Control (video game)

Control is an action-adventure video game developed by Remedy Entertainment

Control
and published by 505 Games. The game revolves around the Federal Bureau of
Control (FBC), a secret U.S. government agency tasked with containing and
studying phenomena which violate the laws of reality. As Jesse Faden, the
Bureau's new Director, players explore the Oldest House – the FBC's paranormal
New York headquarters – and utilize powerful abilities in order to defeat a
deadly enemy known only as the Hiss, which has invaded and corrupted reality.
Control was released on 27 August 2019 for Microsoft Windows, PlayStation 4,
and Xbox One.[1]

Contents
Gameplay
Developer(s) Remedy
Synopsis
Entertainment
Setting
Plot Publisher(s) 505 Games

Development Director(s) Mikael Kasurinen

Cast Producer(s) Juha Vainio
Marketing and release
Designer(s) Paul Ehreth
Post-release
Reception Programmer(s) Sean Donnelly

References Artist(s) Janne Pulkkinen

External links Writer(s) Sam Lake
Anna Megill
Josh Stubbs
Gameplay Composer(s) Petri Alanko
Like Remedy's previous projects, Control is played from a third-person Martin Stig
perspective, and is built using Remedy's proprietary Northlight Engine, which Andersen
was first used on the company's previous title Quantum Break. As Jesse Faden, Engine Northlight
players wield the Service Weapon, a supernatural firearm that can be adapted
Platform(s) Microsoft
into a variety of different forms with different combat applications.[2] In addition Windows
to the Service Weapon, Jesse also possesses a variety of supernatural abilities, PlayStation 4
including telekinesis, levitation, and the ability to control certain enemies. The
Xbox One
Service Weapon and Jesse's abilities both expend Jesse's energy, necessitating a
Release 27 August 2019
balance in their usage. The Service Weapon can be upgraded throughout the
game via a skill tree; in order to gain new powers, players must locate various Genre(s) Third-person
shooter, action-
Objects of Power - ordinary items acted upon by supernatural forces - hidden
adventure
throughout the Oldest House. Due to the versatility of the game's loadouts,
Mode(s) Single-player
Control's combat system can be customized and balanced to each player's
personal preferences.[3] Health in Control does not recharge automatically, and
must be picked up from fallen enemies.[4]
Control is set within the Oldest House, a featureless Brutalist skyscraper in New York City, which is referred to in-game as a
"Place of Power." The Oldest House's interior is far larger than its exterior, an enormous, constantly shifting supernatural realm
that defies the laws of spacetime.[5] Control is built in the Metroidvania format, with a large world map that can be explored at a
nonlinear pace, unlike Remedy's previous titles, which were primarily linear. As the player unlocks new abilities and clearance
throughout the game, new areas of the Oldest House can be explored, opening various side-quests. Certain areas known as
Control Points can be used to fast travel throughout the building after they have been cleared of enemies. A new A.I. system
known as the Encounter Director controls interactions with enemies based on the player's level and location in the Oldest
House.[6] Enemies in Control are predominantly human agents of the FBC possessed by the Hiss, an otherworldly force. They
range from standard humans carrying firearms to heavily mutated variations which possess a variety of superpowers. Some of
Jesse's abilities allow her to seize control of enemies' minds temporarily, turning them into her allies, and allowing their abilities
to be used for the player's benefit.[7]

Synopsis

Setting
Control revolves around a clandestine American agency known as the Federal Bureau of Control (FBC), which is responsible for
the investigation of "paranatural" phenomena which defy ordinary reality, usually manifesting in the form of Altered World
Events (AWEs), intrusions upon perceived reality shaped by the human collective unconscious. These AWEs affect archetypal
objects and give them unique properties; referred to as Altered Items by the Bureau, they are contained within their headquarters
at the Oldest House, an enormous Brutalist skyscraper in New York City. AWEs also produce Objects of Power, which are unique
in that they grant certain individuals (referred to as "parautilitarians") paranatural abilities. Objects of Power are connected to the
Astral Plane, an alternate dimension housing the Board, an extradimensional entity which communicates through a massive,
inverted black pyramid. The Board ordains the Bureau's leadership through a ritual connected to the Service Weapon, an Object
of Power; whoever the Board chooses to wield the Service Weapon is considered by default to be the Director of the FBC.[8] The
Oldest House itself is referred to as a Place of Power by the FBC; on the interior, it is an infinite, constantly shifting space
connected to various alternate dimensions through rooms known as Thresholds.

