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Remedy says Control has so many secrets that you won't find them all, you dumb dipshit asshole


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https://blog.us.playstation.com/2019/08/08/everything-we-learned-playing-the-first-2-hours-of-control/

 

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Remedy has filled its sandbox with all manner of optional secondary objectives, squirreling away additional items, story arcs and boss battles way off the beaten track.
 

“You can’t have the full Control experience without exploring the Oldest House,” insists Mikael. “It is filled with secrets and lore that open up the history of the place and maybe gives some clues on the phenomena that you witness.

 

“Instead of making the game ‘replayable’, for us it was more about creating a world that you can keep exploring. Sometimes returning to an old location can be fun since you can access areas that you couldn’t before due to having a new access level, or an Ability.


“We had to accept that we will create a lot of cool content that many might never find. This will be the thing that will make people spend time in this world. A huge part of the content is actually purely optional in regards of the main story arc, and we hope that people realise that, so they’ll spend more time exploring the Oldest House.

 

And the combat:

 

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2. Combat is really deep, and really fun


In its first few encounters, Control appears to be a pretty no-nonsense shooter. You pick up your service weapon from the office of the former bureau director (he’s just used it to put a bullet in his own head) and go to town on mobs of unfortunate agency staff corrupted by the aforementioned Hiss. Aim, shoot, take cover, repeat – standard stuff.

But it’s not long until Control’s combat develops into something far more interesting. As you progress, you learn a series of supernatural abilities that, when combined with traditional gunplay, coalesce into a really deep, playful system.
 

For example, the first two abilities we pick up are Launch, which lets Jesse levitate any bit of furniture she can find and fling it at the enemy, and Evade, which lets her teleport a small distance to dodge an enemy attack or traverse the landscape.

 

In one encounter, we use Evade to dodge an incoming enemy projectile, then unload our side arm into the foe to destroy its forcefield, then use Launch to hurl a desk chair at them and finish them off – all in the time it would take to whisper “ooh, emergent gameplay.”

 

As you progress further, you unlock new firing modes for your weapon and additional abilities, which you need to mix-and-match to take down a diverse array of enemies. Not only is it pleasingly strategic, but wrecking shop in the game’s destructible environments feels great.

 

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God of War was so good at this, though it was a bigger world, obviously. It was dense with stuff, from small buckets you could hit that were hanging from a ceiling and contained hacksilver, to alternate paths that could lead to chests or even a whole new quest, to spots you could find on a map that looked and were able to be explored, to puzzle staring you right in the face that you knew you could come back for.

 

Doing this in a sandbox like Control has seems like a ton of fun.

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I assume the secondary objectives will be the usual, “the critical path is to the LEFT but there’s a shiny on the ground in a dead end if you go to the RIGHT,” because video games. Also people don’t usually look UP or DOWN so there are shinies there, too. 

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