Cinema and television were paramount and the most influential media of the last century. Currently, video games have become one of the primary sources of entertainment surrounded by a continuously increasing consolidating culture, marking the beginning of the post-cinematic era. The gaming industry overpowers both the music and cinema industries and is considered one of the fastest-growing economic sectors globally – video games are becoming a predominant human activity (Muriel & Crawford, 2018). Nonetheless, in contemporary cultural discourse, different media types are viewed as intertwined at a profound level. In cinema and game studies, a conclusion apropos of strong interconnection between these two media has been reached (Muriel & Crawford, 2018). More precisely, cinema undergoes gamification while games are being cinematized: the two media appropriate each other’s elements and technologies, expanding the possibilities they offer separately. Although the place that films occupy in people’s daily lives is more and more reduced, the aesthetics, narrative modes, and technologies employed in them continue to transform gaming. Scholars in game studies indicate that it became more film-like over the last decade: modern games increasingly implement cinematic techniques in storytelling and style (Muriel & Crawford, 2018). The alteration can be attributed to the growing accessibility of digital technologies used in movie production. Since the time gaming consoles were invented, the gameplay underwent significant alterations, a considerable part of which was due to mimicking cinema. These changes are reflected in the incorporation of voice-acting, motion capture, and camerawork, which allowed games to be more engaging and immersive. Furthermore, to make them more cinematographic, the film footage become transformed into rendered graphics. The way in-game cameras are programmed presently incorporates techniques and moves used in standard camera work, among them: zooming in and out, trucking, point-of-view shots, tilting, panning, pedestal shots, down shots, and close-ups (Muriel & Crawford, 2018). Game developers made extreme efforts to include film aesthetics into video games to create a new enhanced reality for gamers. Unlike painters, musicians, writers, or directors, video game creators tend to remain estranged from mainstream media and go unnoticed by the general public. This generalization has a noticeable exception – Hideo Kojima, creator of atmospheric and fascinating Death Stranding. What is remarkable about this video game designer is his attitude to cinema and borrowing of its aesthetics. Kojima has been proclaimed a Quentin Tarantino of the gaming industry, as the two apply postmodern techniques with abundance, yet in different media (Chen, 2020). Kojima’s works are particularly cinematized and appear to be video novels or adaptations of actions and dystopian movies. Even though the web designer is not an innovator in this aspect – cinema aesthetics and storytelling have been tested in games before – what is exceptional is how Kojima manages to implement these elements without sabotaging gamers’ interactive experience (Chen, 2020). His works contain regular alterations between player engagement and straightforward linear storytelling that dull the playing experience in many other video games. The main difference that allows Kojima’s creations