The Finnish studio for developers Remedy appears to have set out on a mission similar to Stanley Kubrick, to master the new genre with each release or, at the very least, to meet previously-open paths that have led to novel elements from the genre. Neo-noir’s third-person shooter Max Payne (2001) was followed in the years 2010 and 2016 with Alan Wake and Quantum Break, two mostly simple action games with a greater emphasis on shooting in third person for Quantum Break. In Control, the creators at Remedy keep their eye on the third-person shooter genre; however, by introducing the Oldest House, which is the central area of the action within Control, the developers attempt to create a brand new genre called Metroidvania game; a challenging experience for any level creator, but as well as the narrative.
Since 1996, Remedy has been on the board and then specifically hired to write the tale of the top-down racing game Death Rally (1996), The first significant game by Remedy game. Sam Lake, Remedy’s gifted storyteller and the original skin-edited version of Max Payne, distorted beyond recognition and deemed to be on the brink of constipation. Controls’ tale Controls contains it due to the narrative abilities of the lead writer Lake who, once more, is a masterpiece and takes you on an intense, twisted adventure of discovery, where not just time and space are constantly jumbled.
The Federal Bureau of Control at the Oldest House
Jesse Faden accompanies us as an actor who is the very first person to be a protagonist in an adventure set up by Remedy. We are thrown into the same situation abruptly and with little explanation of the setting and the story that is taking place within it. Jesse arrives at the Oldest House, the home of the mysterious Federal Bureau of Control of the United States of America that she’s searched for years in her own words through one of her many internal monologues. She believes that on the FBC, in the case of missing her son Dylan. In contrast to its Kafkaesque style of bureaucratic administration and not just because of its name but because of its massive but sterile and sterile interior, The entrance hall of The Oldest House is deserted. Nobody can stop us from walking through the metal detector, which bleeps at a high rate but fails. As we walk up the stairs on the left through three paintings and down an unlit corridor that houses offices, the first impression is that something very odd is taking place in this place. The building appears empty, and not a soul is visible, and, well, it’s almost. A couple of turns later, we encounter the janitor, dressed in blue, swaying at a low, threatening pitch and with an untypical Finnish accent as he sweeps the floor with a broom and seemingly acting as the quest’s first player; Ahti mistakenly believes that we are the latest candidate for the job of assistant to the janitor, and he refers our names to the bosses. After scurrying past him, with a bit more safety distance than might be needed, we find ourselves behind the paintings we had gone through at the start of the game to access the dark corridor that houses offices. In this case, the only change is that one of them has vanished to reveal an elevator. A 180-degree turn proves the impossible: beneath us lies the deserted entry hall, covered with reflective and cold marble. We see for the first time an important feature that is the hallmark of Oldest House. The same tends to alter its architecture by unspecified guidelines.
Control following the footsteps of the Metroidvania
One of the many memos distributed throughout the game that this may result – much to the dismay of some employees from the Federal Control Bureau – in the demise of departments’ toilet facilities, or even complete offices, making everyday work a lot more challenging. Control utilizes this unique feature of the massive office structure to help us navigate the game’s story and history. We keep coming through doors that appear to be enclosed by concrete blocks. Sometimes, we must cross obstructions like an impossible passageway at the high point of a wall that we can’t get to despite our best efforts and climbing. In other areas, our path gets blocked with red falling blocks that can cause injury when we are close enough to them. We are constantly confronted with locked doors that we can open only after having the proper accessibility card and security levels. This way, the game establishes limits to direct us in different directions and returns us to familiar locations – sometimes not until we have the key card that corresponds to it or acquired the knowledge required to break through a specific obstruction. This mechanic of worldbuilding is the foundational element that makes up this genre. Metroidvania genre, a game combination from Nintendo’s Metroid series as well as Konami’s Castlevania: Symphony of the Night released in 1997. Like Metroidvania, it is also linked to the backtrack of a significant portion. We must revisit places we’ve been to before by using the somewhat confusing map of Oldest House – because of the numerous overlays of various levels and floors – to discover new routes available to us. This is generally quite quick, thanks to the quick and efficient travel system between checkpoints, but it can also turn into a tense search, particularly if the mission description is basic.
