the digital world eats away at our souls as humans, as physical interactions – especially in a post-COVID environment – became all the more precious. I can’t help but feel that Kojima is bristling with thoughts about how art and individual expression can never be replaced by artificial intelligence, no matter how it's forced upon us.

這些縈繞小島秀夫數十年的主題，時至今日，其現實意義依然令人沮喪。

此外，還有對槍械文化及人類對武器升級癡迷的批判，當然小島自1998年的《合金裝備》起便在探討這些母題，但在當今的語境下，它們依舊犀利且值得被反覆提及，敘事的高明之處在於，所有理念都得到了清晰的傳達，並未被複雜科幻框架所拖累或掩蓋。

但《死亡擱淺2》不止於向外的批判，它對小島過往的作品同樣具有自省精神，《合金裝備》系列宏觀審視地緣ZZ與核危機，初代《死亡擱淺》則叩問數字時代人類的真實聯結（而且是新冠疫情爆發的數月前，這點顯得尤爲尖銳），本作直面初代埋下的問題，進行自我剖析最終奉獻出一個多層次的高超故事。

“聯結”這一主題巧妙地統合了所有分散的篇章：它不僅探索人與人之間的羈絆，更深入到與自我過往的和解——何物應被珍存，何物當被釋懷。新角色尼爾酷似索利德·斯內克絕非偶然，這位十年前隨小島離開科樂美后便被割捨的角色，在《死亡擱淺2》中的迴歸，宛如一場對那位頭戴紅頭巾的傳奇戰士的鄭重告別。

These are themes Kojima has been writing about for decades now, but still remain frustratingly topical.
And then there’s commentary on gun culture and our world's obsession with building bigger and better weapons. These are, of course, themes Kojima has been writing about for decades now – all the way back to the original Metal Gear Solid in 1998 – but still remain frustratingly topical and worthy of continued commentary on in a modern context. It's a credit to the storytelling that all of these concepts shine through, without getting too bogged down or obscured by the sci-fi trappings they could so easily sink into.
But Death Stranding 2 doesn’t only look outwards. It’s as introspective as any of Kojima's work to date. Metal Gear Solid always looked at geopolitical and nuclear issues on a wide scale, and the original Death Stranding challenged our ability to truly connect as humans in a digital age – a stark reality when faced with the pandemic it pre-empted by mere months. But On the Beach asks questions about the issues posed in that original text. It's self-analytical, but rarely gazes at its navel, delivering a knockout story that works on many levels.
The theme of connectivity, fittingly, weaves each disparate part together by exploring not only how we connect to each other, but with our own pasts as well. What we choose to hold onto, and what we choose to let go. I don't think it's any coincidence that Neil resembles Solid Snake, a character whom Kojima has had to make peace with cutting ties with ever since his departure from Konami a decade ago. Death Stranding 2 almost feels like a funeral for his beloved bandana operative.

儘管有些角色的命名太過於直白，但每個人物都在故事的關鍵節點展現出細膩的性格、細微的表情（聽聞真相時的面部抽動、滑落臉頰的淚滴），這些則通過面部建模技術得以呈現，動作捕捉的水準令人歎爲觀止，演員的每寸肌膚與情緒反應都得到了精準的復現。

諾曼·瑞杜斯延續了他對山姆·波特·布里吉斯的堅忍演繹，以沉穩的姿態錨定了整個故事，但山姆依舊像是一個帶有情感隔膜的角色——他更多是作爲故事的載體，而非情感的核心。雖然表演的幅度有所拓寬，但他那不溫不火的演繹再度讓配角們大放異彩：蕾雅·賽杜爲“芙拉吉爾”賦予了層次豐富的魅力，艾麗·範寧將神祕的“明日”（Tomorrow）演繹得淋漓盡致，而那位詭魅的紅色武士更是酷勁十足。這種犀利的風格，正是自1998年第一位忍者登場以來，藝術家新川洋司帶給我們的期待，作爲一位處於巔峯狀態的角色設計大師，《死亡擱淺2》爲他提供了反覆施展才華的華麗舞臺。

While the cast of characters may be as subtly named as referring to me as Simon Reviewman, they do all possess nuanced personalities that reveal themselves at frequent junctures in the story. Small idiosyncrasies, such as face twitches upon revelations being heard or the faintest of tear drops falling down a cheek, really bring a level of depth to these people that their stunningly realised faces deserve. The motion and performance-capture technology is simply astounding, allowing for every pore and reflex of the actors to make their way onto the screen.
Norman Reedus continues his stoic portrayal of Sam Porter Bridges and anchors the story with a calm, centered approach. I do still find Sam a fairly impenetrable character to connect with on an emotional level, though, as he again serves as a vehicle for the story rather than the personal heart of it. He's given more range to work in this time around, but his not-too-high, not-too-low performance again allows for the supporting cast to shine. Lea Seydoux beguiles as Fragile, a layered character that the French actress elevates even further. Elle Fanning is fantastic as the enigmatic Tomorrow, and the mysterious Red Samurai is dripping with cool. It’s the kind of sleek style we've come to expect from artist Yoji Shinkawa ever since Psyborg Ninja first dashed onto the screen in 1998. He’s a master character designer on top of his game, and Death Stranding 2 really gives him the opportunity to cook again and again.

