Park Resonant Down and Probably Really Time to Push the Story Forward

I think (think) that the only things that reset when you clear a zone's Resonant are the assaults and all the monsters, while it looks like things like resource crates and such are just there whenever you want to grab them. Thus, having done a good circuit around the Park and feeling like I had more or less done everything that would be reset, I followed through on taking on my next boss.

While I got the first Resonant (the one in Downtown that is still kind of part of the tutorial) in a single go, the ones in Central and Western Incursion Zone took me four attempts each. The Park one took me three, so I guess consider that progress.

At this point, though, while I know there are other zones to discover, I've done all the Resonants in each of the zones I've had access to, meaning I think I really do need to progress the story in order to get access to more of the world.

Let's talk about that boss:

Going to Moldtown in the Park

 Whatever misgivings I might have about Control Resonant's embrace of somewhat rote open-world gameplay tropes, the world of Control remains one of my favorites in all of gaming. I mean, possessed vending machines as our crystal lizard/treasure goblin equivalent? Fighting evil busses?

There's also the atmosphere you get as you progress into new zones - while Downtown, Western Incursion, and Central are all bright and sunny, there's the noir-ish rainy night of the Evacuation Zone and a sort of false snowy winter of the Park (rather than giant piles of snow, it's Mold growing on everything). While I tend to not focus too much on graphics, Remedy is known for making really gorgeous games, and though I have hit a few hitches with the framerate (I might need to quit out of the game and re-start it in case there's a memory leak) it looks predictably fantastic (though I will say, and this was the case in the first game, for some reason the facial animations are a bit off, which is so strange because Alan Wake II's faces were essentially perfect, and all three use Remedy's in-house Northlight engine).

After some dramatic story-focused missions in the Evacuation Zone, and then some lower-stakes but still weird trips into the subway to align various leylines, I decided to deviate from the path a bit and head into The Park, a zone that at least as far as I can tell is pretty much optional.

There's very little Hiss here, because this is Mold Territory. The enemies are thus a bit more bulky (many Mold enemies have a shield that grows over them that must be broken before you can damage them. Actually, some Hiss have something equivalent, but I think the mechanics work slightly differently). My normal secondary Aberrant form, the massive hammer, is less well-suited to these foes because of their resistance to blunt damage, so I've invested in building up my Drill secondary form, which deals Sharp damage that I believe they are vulnerable to. Likewise, the fiery power I got off the Central Resonant makes building up Falter on them very quick.

Still, maybe they're just tougher enemies or maybe my tactics have become too focused on Hiss-fighting, but I do find I'm ending combat with more missing health (still not dying). Theoretically, if the enemies in the game are finite in number (at least the Heavies) then I suppose that there also might actually be finite health to pick up. Still, there are enough free health pickups that I don't imagine you'll ever be truly on the edge of things without any way to recover (this ain't a survival horror game).

Seeking out a hidden resource box I think I had missed in the Patterned Factory in Central (I still didn't find it) I went back to the boss' room to see if you could re-fight them. It does not appear that you can, though I wonder if we'll get a SHUM arcade cabinet that allows it at some point (perhaps even added in a patch or DLC). Again, I think that the bosses in Resonant are truly the best that Remedy's ever done (well, of the three prior games of theirs I have played). Monty Zander would be very pleased to know (I'm sure he's playing it) that the bosses do not rely on having a bunch of swarming smaller enemies to inflate the pressure (ironically, this would make the fights easier because it would give you a chance to recover health outside getting the bosses to certain health percentages).

I've found what looks like the entrance to the Park's "boss dungeon" area, though I'm hesitant to go in there until I've fully explored the Park and fought everything there, to take best advantage of the resources I can gain.

I do think I'd prefer a version of this where things were just kind of farmable - that they're respawn either simply over time or, in the style of Breath of the Wild/Tears of the Kingdom (which I have to imagine was an inspiration for this) have periodic events where everything comes back (actually when you beat a Resonant, there's a similar animation to the Blood Moon one where you see Hiss and Mold enemies pop back into existence).