Sometimes, however, the vibrant architectural design of the home- in the area where level planners show their creative flair – is only a tiny part of an area of the floor. For instance, underground quarrying with black rocks with an open-air ceiling that offers an expansive view of a firmament decorated with stars is stunning. It’s also fascinating when the corridors close in front of a player’s eyes in an area due to walls appearing out of thin air and the other walls disintegrating into thin air and revealing new corridors. It creates a maze of Russian proportions; even an Ariadne thread might fail at that point. This is always great for delivering successful, unexpected events and offers a refreshing break from the monotonous office routine.
The last section, seen less often in the story than the beginning of the series would suggest, is the elevator, which is suddenly visible in the form of a painting. It takes us to the offices of the director of the Federal Bureau of Control, Zacharia Trench. The adventure begins, and Jesse gets promoted quickly from the FBC’s rival to its new director, taking the Service Weapon, a strange gun whose barrel is constructed of tiny cubes that allow it to change forms. Utilizing it as a weapon, we go from one job in the same direction, revealing bits and pieces of why Jesse believes it is her Federal Control Office for her brother’s disappearance. She frequently engages in a series of monologues in her mind, uncovering through passing conversations or in giving the mysteries about The Oldest House and the Federal Control Office that is housed within the Oldest House.
One of the most intriguing puzzles is why the place initially appears empty. Now and then, we find rooms hanging suspended on the ceiling, like the balloon filled with helium that is inflated after a visit to Kirtag or the Prater or Kirtag has lost its initial appeal, and the childlike fascination that it once had gradually been brought back to level due to the gravity force The employees in the office are hovering, broadcasting messages with a monotonous sound. The unsettling soundscape is heard throughout the game , often accompanied by flashes of red lighting, signals violent confrontations with the armed personnel of the building who do not realize that they’re supposed to be working for and not against the FBC.
Action adventure with elements of role-playing or a third-person shooter or Metroidvania in the end?
They are the principal opponents of the game named after Jesse Hiss, who seek to slash the leather of our jackets using a range of forms – using weapons, missiles, or even throwing furniture into us as well as flying around. The Hiss is ex-staff members at the national control office that were infected with an auditory virus, and they are now hunting for the portion of the workforce that hasn’t mutated into Hiss. The primary part of the battle is fighting off streams of Hiss that come at us and appear out of thin air, using the force of arms and other tools available to us to free the control areas scattered across The Oldest House of the Hiss virus. They serve us for the foreseeable future Darksouls offers its hugs as travel destinations as well as tiny places where we can improve our arsenals or create new ones, and also accept the side missions.
To get rid of these checkpoints, the weapon we choose to use is the previously mentioned Service Weapon, also known as an object of Power. When the gameplay progresses, it is possible to convert this pistol, which is the only firearm we can use during the game, into the form of a shotgun or even a machine gun, but we cannot change between two modes of weapon when pressing a button the game is running. It is a Service Weapon that has an infinite quantity of ammunition in all forms but is limited in its magazine capacity, which is quickly empty and recharges only in a sequence. The loading process can take some time initially. Particularly at the beginning, it makes fighting difficult. We are constantly forced to hide or avoid the enemy fire to delay the moment the magazine is loaded , and we’re ready to take on the fire and fury. This is made more challenging by the fact that no cover system is effective and no auto-healing that is currently a standard feature in shooters. On the other hand, the enemies who have been killed release blue crystals that can be used to replenish Jesse’s bar of life after taking the damage. To refill this bar, however, we must step outside of the cover and then run over the crystals. The game here Control appears to be a classic shooter from the 1990s and the early 2000s. When the game gets more advanced, we can unlock modifications to weapons that accelerate the loading process, increase the damage dealt by weapons, or create improvements that help us fight more effectively. Alongside the weapon modifications, personal adjustments let us improve Jesse’s life force, boost the amount of life energy that is recovered via crystals or alter his supernatural powers. Character.