The protagonist of Control is Jesse Faden, who arrives at the Oldest House seeking the whereabouts of her younger brother,
Dylan. Seventeen years prior to the game's events, Jesse and Dylan were involved in an AWE in their hometown of Ordinary,
Wisconsin involving a slide projector Object of Power capable of opening portals to other dimensions. After the slide projector's
paranatural properties resulted in the disappearance of Ordinary's adult population, the FBC apprehended Dylan and the slide
projector while Jesse fled, burning all but one of the slides. Jesse arrives at the Oldest House through the guidance of Polaris, a
paranatural entity which rescued her and Dylan during the Ordinary AWE. Throughout the game, Jesse encounters various allies
in the FBC, including research specialist Emily Pope, security chief Simon Arish, Head of Operations Helen Marshall, and Ahti,
a mysterious Finnish janitor. She also learns of the FBC's former Director Zachariah Trench, and finds various informative videos
created by Dr. Casper Darling, the Bureau's missing Head of Research.

Plot
Jesse arrives at the Oldest House as specified by Polaris and enters, finding the building seemingly empty of people. She bumps
into a Finnish janitor, Ahti, who directs her to an elevator for "her interview". Through the elevator, Jesse discovers that the
Bureau's previous Director, Zachariah Trench, has apparently committed suicide. Taking his fallen sidearm, Jesse learns it is an
Object of Power, the Service Weapon, and is transported to the Astral Plane, where she completes a ritual and is selected as the
new Director by the Board. Jesse emerges from Trench's office and finds that the Oldest House has been invaded by a hostile
force known as the Hiss, which has possessed most of the Bureau's agents and corrupted the building's shifting topography. Jesse
uses an Object of Power known as the Hotline to listen to the lingering presence of Trench, who relays that his former
management team knows the secrets of the Bureau, and Jesse hopes they may be able to tell her the whereabouts of Dylan.

Jesse aids Pope and other surviving agents of the FBC who had been quick enough to don Hedron Resonance Amplifiers (HRAs):
wearable devices created by Darling that protect their users from the effects of the Hiss. Pope notes that the Oldest House is on
complete lock-down until the Hiss can be eradicated. Jesse enters the Oldest House's Maintenance Sector and is guided by Ahti to
repair the building's electricity and plumbing to prevent a major meltdown. Jesse then uses a Directorial Override to reopen the
other sectors, and enters the Research Sector in search of Marshall, whom she believes knows about Dylan. Jesse aids Marshall in
retaking the Research Sector and securing production of more HRAs. Marshall reveals that Dylan, known to the Bureau as
"Prime Candidate 6", was a candidate for the role of Director due to his special abilities, but after he proved unstable and killed
several Bureau agents he was detained in the Containment Sector. Jesse rushes to the sector to find Dylan, only to learn that he
has appeared suddenly in the Executive Sector and surrendered to the FBC agents there. Dylan tells Jesse that he has embraced
the Hiss, which he believes will set him free of the Bureau, and that their invasion was made possible by the slide projector the
Bureau recovered from Ordinary. Dylan warns Jesse not to trust Polaris, but Jesse resolves to find and deactivate the slide
projector.