Still finding more hidden Secret Organization cells around the city, including at least two that have been in Atlantis Cafes (which seem to be kind of the equivalent of Starbucks - I get that for a game world this big, having them as a chain rather than unique coffee shops helps as you only have to make a single set of assets. You find yourself in a lot of laundromats, gyms, and cafes). Still no direct confirmation that it's the Blessed Organization, but I'm leaning that way.

I realize that by slow-playing the main story quests I really shouldn't complain about the slow drip of the story. I think I want to just do a few more things in the Park and then continue on. (There's one infuriating elevator near a fast-travel door where Underhill's lab is set up in the Park - naturally she's studying the Mold and as unpleasant as she was before - that has a power block, but I cannot for the life of me find the energized block to transfer the energy to it. So while I can get back to that part of the Park via fast travel, it's not the usual convenient "you've opened this door as a shortcut" that it ought to be.)

I did do one side quest that was weirdly anticlimactic - it seems to be completed, but I must have picked dialogue choices that gave it the more mundane conclusion - I found a woman out in the Park who said that her twin sister was still stuck in their old apartment. The sister seemed weird, but I basically just told her to hang tight and the FBC would evacuate her, then went and told the first sister. Given that the quest was called "Carbon Copy," I expected something weird like the twins actually being two Mold-based pod people who split from one another or something, but as far as I can tell, it was just the most basic of "go here and talk to this person" quests, which... it can't have just been that, right?

I also continue to find Taxis in each zone - I don't love this style of "there's one of these in every zone" style of quests, but I do find the Taxi Dimension really atmospheric and cool. It also gives us the kind of simple puzzles that Jesse had in the Oceanview Motel, which are not very hard but just feel kind of satisfying to scratch that itch.

I'm trying to do my best to avoid any kind of guides or suggestions on builds here and take the game in on its own terms. (I did momentarily fear I was screwing up the last of the subway puzzles for the main quest, but the IGN guide was so confusingly worded that I found it easier to just trust my own instincts and ignore it. Perhaps there's a lesson in this?)

I have stockpiled seven Reset items that let you reassign your talent points, as well as I think resources spent on Aberrant upgrades, as well as swapping the powers you get from the Resonants. So far, though, I have felt mostly happy with what I've got. I have a ton of Talents on my tree that have a big "this doesn't interact with any abilities you currently have" sign, which probably means I need to get fighting more Resonants.

I'm given to understand that Control Resonant has sold very well - there was a pretty concerted marketing effort, and I wonder if the switch to melee action appealed to more people. Frankly, my relationship with Remedy today is basically "whatever gameplay you like is fine (except online multiplayer, apparently,) as long as I get that signature weird style and story." I do hope that this means that rumors of the studio struggling to stay open will fade in the wake of a big success.

Truly, it's one of the most unique creative forces in the industry, and I think the medium is far richer for it being around.

A Trip to the Evacuation Zone Gives Control Resonant an Infusion of Stakes

 In my last post, I talked about how the need to broaden out the options for players to do countless tasks across Control Resonant's open-world warped Manhattan can wind up messing with the game's pacing and stakes. Yeah, I'm never going to complain about a very good dog appearing in a video game, but I don't know that it needs to appear in every zone with more or less the same task each time.

The Resonants are, so far, all banger boss fights, with unique designs and exciting challenges. But I sort of wish that their role was felt more across their respective zones as an embodiment of what in particular is going on there. Instead, these bosses feel more like just another category of objective on the map, which is a shame.

However, a mission sending me into the Evacuation Zone was a real highlight. Simon Arish, just a plucky mid-ranked security agent in the first game who got very suddenly promoted to Head of Security after everyone above him turned either Hiss or dead, is now also acting co-director of the FBC along with Emily Pope.

I guess we gotta start doing spoiler cuts.

Control Resonant and the Open World

 I love the world of Control - the corner of the larger Remedy Connected Universe that puts mundane government bureaucracy against the bizarre and unusual.

Indeed, I think the crux of the appeal is to make the familiar strange: one of the, not exactly common, but not rare either, Hiss-associated enemies you fight is a city bus that is turned on its nose, the back of the bus warped and deteriorated, with poor passengers hanging out the windows, their Hiss infection lending the bus its animation. Altered Items, a key part of the world's lore, are objects that look utterly normal but behave in unusual and often dangerous ways.

