Control

Impactful gunplay bolstered by a telekinetic twist, and a mystery you’ll be turning over for a long time afterwards. Welcome to the Oldest House, Director.

The writing, direction, and performances are consistently brilliant. This is Remedy at the peak of its game. Control feels like a company rediscovering itself, waking from a long slumber. Remedy’s legs work as intended once more, the vestiges of sleep paralysis a distant memory.

I don’t want to use the word masterpiece lightly, but what else do you call the combination of gleefully chaotic gameplay with earnest storytelling in a setting as refreshingly unique as Bioshock? What else do you call a combat system that goes so far beyond the simple act of shooting a gun without drilling down into a set of intricate menus and complicated controls? What else do you call darkly malevolent horror that doesn’t feel like it was cribbed from someplace else? What else do you call the crowning achievement of a studio with a unique voice, an uneven track record, and 25 years of experience? If there’s a better word to describe what Remedy has achieved with Control, I can’t think of it.

The world is so carefully crafted and the combat so great, they both carry all the weight the story doesn’t, and then some. After being unimpressed with Remedy’s previous work, Control feels like a powerful final draft after those early false starts and marks a strong new creative direction for the studio.

Remedy delivered a solid action game accompanied by Sam Lake's signature "weird" writing and some great gameplay mechanics. Add to this the superb atmosphere we get from the Oldest House and some amazing graphics -as well as physics- and what we get is a strong contender for Game of the Year.