Jesse investigates the Prime Candidate program and learns that both she and Dylan were considered for the role of Director, and
that the slide projector is contained in the Research Sector. Ahti gives Jesse a cassette player which enables her to navigate an
elaborate maze protecting the slide projector's chamber. In the chamber, Jesse finds the projector missing; she learns that Darling
led several expeditions into the dimension accessed through the only surviving slide the FBC was able to recover (the other slides
having been burned by Jesse years prior), discovering a polyhedron-shaped organism he coined the Hedron, which is the source
of the HRA resonance. Jesse discovers that the Hedron is Polaris, who called out to Jesse to save her from the Hiss; however,
when Jesse reaches Hedron's containment chamber, the Hiss attacks and seemingly kills it. Jesse's mind is nearly invaded as the
Hedron resonance falters; however, she is able to rediscover Polaris's essence within her and restore control. Jesse learns that
Trench fell under the Hiss's influence during one of Darling's expeditions; he stole and concealed a second slide and used it to let
the Hiss into the Oldest House to destroy what he perceived to be the threat of Hedron's takeover. Jesse finds the slide projector in
the Executive Sector and, through it, enters the Astral Plane to confront Dylan, who is attempting to take over the Board through
the Hiss. Jesse defeats the Hiss's defenses and cleanses Dylan, who falls into a coma. Finally accepting her new role as Director,
she resolves to defeat the remaining Hiss in order to restore order to the Bureau.

Development
The game is developed by Remedy Entertainment. Mikael Kasurinen, who has worked on Remedy's previous games, Alan Wake
(as lead gameplay designer) and Quantum Break (as lead director), was Control's director and Sam Lake served as the game's
writer and creative director alongside narrative lead Anna Megill.[9][10] Development of the game began before the release of
Quantum Break.[11] As they were finishing Quantum Break and deciding on the next project, Kasurinen recognized that that
game rested heavily on full motion video and other cinematic elements, and suggested they look at a more open-world game
where the player would drive what they experienced.[12] Instead of focusing on creating a large and complex story, Remedy
wanted to put more emphasis on creating a game world and universe that is rich enough for players to craft their own stories.[11]
The team still wanted to leave narrative elements for players to discover to help flesh out the world, and added optional
documents, audio logs, and live-action video footage that the player could review at their own pace.[13] Another goal for the team
was to create a game that has high replayability.[11] They still stated that they wanted to make a strong narrative, one that is
"narrowly focused" according to Kasurinen.[14]

The first concept down was creating the fictional FBC, a realistic setting that would serve as a basis for paranormal events and a
catalyst for events in the story.[12] This enabled them to consider multiple stories they could tell, not just about the player-
character but other individuals in the FBC, but this also created the challenge of how to present the stories of the other characters
in the open-world format.[12] The gathered writings of the fictional SCP
Foundation ("Special Containment Procedures") website was a major influence
on Control. Stories on SCP Foundation's site are based on singular objects with
strange paranormal impacts, and as whole, they are narratively linked by the
common format of reports written by the fictional SCP Foundation, which
catalogs and studies the objects. Control was built atop this, having the various
Objects of Power and Altered Items, along with numerous collectable writings
about these objects or other stories in line with SCP.[15] They fixed the story in
the genre of the new weird, stories that combine science fiction and fantasy often
with a bureaucratic government agency involved in these events, but for Control,
reversing the role to make the bureaucracy at the center of the store. Narrative
Designer Brooke Maggs stated "there is an invisible, assailing presence of
bureaucracy in the corporate office setting that is in itself, unsettling".[16] The
Control is one of the first games to
mundane features of the Oldest House helped to contrast against the paranormal
support new graphics cards with real-
aspects of the game, thus well-suiting the new weird, according to World Design time ray tracing. Here, the bottom
Director Stuart MacDonald.[16] The design team's goal in using the new weird image, with ray-tracing turned on,
approach was not to create terrifying moments as one would do in a horror shows reflections of lights and other
game, but instead create a continuing sense of dread for the player.[16] surfaces in the marble floor,
compared to the more traditionally
A further challenge involved creating an environment that would encourage the rendered version, shown on top.
player to explore, get lost in, and learn about these stories by observation.
Kasurinen felt they did not want to include a traditional heads-up display for the
player, with mission markers or other clutter, and instead have the player use mission descriptions in their log and careful
observation of the environment to figure out where to go next.[12] This further led to the decision to only tell player critical
information via some means, leaving the player to fill in the missing parts with their own observations and imaginations.[12] They
also wanted a fluid environment, where nearly any object in it could be used as part of the player-character's telekinetic powers,
so that the game world could be both a weapon to be used by the player, or a weapon against the player-character. To achieve this,
Remedy replaced the Havok in their in-house engine with PhysX and improved their artificial intelligence for enemies to be able
to take advantage of these changes.[12]

