Evaluating a game is not an exercise in style, you know? Speak about a virtual experience it is not necessarily unlike the tell about the most concrete daily reality. Making sense of experience through words means obtaining Control on what we have experienced. Control, but Control of whom, or over what? The key is in the questions and not in the answers, just as the lock is in perception and not in the tangible.
Control is a game of questions, of inscrutable questions that have little to do with everyday reality, but that pervade the dreaming mind of those who play. The unknown scares more than a jumpscare and Remedy Entertainment, with a Hitchcock style, jumps to the rhythm of the famous Funeral March for a Marionette.
The trend that bothers me most of large productions is the morbid pursuit of user approval. Control, on the other hand, is a little gem that smooths out the clear division between the freshness of the independent e the rigidity of the Triple A. One of those experiments that finds strength in its spasmodic experimentation, and not only in terms of the much appreciated environmental storytelling signed by Remedy, but much more in the gameplay that slips like butter through your fingers of the frenzied key presser of the pad.
Although it would be nice to be here talking about the abstract poetics of Control's brutalist architecture, let's try to define the marvel of shapes and lights. Sparaflashate monochromes on inverted pyramids, massive pillars and balconies, designer interiors taken from a catalog of a hypothetical Stalinist IKEA. Between minimalism and ostentation exists this imaginary palace, the Oldest House, as concrete-gray as it is vibrant and iridescent.
The choice to talk about the setting before characters and plot can easily make it clear how much in Control it is the real protagonist. A fragile protagonist, attacked from within by an ancestral threat, yet science fiction. L'Elevator in the building it is a plague that infests people's minds, bending them to his will. It's called Hiss (the hiss) because who is affecteddead or alive produces a little voice, a whispered thought made of incomprehensible words.
The mood is there, except that everything has a cost. Control suffers from frequent framerate drops, only partially fixed with a recent patch. The visual beauty of the environments loses part of its charm in these moments of technical uncertainty, too obvious to be acceptable on a PS4 Pro.
Did someone say Control? When I read a book or watch a film, all I expect is a character who says the title of the work. With Control, for the thirty-seventh time, I looked down on developers a bit. At thirty-eighth it was already better.
Perhaps there is no more appropriate medium than the video game to address the theme of the same name in the title of this game. In general, Control is nothing more than a player's limit to identify with emotions that are not his own. Not that there is anything wrong, but if we just empathize in a game, without living, are we sure that it is not the game that controls us? In a more or less conscious way, Control tackles this issue with an almost metaludic approach. A protagonist, Jesse, almost subject to a fate as random as hoped (for me it makes no sense even as I write it, let alone for the reader ... And yet it is). This lack of Control reflects the aforementioned lack of control of the player, yet the goal of the game remains as clear as it is immaterial: gain control.
Continuing on this line, halfway between the pun and the words of the game, let's move on to the controls. Control has a refined, choreographed and choreographable combat system. A single gun, but with five different firing methods, combined with various paranormal powers that Jesse will learn in the course of the adventure. The obvious Jedi mold of the protagonist's powers shouldn't fool you though. Although their functionality may be almost trivial, the quality of the combat system is undeniable. Fast, quick and brutal for the too bold. A flagship of the production, which gives the player great freedom to experiment with approaches.
A note should be made atas arbitrary as it is insane power upgrade management. Empower only the launch from the beginning of the game it will make you practically invincible for half the adventure. Unforgivable, but above all sad, given the truly meticulous care in the enemy spawn algorithm. In short, various and fun clashes, but an enhancement system that, if in the hands of a prudent player, it can almost break the gaming experience.
A recommended purchase
On amazon: 35,98 € buy I spent about twenty hours exploring the world of Control. A game full of secrets, texts, movies, audio files and meditations narrated by Hideo Kojima (already). The setting of great impact does not make you miss the opportunity to explore every nook and cranny the high destructibility of the environment it adds that note of fooling around that every player needs (as well as being extremely neat and spectacular). It must be said that the minimap is hell to consult, but the side effect is that getting lost isn't too bad.
Control stands out as an eccentric product full of personality. Definitely, a recommended purchase for the player tired of the usual soup. Trying something new has never hurt anyone, but you have to know how to compromise with limits that are not exactly negative, but which are often far from the average of current games.
In short, seeing is believing, it made me crazy. Literally.
Verdict 9/10 I would not have liked to figure it out Comment If Control were definable, it probably wouldn't be as interesting to play. Its greatest strength is the Remedy team's desire to experiment from a technical and stylistic point of view, refining what started with Quantum Break in terms of combat. Pros and cons
✓ Living setting
✓ Fluid gameplay
✓ Sense of perennial mystery x Lack of optimization
x Swinging storytelling
x Rough upgrade system