特洛伊·貝克迴歸飾演的希格斯，幾乎搶走了所有的風頭！

我也很喜歡前文提及的“人偶”，它始終懸掛在我的工具帶上陪伴着我，稍稍緩解了旅途的孤寂。它的角色類似《戰神》中的密米爾，但它不講述神話傳說，而是提供高中課堂水平的《白鯨》主題解析，偶爾還會提醒你身上的體味不太好聞，但本作最亮眼的表演，當屬特洛伊·貝克所飾演的希格斯——他幾乎攫取了自己登場的每一場戲的全部光芒，這一次他獲准以歌劇般誇張的風格來詮釋角色，配上那駭人的面具和猩紅的電吉他——堪稱“範·海倫版的紅男爵”（譯者注：這裏是(R)Eddie Van Halen雙關文化梗）。

這是一場全方位、重量級的演出，與故事的宏大格局完美匹配。但公允地說，所有演員都沒有太多的缺點，幾乎每個角色都在動靜之間閃耀着光芒。縱然有海量的貨物需要流轉，但角色們所揹負的情感包袱纔是最沉重的。壓力層層累積，最終在震撼收場的數小時中徹底爆發——我可以斷言，我從未經歷過如此的場面！

Troy Baker returns as Higgs, who pretty much steals every scene he enters.
I also have a soft spot for the aforementioned Dollman, who makes the journey a little less lonely by accompanying you at all times on your utility belt. He’s effectively a version of God of War’s Mimir, but instead of funny retellings of myths and legend, we're treated to high school-level interpretations of the themes of Moby Dick and occasionally telling you that you stink. The standout performer this time around, though, has to be Troy Baker's return as Higgs, who pretty much steals every scene he enters. He’s been given license to bring an even more operatic edge to the character this time around, complete with a chilling mask and crimson electric guitar to match. A Reddie Van Halen, if you will.
It’s a big role in every way, and matches the grandeur of the story being told, but in truth, there’s not a single poor performance to be found within the cast, each being given moments to shine in both loud and quiet pockets. For as much cargo as there is being lugged around this world, it's the emotional baggage of the characters that weighs the heaviest, and that pressure builds and builds until its jaw-dropping final few hours, of which I can safely say I’ve never seen anything quite like before.

雖然我鍾愛這個結局，但仍然期望開篇能更緊湊一些：由於前期拋出的謎團過多，運送了好幾個小時的貨才揭曉主線的關鍵信息，過程略顯煎熬，關鍵角色可能會長時間缺席，母艦停航時需要完成特定配送，才能推進劇情，這種設定可能會成爲阻力，但好在從未讓流程徹底停滯。

不過這些瑕疵都如過眼雲煙，畢竟《死亡擱淺2》確實踏足了瘋狂的疆域，穿插着經典的小島式“打破第四面牆”的戲碼，而我對此欲罷不能，它敢於展示前所未見之物的勇氣，也彌足珍貴，當鉅額預算支撐下的創意重拳出擊時，最終遊戲給玩家的震撼也是無可比擬的。

需要提醒的是，本作是一部純粹的續作：雖然遊戲提供了簡短的前情提要，但新玩家最好還是先詳細瞭解初代的完整劇情。如果你感到困惑，《死亡擱淺2》引入的“知識聖殿”（Corpus）系統可以讓你隨時查閱術語和劇情背景——它實際上是一個體驗更佳的術語庫，類似於《最終幻想16》的“動態時間百科”，能幫你快速查詢“失孤母親”或“滅絕體”等晦澀名詞。

While I love how it ends, I do wish it started a little thicker and faster. It's so full of mystery that going a couple of hours of deliveries before finding out the next big nugget of the main plot can feel a little agonising. Multiple hours can go by without seeing key characters, and there are a handful of instances when your home base ship is grounded and you need to complete some deliveries before it can get on the move again. These do hinder momentum at times, but never bring things completely to a halt.
Those parts are quickly forgotten, though, because On the Beach does go to some legitimately batshit places, as well as some classic Kojima fourth-wall-breaking antics – and I frankly couldn’t get enough of that. Its willingness to show us things we simply haven't seen before is something I appreciate so much, because when big creative swings are taken with a budget of equal magnitude behind them, there's nothing else that hits quite the same when they land.
A word of warning that this very much is a sequel, though, and while On the Beach does provide a short story recap, I’d recommend hunting down a more fully fleshed out one if you’re in need of a catch-up or jumping in fresh here. And if it does all ever get a little too confusing, the introduction of Death Stranding 2’s Corpus acts as a handy tool to catch you up on terminology or the story so far. It's effectively a sexy-sounding glossary that works in a similar way to how Final Fantasy 16's Active Time Lore did, and a quick method of reminding yourself what a Stillmother or Extinction Event is when someone casually drops it into conversation like it isn’t from some alien language.

