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The Oldest House was almost perfect for the first Control. Its shifting corridors and impossible rooms gave Jesse Faden plenty of space to experiment with supernatural powers while keeping her inside a deliberately claustrophobic environment. She could levitate over gaps, throw office furniture at enemies and tear pieces from walls, but the building always remained the dominant force.
Control Resonant, launching today, September 24, changes that relationship. Dylan Faden is far more mobile, and Remedy has moved the action into a distorted Manhattan designed to accommodate his abilities. Rather than simply giving Control a larger map, Resonant gradually changes how players are expected to navigate it. Once Dylan gains enough control over movement and gravity, streets, walls and rooftops stop feeling like separate spaces.
Despite the change of scale, Resonant isn't a conventional seamless open world covered with activities. Manhattan is divided into large interconnected areas filled with interiors, optional routes and locations that become accessible as Dylan acquires new abilities. In that sense, the sequel expands an idea that was already central to Control instead of replacing it.
The Oldest House encouraged players to revisit familiar areas after gaining new powers or security clearance. Resonant applies the same philosophy to a city. Early on, streets guide movement and buildings create obvious barriers, but those restrictions become increasingly temporary as Dylan develops. Places that initially look like background scenery can eventually become part of the route.
This makes exploration less about following roads between objectives and more about understanding what Dylan can do to the space around him. Manhattan doesn't need to physically transform every time he gains a new ability. His powers are enough to make the same environment look different.
Dylan can jump, dash, glide and rapidly cover large distances, but gravity manipulation is where Resonant's traversal becomes particularly interesting. Later abilities allow him to change his orientation and use vertical surfaces as paths, turning architecture that normally restricts movement into another way forward.
That creates a challenge Remedy didn't face to the same extent with Jesse. The original Control could build combat arenas knowing that even after gaining levitation, Jesse would remain somewhere within their boundaries. Dylan becomes harder to contain because a wall that stops an ordinary protagonist can eventually become something he simply travels across.
Manhattan's verticality therefore matters beyond providing an impressive skyline. Buildings, elevated structures and rooftops become usable parts of the environment instead of scenery surrounding the playable streets. The city begins to feel less like a map Dylan moves through and more like something his abilities allow him to reinterpret.
This approach fits the series because Control has always been interested in making familiar places behave incorrectly. One of the pleasures of the original was watching an ordinary government office collapse into supernatural chaos once a fight began. Desks flew across rooms, concrete disappeared from walls and corporate spaces became arenas shaped by Jesse's powers.
Resonant extends that idea from destruction to traversal. Manhattan itself isn't an unusual videogame setting, so another digital version of New York wouldn't automatically make the sequel distinctive. Dylan's abilities are what change it. As his movement expands, architecture that initially seems completely ordinary stops following the usual rules of videogame cities.
That also helps Resonant retain some of the identity of the Oldest House despite moving outside it. The original made players suspicious of architecture because rooms and corridors couldn't always be trusted. Resonant starts with something much more recognizable, then gradually teaches players that walls and ceilings aren't necessarily boundaries either.
Resonant gets surprisingly close to the fantasy of a superhero game without actually becoming one. Dylan isn't patrolling Manhattan looking for ordinary criminals, and Remedy's world remains much more interested in paranormal disasters and bureaucratic absurdity. What the game does understand is that extraordinary abilities feel more convincing when they change a character's relationship with the world.
Flight isn't particularly exciting if it only replaces running with faster movement. Resonant's traversal works because Manhattan has been designed to accommodate Dylan's growing freedom. The stronger he becomes, the less conventional architecture determines where he can go and how he can get there.
That creates a neat reversal of the first Control. Jesse became extraordinarily powerful inside the Oldest House, but the building constantly reminded her that she was trapped somewhere stranger than herself. Resonant gives Dylan an entire city and gradually lets him challenge the rules used to build it. For a series fascinated by impossible architecture, turning Manhattan's walls into potential roads feels like a more interesting evolution than simply making Control bigger.
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