The everyday objects that would become Objects of Power in the game also were selected to be within the concept of the new
weird. One such Object of Power is a floppy disk. MacDonald said he was drawn to use a floppy disk in this manner after reading
a story about how many of the United States national missile defense sites had only recently transitioned off floppy disks, and
prior to that, these disks could be seen as proverbial weapons that were held with high reverence.[16]

The Oldest House setting was based on brutalist architecture, a style utilizing large concrete blocks popularized in the 1950s and
used in many government buildings at the time. The game's world design director, Stuart Macdonald, described brutalism as a
good science-fiction setting, as it has "this sense of power, weight, strength and stability to it", and when the Oldest House's
geometries are affected by the Hiss, "it makes for a really good contrast with the impossible architecture".[17] The relatively-flat
colors of the background walls made it an ideal canvas to showcase other design and lighting effects in the game, It also served
well into the telekinesis powers of the game, as the concrete walls would be used in lieu of a target object when the player throws
debris at foes via telekinesis, and the initially pristine spaces end up showing the results of a large, destructive battle.[17] Among
real-world influences in the game's architecture is 33 Thomas Street, formerly known as the AT&T Long Lines Building, a
windowless building in the center of New York City. Macdonald used this building as a modern example of brutalism, and
created the Oldest House as a "bizarre, brutalist monolith" to house the FBC.[17] Other real-world locations used as inspiration
included the Boston City Hall, the Andrews Building at the University of Toronto Scarborough, and the Met Breuer.[17]
 Other real-world architects inspired the game's structures. Carlo Scarpa's work was used
heavily in designing stairways that ascended with other parts of the structure, while Tadao
Ando's focus on lighting and spiritual spaces were reflected in other parts of the game.[17]
Additionally, the design team turned to film for other inspiration. Films of Stanley
Kubrick, particularly A Clockwork Orange, as well as films featuring oppressive
government agencies, such as The Shape of Water, served as part of the design basis.[17]
Other films, like Tinker Tailor Soldier Spy, evoke the concept of repetitiveness, process,
and ritualism in these agencies, and that was used to define some of the internal artwork
and architecture.[17] Art director Janne Pulkkinen stated they also looked at real world
churches and other places where ritualism is common, as lighting and design of those
spaces are often used to draw attention to specific points of interest.[17]

AT&T Long Lines Building Certain areas of the game feature full-motion video sequences. Most of these are of Dr.
served as inspiration for the Casper Darling explaining parts of the Oldest House and Objects of Power within it, with
Oldest House.
Darling played by Matthew Porretta. Another set of videos are short episodes of a fictional
show called "The Threshold Kids", a puppet-based show seemingly aimed at children that
may reside within the Oldest House. "The Threshold Kids" were written by narrative lead Anna Megill and produced by their
senior cinematic designer Mircea Purdea.[16] Poets of the Fall, an alternative rock group that are close friends of Remedy,
provided songs for the game, including "Take Control", in-game stated to be by the fictional band "The Old Gods of Asgard",
itself an allusion back to Alan Wake.[18]

Control represents one of the first major games to be released after the introduction of graphics cards that support real time ray
tracing (RTX), and considered the first game with a nearly-full implementation of all possible RTX features.[19] The game also
supports more standard rendering techniques suitable for less powerful graphical hardware.