A few more hours into the game, I've defeated another Resonant, this one "The Dancer," who also appeared in various trailers for the game (as far as I know, I think at this point I've beaten all the bosses that showed up in the previews).

While Remedy downplayed the open-world-ness of Resonant in its marketing, I can't really think of a different way to describe the game. Manhattan is divided into various zones that each tend to have their own iteration of many of the features found in others - you have your Resonant, a mapping station, a vendor ice cream truck (usually hidden out of the way - I haven't found the one in the Western Incursion Zone,) etc.

The game takes a Breath of the Wild approach to its open world - there's no set order in which you're meant to complete the zones (at least as far as I know - I imagine some might unlock later on) and even going to a zone's Resonant boss isn't really treated as something the entire zone is driving you toward, but more of an additional objective.

To be perfectly honest, I don't know that this is the right choice for the game. I've seen some critiques of the game that bemoan its adherence to Open World game design tropes that originated in Assassin's Creed nearly 20 years ago.

Remedy's strongest suit is its storytelling, and I think that the open-world nature of the game makes it feel like that primary plot is only dripping in on occasion. It also leads to a sort of rote recursion even in what feel like story-critical parts, like when we enter Faults to commune with the absent sister (and previous game protagonist) Jesse, which is also where we learn important traversal abilities. (Shift, for example, lets us re-orient our gravity in areas where there are streets and rooftops that are jutting out at 90 or 180 degree angles).

I think that the promise of Open World games when they first emerged (probably Grand Theft Auto III is the one that truly codified the format) was a sense of freedom. But the danger can be a lack of structure.

Remedy games that I've played at least are not interested in making a whole bunch of different endings based on player choices, and Control Resonant evidently just has one ending. As such, I wonder if Control Resonant would be better off with a somewhat more curated path through its messed-up NYC.

The first Control flirted with Open World ideas, with some ideas that worked and some that didn't. It's probably unfair to compare this with Alan Wake II, which is a totally different genre of game, but while you could swap between Alan and Saga through the middle of the game, each character's story was essentially linear, which I think worked quite well for it.

To be clear, I'm still enjoying the game quite a lot. But I think I've been getting more intriguing and enticing stories out of side quests so far, like reuniting a set of speakers that act as conduits to some other plane of existence, or a weird Taxi dimension that someone's trapped in (said Taxi dimension feels weirdly similar to the Dark Place, including similar camera angles when Dylan is talking on a payphone to the trapped civilian as the ones when Alan talks with Tom Zane in Noir York City).

As for "lore" spottings, I have finally gotten some explicit mentions of the word Blessed, which are involved in the speaker side quest. I have yet to find out if the Organization is actually central to the plot, but I imagine that that requires some more progression (with the Western Incursion Resonant dealt with, I think I'll be heading to to the Evacuation Zone, which seems to be where the true main quest plot is actually directing me).

There's no mention of anything Alan Wake related, other than that Ahti appears not to have returned to the Oldest House after the events of AW2, and we also see some posters of Ahma Beer, which I guess must be thriving given that it used to be a local microbrewery. (Hope Ilmo is doing ok). Fingers crossed for an Old Gods of Asgard song, which at this point is expected.

Again, I still feel like I haven't progressed the "main plot" forward much since being unleashed in the open world, but I also really wonder if we might see Barry Wheeler pop up - a sore absence from Alan Wake II, but also someone who for sure got involved in the Blessed Organization.

Once again, I've been finding secret hideouts across the city that I suspect are Blessed installations, though that's unconfirmed. Whatever this "Secret Organization" actually is, it uses similar memos, documentation, and jargon to the FBC, but it's all just a bit different - referring to "Extranormal Objects" in contrast with "Altered Items."

Now, I do think that the Blessed Organization could be slightly Scientology-coded, and the Church of Scientology has been known to pull off some pretty extraordinary feats, including a massive infiltration of the FBI, using its own pseudo-governmental acronyms and abbreviations.

The Secret Organization, as the documents we find about it are classified in our personal archive (oh yeah, there are a bunch of documents,) uses a symbol that appears like a keyhole or possibly a beacon of some sort. I can't remember if any of the Oceanview doors had that symbol, but it's worth bearing in mind.

(Oh yeah, so far no Oceanview Motel.)

