Uploaded August 2026 | Updated September 2026, 2 weeks ago
Remedy Entertainment is known for pushing the envelope when it comes to what's possible within engaging video game worlds - and Control Resonant appears to take this up to another level once again.
Between Pragmata’s 3D printed iteration of the Big Apple set aboard a space colony ship and now Control Resonant’s increasingly supernatural take that sees skyscrapers fold in on themselves, one thing is clear: 2026 is shaping up to be a great year for incredibly messed-up versions of New York City in video games. Unlike Capcom’s locked-down space epic, however, the sequel to Remedy’s supernatural shooter, Control, is aiming to make an entire game out of such madcap landscapes. What an incredible challenge this must pose…
With buildings that routinely shift, warp, and turn around you, Resonant isn’t just promising to be a sequel to Jesse Faden’s adventure in name only, but also in terms of the unpredictable way you’re able to approach this world. The doors have literally and figuratively been blown off of the previous residence (in this case, the Oldest House) in this sense, and awaiting new protagonist Dylan is an even more inventive third-person adventure that appears primed to test the players’ perception of reality. In other words, it’s a Remedy game, but one dialed up to 11.
Having gotten hands on with Control Resonant for roughly three hours myself, the switch from ranged to melee combat feels weird and wonderful in equal measure, yet jumping and dashing through the NYC skyline as the superpowered Dylan feels comforting and natural at the same time.
To find out how Remedy Entertainment is adapting its iteration of New York to make sense with Dylan’s new power set and traversal abilities, we spoke to the Elmeri Raitanen, art director on Control Resonant.
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Remedy Entertainment is known for pushing the envelope when it comes to what's possible within engaging video game worlds - and Control Resonant appears to take this up to another level once again.
Between Pragmata’s 3D printed iteration of the Big Apple set aboard a space colony ship and now Control Resonant’s increasingly supernatural take that sees skyscrapers fold in on themselves, one thing is clear: 2026 is shaping up to be a great year for incredibly messed-up versions of New York City in video games. Unlike Capcom’s locked-down space epic, however, the sequel to Remedy’s supernatural shooter, Control, is aiming to make an entire game out of such madcap landscapes. What an incredible challenge this must pose…
With buildings that routinely shift, warp, and turn around you, Resonant isn’t just promising to be a sequel to Jesse Faden’s adventure in name only, but also in terms of the unpredictable way you’re able to approach this world. The doors have literally and figuratively been blown off of the previous residence (in this case, the Oldest House) in this sense, and awaiting new protagonist Dylan is an even more inventive third-person adventure that appears primed to test the players’ perception of reality. In other words, it’s a Remedy game, but one dialed up to 11.
Having gotten hands on with Control Resonant for roughly three hours myself, the switch from ranged to melee combat feels weird and wonderful in equal measure, yet jumping and dashing through the NYC skyline as the superpowered Dylan feels comforting and natural at the same time.
To find out how Remedy Entertainment is adapting its iteration of New York to make sense with Dylan’s new power set and traversal abilities, we spoke to the Elmeri Raitanen, art director on Control Resonant.
Subscribe to the All Out Gaming YouTube channel for all our new videos: youtube.com/@AllOutGaming?sub_confirmation=1
Follow us:
All Out Gaming TikTok: tiktok.com/@alloutgaming
All Out Gaming News: allout-gaming.com
All Out Gaming Twitter: twitter.com/alloutgamingx
#control #controlresonant #remedy #remedygames #remedyentertainment #interview #gaming