The game includes Easter eggs to Alan Wake, which shares similar paranormal themes with Control; one such Easter egg
discusses the aftermath of Alan Wake as part of the FBC's case files, which considered what happened in Bright Falls, the primary
location of Alan Wake, to have been an AWE.[20] A secret area includes a vision of Alan Wake. The past event in the town of
Ordinary was alluded to by a backmasking track in the credits sequence of Alan Wake: American Nightmare, with an unknown
speaker stating "It will happen again, in another town. A town called Ordinary."[21][18] Kasurinen said that the inclusion of such
references helps to establish a type of continuity between its games, elements to be found and shared by its player community, but
not meant to necessary establish a shared universe between the games.[22]

Cast
The game's main voice cast was announced at New York Comic Con in 2018, consisting of various stars from Remedy's previous
games. Courtney Hope, who played the character Beth Wilder in Quantum Break, stars as Jesse Faden, while James McCaffrey,
known for his roles as the title character of Max Payne and Thomas Zane in Alan Wake, plays the role of Zachariah Trench.
Matthew Porretta, famous for his role as the titular character of Alan Wake, is also featured in both voice roles and live-action
videos as the character of Dr. Casper Darling.[23][13]

The game also includes a voice cameo by Hideo Kojima and his English translator Aki Saito; in one side mission, a recording by
Dr. Yoshimi Tokui, voiced by Kojima, relates a dream-like experience in Japanese, with the English translation given by
Saito.[24]

Marketing and release

In May 2017, Remedy announced that they had partnered with 505 Games to publish the game, then codenamed "P7". 505
provided marketing and publishing support and a fund of €7.75 million to assist the game's development, while Remedy retained
the intellectual property rights to Control. In the press release, Remedy revealed that the game will have complex gameplay
mechanics and that it will be a "longer term experience" than its previous games.[25] P7 was being worked on by Remedy
alongside two other projects.[26] The game was officially revealed at Sony Interactive Entertainment's E3 2018 press
conference.[27] It was Remedy's first game on a Sony platform since 2003's Max Payne 2: The Fall of Max Payne.[28] The
Microsoft Windows version was released exclusively on the Epic Games Store platform; under the terms of this exclusivity,
platform operator Epic Games paid Digital Bros, 505 Games' parent company, €9.49 million (US$10.5 million).[29]

Post-release
Remedy has affirmed plans for at least two additional content expansions to Control, titled "The Foundation" and "AWE", both
narratively set after the main game with Jesse taking on her role as the FBC Director. However, at the time of Control's launch,
the specifics of this content had yet to be determined, according to narrative designer Brooke Maggs, as the team's focus was on
addressing performance issues for the console version of the games.[13] Additional smaller, non-narrative content is also
planned.[13]

Reception
Control received "generally positive" reviews, Reception
according to review aggregator Metacritic.[30][31][32] Aggregate score
Aggregator Score
(PC) 85/100[30]
(PS4) 82/100[31]
Metacritic
(XONE)
84/100[32]
Review scores
Publication Score
Destructoid 9/10[33]
EGM [34]

Game Informer 8.75/10[35]

Game Revolution 4.5/5[36]
GameSpot 8/10[37]
GamesRadar+ 4.5/5[38]
IGN 8.8/10[39]
PC Gamer (US) 88/100[40]
VideoGamer.com 8/10[41]

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40. Davenport, James (26 August 2019). "Control review" (https://www.pcgamer.com/control-review/). PC Gamer.
Retrieved 26 August 2019.
41. Wise, Josh (26 August 2019). "Control review" (https://www.videogamer.com/reviews/control-review).
VideoGamer.com. Retrieved 26 August 2019.

External links
 Official website (http://www.controlgame.com/)

Retrieved from "https://en.wikipedia.org/w/index.php?title=Control_(video_game)&oldid=924588027"

This page was last edited on 4 November 2019, at 19:29 (UTC).

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