In terms of difficulty, I'm sort of inclined to maybe push forward a bit more aggressively. It's very rare that I die to non-Resonant enemies, though both the Central and Western Incursion bosses took me four attempts each.

Enemy variety, even though I've fought almost exclusively Hiss, is step up from the first game, and there are basically no "this is just a corrupted dude with a gun" enemies to fight. You will start to get familiar with them - the ones with giant hammer-like heads are probably the most common of the "Heavy" Hiss foes - but I think we're already at a more interesting variety than we got in the first game, and I've only fought like one group of Mold enemies.

It is strange, though, that in stark contrast to the first game, where Hiss would teleport into a room without warning and endlessly respawn, here once a group is dead, they're dead, at least until you beat the area's Resonant. But I don't think you can re-fight bosses and I assume once you beat each enemy group a second time, that's it. This does mean that the resources you gather from fighting foes is presumably finite, and I don't love that. (I could be wrong, though).

One thing that's kind of interesting is that upgrading your weapon, even by unlocking other weapon forms, is going to help you even if you don't care to use said forms, because each unlocked form and trait for those forms will improve the overall damage you deal with the weapon.

Each Resonant gives you a choice between two (maybe one gave three?) Powers, which are similar to the various OoP abilities Jesse got in the first game. You can try each one out separately, but you get locked in after you leave The Gap (your little Mind Place/Writer's Room equivalent) and require a Reset item to change them after that. I assume this means there will be six Resonant bosses in total, given that we can equip six at a time (swapping between sets of three at least on a PS5 controller).

I suspect that there is a kind of Mega Man-like ideal progression path - the boss in Central gives you fire-based abilities, which are extra-effective against the Mold.

One of the things that makes Dylan an interesting contrast with Jesse is that he literally trained through his entire adolescence to work for the FBC, so he's already well aware of Bureau protocols, procedures, and terminology. Even if most of the Rangers hate him for his past with the Hiss, he knows what the job entails.

I think Dylan's generally going to be a pretty heroic character regardless of what dialogue options you pick, which does make it kind of interesting that he's sort of a new character in this game - the Dylan we encountered in Control was really the mouthpiece of the Hiss. I'm eager to see how he reckons with that contrast.

First Impressions of Control Resonant

 It's finally here!

With Control Resonant downloaded nicely last night, I booted the game up this morning and have been playing it, well, most of the day (had a doctor's appointment in the middle).

I've now beaten my second Resonant boss - the major monsters whose power dominates each of the various zones that the warped Manhattan is broken into. The first, I'll note, is basically part of the tutorial, coming before you even (if I recall correctly) get your secondary Aberrant form.

Thanks presumably to a day-one patch, the reports of intense difficulty in the early game seem to have been addressed, as I didn't really struggle much. Indeed, this second major boss, the Central Resonant (who has appeared in some of the previews and trailers) is the first time that I really had to work, dying three times before taking it down on the fourth attempt.

First and foremost, let's talk about the action gameplay:

I actually really like it, despite a lot of reviews poo-pooing it. Each button does something different, and at least with my build, it feels like each ability and weapon serves a clear purpose. My heavy secondary attack, using the titanic hammer form seen in the announcement trailer, is for building Falter on foes, which can eventually stagger them for an execution. Likewise, my launch-like ability gained from the first boss gives me a ranged option and also inflicts some Falter, while my wide-sweeping scythe main attack is a quick source of damage that hits lots of foes. I have a combo finisher that launches enemies into the air, during which I deal bonus damage to them, and I cant then bring the hammer down on them.

Falters and Executions are a really interesting mechanic: while executing a foe doesn't give you back health, you will gain a buff that increases your damage done and the health gained by defeating other enemies, so I try to get something staggered as quickly as possible and then slash at the remaining foes with my main attack as much as possible during that short "Dominance" window.

One of the issues I have with a lot of action games is that there's often little that really distinguishes attacks, and you wind up spamming the same things over and over, but here, it feels at least as if you're constantly making tactical decisions.