Psi phenomenon and the astral plane
In addition to the Service Weapon that we have, we can fight against the Hiss principally through Jesse’s various capabilities throughout her adventures inside the Oldest House by using the objects of Power. One of the primary responsibilities that the Federal Bureau of Control is to search for those Objects of Power – which include a jukebox as well as a disc with a floppy drive and the Director’s Service Weapon and to take them off the streets to prevent them from harming the general population as well as investigate these odd objects thoroughly. The game repeatedly makes this clear in various live-action videos featuring real actors, which blend seamlessly into the game and add a lot of value.
When we put an object that is powered and receive brand new psi energy through it, you can test it within a few minutes following the pattern of an old-fashioned tutorial in the astral plane where we can see the Objects of Power teleport us upon first contact. At first, when we pick the Service Weapon at the beginning of the gameplay, we get a melee attack with the help of powerful energy blasts, which knock enemies to the ground and inflict damage simultaneously. In the future, Jesse also acquires different abilities, like the ability to telekinesis. This allows us to throw pieces or fragments ripped from floors and walls at enemies, or when experience points enhance the power, it can accelerate the Hiss itself into the air and make it impervious to attack. If required, pieces of debris ripped from floors and walls can be used as a shield to avoid a particularly intense blast of bullets when searching for the most effective cover. The game also allows us to fly in the future.
However, specific skills can prove to be more effective and overpowered by other skills. Telekinesis is the first option to choose in the event of the power of Hiss. By increasing the psi power by gaining exp points, in the later phases of the game, even an telekinetic object transformed into a projectile will be sufficient to stop the enemy, Hiss. In addition, Controls fights, as opposed with those of Max Payne’s gunfights for instance they are not able to make tactical sense. The first shooter for third-person Remedy, launched in 2001, impressed not just due to its tactical finesse, which required players to remember the position of enemies to effectively and precisely take as many enemies out of the way as they could in a slow-motion jump. Combats with Control On the contrary can be extremely hectic for the majority portion since there isn’t much chance to slow down the game even without an effective cover system. This reduces the strategic nature of the scenario and is based on the quick reaction and swift action. If we fail in the game, it returns us to the last checkpoint, and we must start the battle in a new way. At least a couple of puzzles offer some variety, mostly puzzles that switch and symbols. Sometimes we need to employ the power of telekinesis to place energy cubes into the sockets on the wall or engage terminals in the proper sequence and reproduce the appearance of a symbol onto the terminal. These interludes of puzzles aren’t necessarily difficult to master at any time; however, they lighten the excitement-filled events pleasingly.
Director lost in the shuffle
In addition to the main path, Control keeps us busy with various optional side quests. The majority of these require the elimination of certain numbers of Hiss within an area in the Oldest House or using a particular method (using an exact weapon or ability) or with specific conditions (such as not sustaining any damage). Three of these side quests may be completed simultaneously when checkpoints are cleared. Additionally, after successful completion, they are exchangeable for predetermined modifications to weapons and personal adjustments or construction materials to make new weapons or upgrade already made ones. But, this particular type of side quests is incredibly inappropriate since they’re not tied with the universe of Control.They could easily be legitimately categorized as research and could have been incorporated into the main plot. But this isn’t the case, so an important portion of the story’s atmosphere is sacrificed in the boring handling of the problems. Sometimes, side missions appear in the menu of missions themselves and can be started anytime but will only run for a specific period. In this instance, it is necessary to travel to a specific area where mighty enemies await our arrival and leave more high-end modifications when they lose.
