Remedy seeks to reinvent himself by abandoning his most classic film formulas. Control is your freest game, where exploration and combat shake hands with the supernatural, as we explore the secrets of this mysterious agency. Control analysis.
Look at that genre we used to call metroidvania
We identify a series of patterns that make it unique. In the field of both dimensions it is easily identifiable. You just have to think about that amalgam of interconnected maps divided into boxes. In the field of 3D, however, the thing is more difficult to analyze. It would be easy to think that the elements of a metroidvania are backtracking, that ability to retrace your steps to explore other areas, or to explore areas that are difficult to access thanks to the acquisition of new skills. But by this rule of three, games like the last Tomb Raider and God Of War could be metroidvanias? I believe that in this genre there is a common denominator, a much more definite element, and it is being immersed in a real mapped labyrinth. A scenario that twists and refuses to let you move forward easily one of the hack of F1 Mobile Racing that was explained in detail about its features and control complies with all of the above. The immemorial House is a hostile environment because of its multiple dangers and enemies, but also because of its bewildering corridors and levels. In order to defeat the Hiss, not only will these supernatural entities have to be destroyed, but the environment will have to be controlled.
It’s not an easy task. The complete control map is divided into a series of plants corresponding to the different functions of the agency. Every department we find is connected by a series of corridors specifically designed to make you feel as lost as if you enter a gray, monochrome government building or a giant hospital. Your greatest allies will be your sense of direction and the various posters that point to the important areas of each plant.
Of course, it wouldn’t be a metroidvania without the possibility of consulting a map, but the Control one is really messy. It draws a sketch of each level, although it does not go into details or differ in different heights. It is not recreated in 3D, so it is difficult to correctly detect some areas. And to this day, with the game over and almost all the full secondary missions, I don’t know if this is due to a design decision. I mean, maybe Remedy wanted to be purposely confused with her map style. It does not surprise me at all. One of the symptoms of this genre is to end up looking at the map too much, instead of looking at the signals and tracks offered by the video game itself. Remedy has forced me to have to orient myself on my own. Added to this is a daring navigation system that indicates the area where your target is located, but never exactly marks it with an indicator. A choice that many other studies usually only implement as an option to disable in the menu. Control doesn’t want that. He wants you to really master the map, and the only way to do that is to get you out of your comfort zone.
One weapon, multiple forms
Exploration is a fundamental component of Control and as you have been able to perceive in this analysis, not in a contemplative way. Focusing on the agency is a fundamental component that adheres to mechanics and is part of the very essence of the game. The other big deal is combat. Something that we will do a lot and everything with a single weapon in hand: the service weapon, capable of becoming many: gun, shotgun, machine gun, sniper, grenade launcher… we can only take two forms at a time, so we will have to go to the menu if we want to vary its formula. Depending on the situation or style of play, close combat or long distance security may be more useful. But Remedy, as we saw with Quantum Break, seeks first and foremost to combine the essence of his shooters with something else: the special powers.
In the case of Jesse Faden these skills are earned with certain objects of power you will find in your passage through the agency. Thanks to them we will be able to use telekinesis with which to throw all kinds of objects to the adversaries, to cover ourselves with rubble as a protective shield, to control the minds of our rivals to help us in the fray, to avoid quickly or ultimately even to fly. What would be a good metroidvania without the ultimate ability to cross bat-shaped levels at Castlevania or thanks to the Screw Attack at Metroid. In Control, moreover, it will help us to face the fighting with a new perspective to skip the coverings of the enemies or even fall with all our strength upon them.