At a recent gaming showcase, a video starts to play on a huge screen inside a quiet presentation room. There is the familiar, bizarre atmosphere of the Control universe—floating debris, distorted architecture, the eerie hum of paranormal forces—but something else feels instantly different. A character jumps into the air and hits the pavement of a winding street in Manhattan with a hammer. The enemies disperse. The fighting is quick, fierce, and nearly careless.
The upcoming game Control Resonant from Remedy Entertainment seems to be deviating from the “Soulslike” formula, which is unusual in today’s gaming landscape. The same design has been used by numerous action role-playing games over the last ten years: slow, punishing combat, stamina management, and purposeful movement. Obviously, it works. However, it appears from early Resonant footage that Remedy saw that trend and subtly chose to go in a different direction.
| Category | Details |
|---|---|
| Game Title | Control Resonant |
| Developer | Remedy Entertainment |
| Publisher | Remedy Entertainment |
| Release Window | Expected 2026 |
| Game Genre | Action RPG with fast-paced melee combat |
| Protagonist | Dylan Faden |
| Setting | Distorted Manhattan influenced by paranormal forces |
| Main Weapon | Shape-shifting weapon called the Aberrant |
| Gameplay Focus | Aggressive melee combat, build customization |
| Reference | https://news.xbox.com/en-us/2026/03/04/control-resonant |
Players took on the role of Jesse Faden in the 2019 video game Control, navigating the eerie hallways of the Federal Bureau of Control with a supernatural firearm that could change into multiple weapon types. Telekinesis and ranged combat were key components of the gameplay. It had a controlled, almost methodical, yet fashionable vibe.
This time, Dylan Faden, Jesse’s brother, is at the center of the narrative as he investigates a Manhattan that has practically collapsed in on itself following the Hiss, a reality-warping entity, spilling out of the Oldest House. Streets curve at unattainable angles. Structures seem to have partially dissolved into odd geometric shapes. There is an odd parallel to the dream-logic of movies like Inception when you watch the surroundings twist in that way.
Rather, he employs the Aberrant, a weapon that changes shape and is primarily used in close combat. It can be seen as a huge hammer in some clips, or as blades or an extension that resembles a whip in others. It has a dramatic effect. Dylan appears to plunge right into chaos, whereas Jesse used to float through fights from a distance.
Remedy’s designers are surprisingly direct in their description of the combat philosophy: this isn’t a defensive, reactive game. It is hostile. Go ahead. First, strike.
One cannot help but notice how dynamic everything appears when watching the early gameplay footage. After slamming into the center of a group of adversaries, Dylan launches one into the air and then launches a series of attacks in quick succession. When a well-timed dodge lands, time seems to slow down for a moment. Immediately a counterattack ensues.
It may sound dangerous to make that comparison. Character-action games require incredibly precise mechanics, and many studios have been humbled by the genre. Historically, Remedy has developed narrative-driven shooters instead of action games with a lot of melee. There’s a slight sense of wonder—and possibly skepticism—about how well this changeover will go. The studio appears to be aware of the difficulty, though.
In Resonant, build customization, not intricate gear systems, is what gives combat depth. After gaining abilities through the defeat of formidable foes known as Resonants, players can try out various skill combinations in a hub area known as “The Gap.” Talents encourage players to develop their own fighting style by altering the behavior of dodges, combos, and special attacks.
It seems that the system is made to be replayable. The inability to unlock every ability in a single playthrough has already been alluded to by the developers. That design philosophy has a refreshing quality.
Action role-playing games have long relied on endless stat management and large inventories. Instead of emphasizing mountains of gear, Remedy appears to be taking a slightly different approach, concentrating on player experimentation and combat rhythm.
That ambition is also reflected in the setting. In contrast to the Oldest House, a concrete-heavy maze in the first game, Resonant distributes its action throughout Manhattan neighborhoods that have been altered by supernatural forces. Each area seems to have its own visual personality, with one flooded with hostile entities and another twisted into impossible architecture.
This larger canvas might make the game feel less cramped than its predecessor. As you watch the video, you get the subtle impression that Remedy is attempting to simultaneously control two instincts. The studio obviously wants to improve the Control formula, on the one hand. However, it does not wish to lose the spooky narrative that contributed to the original game’s appeal. The success of Resonant may ultimately depend on that balance.
Because it’s risky to switch genres in the middle of a series. Fans of the original might anticipate slow-burning mystery and psychic gunplay. Instead, they may encounter frantic melee combat throughout a collapsing city, airborne combos, and hammer strikes. However, that risk also has a commendable quality.
When a previous game becomes a cult favorite, game studios tend to stick to tried-and-true formulas. It appears that Remedy is prepared to deviate from its own trend. At first, the outcome may seem odd, but occasionally, the Control universe thrives on oddity.
One thought keeps coming to mind as you watch those early battle scenes, where Dylan is tearing through opponents while gravity seems to be twisting around him. This follow-up might not just carry on Control.