Now, the flow of the game is something I'm still wrapping my head around: monsters (mostly the Hiss early on, though I've seen some Mold and there's also a new enemy faction called The Pattern, which seems to actually be the central antagonist of the game) don't respawn until you beat the area's resident Resonant, and thus as far as I can tell, you get to fight each just twice, so I think maybe you want to fully clear a zone before going after the boss to maximize the resources you gain.

Completing objectives within a zone will level that zone up, increasing rewards dropped from enemies and enhancing the offerings at the spooky ice cream trucks that serve as your merchants. There are various objectives to complete across a zone, including side missions with their own little plots.

There are a few familiar faces: I did a side quest for Langston (though I don't know if he'll pop up elsewhere or if he's just a one-scene appearance). The overall plot is a bit slow to develop so far, though I've also been really pushing side quests and side objectives rather than driving forward with the main stuff.

Dylan traverses Manhattan with the weight of his role as the herald of the Hiss, and also the destruction that he wrought while he was in training as P6. We did get a Dr. Darling video, though sort of non-diagetically. His role in Dylan's abusive upbringing is something the game seems eager to explore further - as charming as Darling is, and as much as he plays a role of kind of absent guide for Jesse in the first game, Dylan naturally has very complex feelings about him.

Similarly, the FBC has very mixed (mostly negative) feelings about Dylan. Zoe, the FBC agent he meets when he first exits the Oldest House, becomes his handler, and while they're working together, she's also got a kill switch for the "Mobile Containment Device" attached to the back of Dylan's head, which will give a lethal blast of electricity if they decide he's too much of a threat. I'm curious to see how much of a Chekov's gun this is.

But despite the atrophy of being in a coma for seven years, Dylan is an absolute beast. Traversal abilities that took a long time to get in Control come much faster here, which makes it a bit easier to traverse the tall buildings of NYC (though there are buildings too tall to climb still, meaning you need to either find a way to get up shorter buildings or need to unlock Shift at some point.

Dylan is, of course, nothing like was in the first game, and it's really interesting to see someone who is clearly a good guy deep down reckon with the traumatic loss of identity that the Hiss, and his upbringing as P6, which pushed that kind, heroic personality back.

A few notes:

There are some secret hideouts hidden in various buildings around Manhattan. There's no proper nouns here to associate with any existing lore. They issue memos with verbiage similar to that of the FBC. If this is the Blessed Organization, it would imply that that organization is far more professional than we might have assumed, and I even wonder if it's a splinter cell of the FBC itself. Either that, or this other faction has nothing to do with Blessed.

Expect a lot more posts about this game.

Details for the Oath of the Ebon Blade and Forsaken Species

 Insight Check recently posted a video with a bit of content out of the upcoming D&D World of Warcraft book related to the Oath of the Ebon Blade subclass for Paladins, which allows us to create the equivalent of WoW's playable Death Knights, as well as the Forsaken species, which equates to WoW's playable Undead race.

Notably, both of these are doing some unprecedented things.

Let's actually hit up the Forsaken first, as I think it's less dramatic:

Forsaken are free-willed, sentient undead. Mostly former humans, the collective identity is linked less to their original species than their shared experience of having come back from the dead and reconciling their free will and memories of life with the grim reality of being a walking corpse.

For the first time in all of 5E, the Forsaken are a species with the undead creature type (something even Reborn don't have). This, thankfully, is much more viable now that healing spells like Cure Wounds work on Undead and Clerics' Turn Undead allows you to pick which targets are affected. Note, though, that Raise Dead and Resurrection won't actually work on them. Crazily enough, True Resurrection will actually turn them back into humanoids, so you might want to talk to a DM if that means you become a Human (or High Elf, potentially, depending on your backstory). Revivify and Reincarnate will both still work, though. Given the special nature of your undeath, I would talk with DMs to see if you could get special dispensation to allow you to be brought back with these spells.

(As a note, in WoW, despite the race being called, literally, just Undead, your creature type is actually humanoid, for game balance reasons.)

From there, the features are a little more standard. You are Medium or Small, have a 30 foot movement speed, and 60 feet of darkvision. You get resistance to Necrotic damage as well, and like Reborn, you don't have to eat, drink, or breathe, and you only need to stay inert for 4 hours to get a long rest.

Touch of the Grave lets you, once per long rest, add a number of d4s equal to your PB of necrotic damage when you deal damage to a creature, and then you regain HP equal to the amount rolled.

