Remedy`s Entertainment`s Control is a noticeable change of pace from the studio`s past work. Known for story-driven third-person shooters like Max Payne and Alan Wake, Control takes a more high-concept and nonlinear approach, reframing Remedy`s particular storytelling chops into the framework of a Metroidvania-style game. On the surface, Control seems like the most unusual game to come from the studio. It actively moves away from the somewhat grounded settings from their past, channeling the principles of the new weird literary genre, blending aspects of avant-garde sci-fi and fantasy with a story that is intentionally challenging to unravel.However, diving into Control and experiencing its bizarre story makes for a surprisingly alluring adventure. It intentionally keeps you in a state of confusion, but for good reason. This conceit of simultaneously unraveling Control`s complex story while exploring a massive, interconnected, brutalist labyrinth at your leisure was an opportunity that was too good to pass up for Remedy. During E3 2019, we spent time playing the game ahead of its August 27 release and spoke with narrative designer Brooke Maggs and game director Mikael Kasurinen about the making of the game, and how it changed their approach to understanding storytelling in games.For more on Remedy Entertainment`s Control, check out our hands-on impressions of the game from E3 2019.Editor`s Note: This interview has been edited for clarity and readability. What I found interesting about Control is that it`s so different from other Remedy games. For one, the world design does away with the linear style and goes for the Metroidvania setup.Mikael Kasurinen: Yeah, we really had to stop and think about how to actually construct this world. When you look at our past games, they were mostly very linear, cinematic experiences. You go from one point to another point and that`s it, that`s the only way you travel through the world. Now we have to think in a more three-dimens ...
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