鮮有3A大作能夠容納如此這般的沉思時刻。

你甚至可能會誤以爲這片澳大利亞是外星疆土：無論是那輪幾乎要吞噬整個視野的荒誕巨月，還是那片喚起火星幻象的赤紅沙漠，整段旅程都充滿了超驗的意味。駕駛車輛沐浴在荒漠的朝陽之中，本身就是一場心靈的療愈。鮮有3A大作能夠容納如此這般的沉思時刻，而正是這些時刻，共同構築了一場值得細細品味的朝聖之旅。

支撐這場視覺盛宴的，是精心編排的配樂：Woodkid空靈的嗓音縈繞在孤峯之巔，Ludvig Forssell優美的《BB's Theme》總在最關鍵的時刻響起。故事尾聲處，伴隨着駛向宿命的漫長征途，Low Roar樂隊的歌聲再度響起，尤爲動人——這再次印證了《死亡擱淺2》是一部被精雕細琢的藝術構想。

當然，如此規模的作品絕非一人之功。小島工作室的全體成員都值得讚譽：無論是藝術指導、音效設計，還是大幅強化的戰鬥系統，都取得了斐然的成就。遊戲在PS5 Pro的性能模式下運行如絲般順滑，這同樣離不開Guerrilla的“Decima引擎”——正是強大的技術實力，才讓這份藝術構想得以璀璨綻放。

Few blockbuster-scale games allow for moments of reflection like this.
You could be mistaken for thinking that this version of Australia is another planet, though. Whether it be the ludicrously oversized moon seemingly about to engulf you or the red desert conjuring images of Mars, there’s something transcendental about the whole experience. It’s just fundamentally therapeutic driving across the outback as the sun comes up. Few blockbuster-scale games allow for moments of reflection like this, and they really do add up to a journey that begs to be savoured.
Those visual treats are supported by music that is once again arranged to sensational effect throughout – whether it be Woodkid’s haunting vocals hanging over a lonely mountain or Ludvig Forssell’s beautiful BBs Theme playing at precisely the moments it should. One slice of Low Roar particularly moved me near the story's conclusion as it accompanied a long drive towards fate, and is further proof that Death Stranding 2 feels like a delicately curated vision.
But of course, no game of anywhere near this scale is all one man's doing, and credit should go to all of the Kojima Productions team for pulling off such a feat, whether it be in art direction, sound design, or the vastly improved combat mechanics. It also ran flawlessly in performance mode on my PS5 Pro, and Guerrilla Games deserves praise for the Decima Engine that Death Stranding 2 runs on. It’s a technical feat that allows for the artistry to shine through as intended.

最終總結

初代《死亡擱淺》，是小島秀夫一份複雜晦澀卻不矯揉造作的承諾，一場穿越失落美國的沉思之旅，華麗地奠定了世界觀與規則，即便稍顯稚嫩。而在《死亡擱淺2：冥灘》中，澳大利亞承載了更爲宏大的視野，幾乎在所有層面上都達成了更成熟的感覺，本作消弭了前作的滯重感，用充滿懸念的詭譎敘事，和藏匿於絕美澳洲畫卷中的多變潛行戰場，來取悅玩家，是的它時而會毫無歉意地展現其怪誕的一面——但這絕非它的本質。這是一趟滿載着震撼與敬畏的創新之旅，是一部值得我們鼓勵的、充滿膽識的作品。不，它並不完美，但它極其激動人心且獨一無二，始終堅守在那條人跡罕至的道路上——正因如此，我才愈發深愛此作。

The original Death Stranding held promise: A complex, often confusing, but never contrived first draft. A reflective journey across a lost America, it established a world and its rules with a flourish, even if I found it stumbled along the path. But in Death Stranding 2: On the Beach, Australia plays host to an expanded vision and is a more accomplished achievement in nearly every facet. It removes almost all of the friction that weighed down its rookie effort, delighting with a truly unpredictable story full of intrigue and malleable stealth-action playgrounds hidden in its vast, hauntingly beautiful version of Australia. Yes, at times, it is unapologetically weird – but that isn't what defines it. It's an inventive journey packed full of both shock and awe, the sort of bold work that deserves to be encouraged. No, it isn't perfect, but it's incredibly exciting and original, never once straying from the path less trodden, and I love it all the more for it.