Finally, Will of the Forsaken gives you advantage on saving throws to avoid or end the Charmed or Frightened conditions.

    So, overall, I think this reflects the WoW race pretty effectively. I do think the issues with resurrection magic might potentially pose a challenge, though I think at the very least, building some alternate means of bringing a fallen Forsaken PC back ought to be in the cards. Frankly, I think it would be reasonable to allow Animate Dead to work in place of Raise Dead, for example, or maybe you need to conduct some kind of necromantic ritual that works similarly to Raise Dead.

Now, let's talk Ebon Blade Paladins, aka Death Knights.

Here, the video doesn't get the whole subclass, but we get a number of interesting features that are, interestingly enough, for levels 1 and 2, which you'll note is not a pair of levels that any established subclasses get anything for.

That's because while Ebon Blade Paladins use the Paladin class as a framework, they aren't actually meant to be Paladins. Even if a lot of canonical Warcraft Death Knights were Paladins in life, not all of them were. Essentially, this isn't going so far as to make a whole new class, but it's retrofitting the 5.5 Paladin to make it fit the Death Knight better.

First off, more of a flavor thing, you can carve a rune into your weapon, giving you the flavor of Blood, Frost, or Unholy - the three Death Knight specs in WoW. According to the video, this doesn't have extensive mechanical implications, but we'll just have to see.

Next, the first big change: like Forsaken, Death Knights are undead. Similarly to all the issues we discussed before, this will give you immunity to certain spells that affect humanoids, but it also means you have to worry about resurrection magic not working. Once again, the funny thing is that in WoW, even if Death Knights were raised in undeath, they're mechanically still humanoids for game balance (though they do have a class ability called Lichborne that temporarily turns you undead for various reasons, including something we're going to touch on right now:)

Death Coil fully replaces Lay on Hands. Yeah, that's right: you don't get Lay on Hands as an Ebon Blade Paladin. Instead, Death Coil lets you use a bonus action to send out necrotic damage or bursts of healing that affect only undead targets. You have a pool of d8s equal to your Charisma modifier (minimum 1). As a bonus action, you can spend up to your Charisma modifier of those d8s (makes me wonder if our pool gets bigger at higher levels, otherwise this limitation seems redundant) to force a creature you can see within 60 feet to make a Con save. On a failure, they take damage equal to the number rolled, or half as much on a success. You can also target an undead creature (and you are an undead creature) and heal them for the amount rolled.

You regain these d8s on a long rest.

    So, to break this down: this is obviously more aggressive than Lay on Hands, which is purely defensive. Makes sense given the priorities of a Death Knight. The damage will be great at early levels, but I think unless that pool expands to, like, twice your Charimsa modifier or somehow also gets expanded, I'm not sure that this is quite the compensation for the loss of Lay on Hands. Again, unless we get a larger pool later on, we're talking like 5d8 at most extra damage once per day by level 17.

    As self-healing, or potentially healing for minions or allies (maybe you have a non-Death Knight Forsaken party member in the group?) it's a bit better, though again, I think it starts to fall behind Lay on Hands pretty quickly.

Runic Smite replaces Divine Smite.

Here, there's a much more direct parallel to the Paladin feature. Runic Smite has the Rune Strike spell always prepared, and lets you cast it once per day for free.

Rune Strike works identically to Divine Smite except for the following changes:

Its damage is Necrotic, and rather than dealing an extra d8 of damage to Fiends and Undead, it instead deals an extra d8 to Celestials.

    This makes perfect sense as a flavor change. But we do run into a couple problems: First off, more monsters can resist or be immune to necrotic damage than radiant damage. Second, there are far more Fiends and Undead monsters that we tend to fight in D&D than Celestials. Even in an Azeroth-based campaign, we're far more likely to be fighting Fiends like the demons of the Burning Legion or Undead monsters in the Scourge. In fact, the only creatures I can think of off the top of my head that would inevitably be Celestials are the Naaru, who are both rare and usually friendly (in fact, when they go "dark," they probably become aberrations). Maybe Val'kyr?