Beams with trackers
One of the technical features of Control is that it can be played with graphic cards rendered using the method of process of ray tracing. Ray tracing isn’t new in technology. Cineastes will discover this technique of rendering realistic pixels to color very familiar. Within the field of the film, the method of ray tracing has been used for a long time, and it is utilized to describe it simply – to make beams of light that are converted into pixels to hit virtual objects in a highly realistic manner, creating a photorealistic appearance on pre-rendered (moving) photographs. In the computer and video games field, on the contrary, this rendering technology hasn’t gained a basis since images must be calculated in real-time, as it is the control of the game player himself, and the screen cannot be pre-calculated to be displayed. However, the computing power required to run ray tracing in real-time could not be attainable with the current PC hardware. Nvidia has made ray tracing one of its primary tasks over the past few years and has released a range of graphics cards capable of handling this rendering task – however, the issue isn’t without a hit to the performance. If you’ve got the graphics card and the necessary hardware, you’ll be treated to stunning reflections and lighting effects and reflections that are unbeatable when ray tracing is enabled. Even without the option of ray tracing, Control has been transformed into a visually more than just a good game.
Technology’s shadow side
A very annoying bug that kept me awake often, especially during the latter stages of my game. It consisted of textures that weren’t updated or were very low-resolution. The bug creates challenging puzzles to solve. To solve these puzzles, there is a need for graphics that are distributed across the entire level. For instance, we must turn on a machine at a particular game point. To do this, the terminals need to be activated according to a specific sequence. The sequence of activation is derived from a distinct pattern of symbol, the exact arrangement of which we get from three whiteboards set up in two different rooms. If the appropriate graphic isn’t being loaded or the resolution isn’t high enough, restarting can help end the coarse pixel hustle (including the repeated routes taken before this point and the removal of the enemies). But, often, it’s enough to set the resolution to a lower one in the graphics menu and change to the solution that is higher. However: Annoying!
Despite the uniqueness of the story, setting, or characters Control remains primarily traditional, but an enjoyable and solid third-person shooter is also influenced by the character’s supernatural powers and a world of games interwoven with the characters. But, it’s not a secret from us. It is it’s the Ubisoft formula that has also been incorporated into Control. In essence, in the game, you are primarily focused on the capture of various control points within The Oldest House in order to bring order back to the area in question and gain access to additional sites, which include boss battles. It is usually about shooting or throwing through the air all the items in an area with checkpoints that haven’t been removed by three until the rumbling battle music ceases so that no more enemies will appear. After that, the checkpoint needs to be activated with the press of the key. It’s not just a resemblance to Ubisoft. However, it doesn’t substantially differ from, say, the liberation of a camp in Far Cry and consequently wears out as a gameplay mechanic, not least because, aside from direct confrontation, the game doesn’t have any other solutions to remove the Hiss from checkpoints. Also, the fights aren’t as tactically sophisticated as those that distinguish those in Max Payne’s gunfights. This is why the incredibly intriguing setting of The game’s environment – that of the vibrant Oldest House and the mystical objects of Power that house it is rarely explored in the full range of possibilities. To help you get there here, I offer a brief literary recommendation to those who have a passion for the horror that is cultivated in the world of postmodern literature Mark Z. Danielewski House of Leaves (2000).
But, Control is an impressive third-person shooter with the ability to play role-playing and adventure as well as Metroidvania influences. As such, I had a lot of time playing the game! After a brief familiarization phase, the battle system permits fast-paced battles choreographed with stunning effects and a pulsating mood. Overall, Control has become a highly graphically appealing and beautiful title, even without Ray Tracing. In particular, the Oldest House, as well as its design, are, despite the unused potential, absolutely stunning in some places. The true attraction, however, is Lake’s tale and the way it is told through a variety of entertaining documents, radio and television broadcasts, and live-action videos in full motion that not only attest to the amazing acting abilities of the characters (a particular highlight is a video from the character Dr. Caspar Darling, who is voiced in the voice of Alan Wake voice actor Matthew Porretta) However, they the same time, fit perfectly in the world of Control.Still, The characters in Control aren’t as real and relatable as those from Alan Wake. For this reason, I’d also wish to share the following wish I’ve always cherished that is: Let Sam Lake finally design an adventure game that focuses on the narrative aspect!
What is Control? A third person shooter with role-playing, adventure but especially Metroidvania elements.Link:Official website