Control presents an intriguing case study. It exemplifies the potential for games to achieve a cinematic quality, while simultaneously underscoring the fundamental distinction between games and film as entertainment mediums. Games are active, primary mediums that demand constant user engagement and skill. Film, while also a primary medium, offers a passive, relaxed experience, allowing for intermittent disengagement.
Remedy previously reached for ambitious heights with Quantum Break, fully embracing Hollywood conventions through the inclusion of recognizable actors and a supplementary TV series. These TV elements, intended as cinematic framing, required passive viewing for 15-20 minutes. Despite Quantum Break’s moderate commercial success and mixed critical reception, Remedy appears to be continuing down this path with Control. Released three years later, Control exhibits similar ambitions, strengths, and weaknesses, although with less reliance on celebrity casting and a more constrained budget from 505 Games compared to the support Microsoft provided.
Players assume the role of Jesse Faden, a woman seeking resolution for a childhood trauma and the disappearance of her brother. Burdened by a troubled mind and internal voices reminiscent of Hellblade: Senua’s Sacrifice, she enters the eerily deserted “Bureau of Control,” a clandestine organization dealing with supernatural phenomena. Jesse is unexpectedly designated as “The Director,” setting the stage for a complex sci-fi-thriller-horror narrative involving supernatural powers, extraterrestrial adversaries known as the Hiss, intricate conspiracies, fragmented memories, and extensive combat and traversal.
Technically, Control meets Remedy’s established standards. The character models are impressively detailed (the Finnish janitor Ahti is a particular highlight in terms of both visual design and personality), and the animations and particle effects are well-executed. However, the game exhibits a somewhat low-resolution aesthetic, presumably to maintain a consistent frame rate. The lack of higher resolution options and finer details on Xbox One X, the platform used for this review, is somewhat disappointing.
The sound design is primarily focused on the front channels, utilizing an Atmos mix layered on a PCM soundtrack. Surround sound implementation enhances the experience when utilized, but its infrequent application means the game can be enjoyed equally well with a quality pair of headphones, with appropriate mix adjustments.
Remedy’s development team includes individuals with roots in the Amiga demo scene (similar to DICE), so the technical proficiency on display is not entirely unexpected. However, the studio appears to be shifting away from the game genres that initially garnered acclaim (Max Payne), increasingly focusing on “interactive film,” a historically challenging genre with inherent pitfalls.
Control is essentially a linear action game interwoven with a complex, dreamlike narrative influenced by David Lynch and Twin Peaks. The ambition to challenge the player’s intellect is commendable, and the core run-and-shoot mechanics function adequately, even if lacking significant depth or polish (although more engaging abilities are unlocked later). However, the game feels somewhat confined despite its cosmic themes. Much of the gameplay involves completing fetch quests, and the intellectually demanding, esoteric narrative and environment, while admirable, can become so convoluted and intangible that it is difficult to become invested in the characters or the plot’s progression. This, in turn, diminishes the impact of the combat. While simpler game mechanics can be forgiven when paired with a captivating story (e.g., The Wolf Among Us), or vice versa (e.g., Diablo III, or even Remedy’s own Max Payne, which featured compelling action inspired by The Matrix), Control occupies an ambiguous middle ground. It is competent but not exceptional in either aspect; it neither compels players to repeatedly engage with its gameplay nor captivates as a cinematic narrative that demands resolution.
It is noteworthy that the most prevalent news surrounding Remedy involves the potential for Alan Wake to transition from an Xbox-exclusive title to other platforms. Control has generated relatively limited pre-release excitement. Simultaneously, Max Payne continues to see sales success (20 years after its initial release) on Playstation 4. Remedy possesses the talent, expertise, and ambition required for success. However, the studio’s current trajectory appears misdirected. Film and games are distinct mediums. Remedy should re-examine its previous successes, recognizing that its most beloved games are celebrated for their engaging gameplay, straightforward mechanics, and effective execution, rather than their cinematic cutscenes or complex narratives, which can be perceived as superfluous and potentially detract from resource allocation for other development areas.
Control remains a worthwhile experience, particularly for those who appreciated Quantum Break. However, those who found fault with the latter are likely to encounter similar issues in Control. Fans of Max Payne and Alan Wake will need to remain patient for a similar experience (if one ever materializes). Remedy must determine whether it aims to create film/TV content or games, and, if the latter, should return to its core strengths. The answers to the fundamental question of what constitutes a truly excellent and successful game lie within its past achievements.