Obviously, we need to get the full picture before we can really get a sense of how the subclass transforms the Paladin into the Death Knight. These changes certainly don't make the class unplayable or anything, and I really applaud the boldness to tinker with the inner workings of the base class beyond simply plugging in subclass features at the appropriate levels.

Indeed, if this proves effective with the Death Knight and Demon Hunter, this could be some exciting "tech" for WotC to bring to other supplemental products outside of the Universes Beyond line.

The Minor Agony of Not Playing In Early Access for Control Resonant

 I only became a Remedy fan three years ago, and as a relative newcomer, I've only played three of their games, but those three games, Alan Wake, Control, and Alan Wake II, left a huge impression on me, so I've been getting hyped up for Control Resonant, nervous about whether I'll actually enjoy the switch to fast-paced melee action gameplay.

I mean, I was nervous about Alan Wake II's switch to full-on survival horror, and even though I don't actually think that I loved the combat in it, the atmosphere and experience of the game and its story was superlative, almost instantly becoming probably my favorite narrative in all of gaming.

I had considered getting the super-duper deluxe edition, but I think the main reason to go for such deals is if they include free access to the DLC(s), which all three of the Remedy games I've played have had. But that means I have to wait a little bit longer.

And, stupidly, I scheduled a doctor's appointment for the middle of Thursday, the day it comes out. Stupid physical body requiring maintenance!

Anyway, I'm eager to get lost in the game. Remedy does game narrative like no one else, and their particular blend of horror, modern fantasy, and sci fi ideas (or rather, the blurring of the lines between said genres) speaks very directly to my own taste in genre fiction.

I know that there's only one ending to the game, but I'm slightly nervous about reports that certain quests/missions can go poorly if certain decisions are made or challenges failed, as I'm a real perfectionist with my games. I prefer a game to just let me keep trying if I didn't get the result I wanted.

I'm also a little nervous that reviews seem to suggest the game is on the difficult side. That might seem absurd coming from someone who plays FromSoft's games and loves them, but I think there's something about their style of difficulty that clicks with me - being generally slower-paced, it's often not hard to figure out what you did wrong, while fast-paced action games can sometimes be hard to parse.

But yeah, I mean, I died plenty of times in Alan Wake II (though I maintain that my struggles with the Cynthia fight were more due to glitches that probably got fixed in patches) and it didn't make me adore that game any less. So maybe I've got nothing to worry about.

It's notable that Sam Lake has been almost totally absent from the marketing of the game. I believe that he was not as directly involved in it as he was with the first Control or, of course, Alan Wake II. Given, well, the entire story of Alan Wake II, I imagine that he's somewhat uncomfortable being the "face" of Remedy (almost literally, given that he's the likeness for Max Payne) even if his creative vision has been the guiding one for the studio's games for the last quarter-century or so.

I'm sort of skeptical of the "auteur" theory, which arose in the 1960s as a somewhat subversive response/contrast with the institutional studio system of early Hollywood. It's interesting that this framing and philosophy around art (cinema in this case, but it applies to other media) began as a rebellion against stuffy, corporate institutions, but at some point, it started to justify a lot of egoism and erasure of the auteur's collaborators. I truly think that the central crux of Alan Wake II's themes was the need to release that drive to own the enire creative process and make your work all about you, specifically. Alan only succeeds by allowing others to put themselves into the art he began, and I for sure think that Sam Lake was thinking about how he needed co-writers and other people to contribute for Remedy to finally crack the Alan Wake sequel after thirteen years.

I'm very curious to see how Control Resonant carries on and elaborates on the themes of Control. Seven years is less time than thirteen, but it's still actually a pretty big gap between an original game and its sequel (though Alan Wake II lands nearly smack dab in the middle of that gap,) and obviously they're changing quite a bit with the second game.

But I don't think I'll have the chance to read into the subtext, or perhaps meta-text is a more precise term, of how the game relates to its own creation until I get to play through it.

I've heard that there are fewer findable lore documents than there were in the first game, which is a shame. It might sound insane to someone who hasn't experienced the original game, but truly one of the most fun things about Control was finding some office memo to read. Still, it might simply be that they wish to explore alternate vehicles for conveying that background lore.

Speaking of vehicles, apparently there are shops that you can find that are ice cream trucks with a discordant melody playing from them. I'm so profoundly into that Control aesthetic.