Control Resonant moves Remedy’s paranormal action series out of the Oldest House and into a warped Manhattan, placing Dylan Faden at the center of a story built around his search for Jesse. PlayStation Blog says the sequel arrives on PS5 on September 24, and describes a city of hostile entities, distorted spaces, and broad streets and rooftops that Dylan can traverse with new powers.
That relocation is more than scenery. The original game confined Jesse’s journey to the Federal Bureau of Control headquarters, while Resonant uses connected, focused exploration areas across Manhattan rather than a fully open world. The result, according to PlayStation Blog, is a game structured around main missions, side stories, investigation, combat, and other objectives while still preserving the series’ horror-oriented science fiction.
This is a source-based comparison, not a GG Bulletin hands-on review. PlayStation Blog contributor Corey Brotherson and VGC reviewer Jordan Middler describe their own play sessions; their observations and judgments are attributed below.
Dylan changes the shape of the sequel
Dylan is a markedly different protagonist from Jesse. PlayStation Blog characterizes him as shy and hesitant after years in a coma and in Federal Bureau of Control custody, even as his abilities make him far more mobile. The story also gives players dialogue choices in selected conversations, allowing some influence over how Dylan responds.
That character focus extends to optional memory-based tasks. In these sequences, Dylan recreates scenes drawn from childhood thoughts by arranging objects found in the environment. PlayStation Blog cites an example involving inanimate cats and a picnic scene, framing the activity as a way to explore Dylan’s lost childhood.
VGC likewise reports that Dylan’s search for Jesse anchors the narrative, with FBC agent Zoe accompanying him over audio during missions. VGC praises the central character work and performances, though that is the publication’s critical assessment rather than a first-party claim.
Movement belongs to the city
Manhattan gives Dylan room to use mobility that would fit poorly inside the Oldest House. PlayStation Blog reports that he can double jump, air dash, and gain further traversal tools through Jesse Quests, including the Reach grappling hook. Gravity-distorted parts of the city also fold streets and structures into unfamiliar shapes.
The scale is deliberately bounded. PlayStation Blog calls the game’s areas focused sandboxes rather than an open world. Players can prioritize the main story, search for Jesse, or pursue side stories, and each zone includes arcade cabinets with timed challenges.
VGC adds that the zones have their own levels, affected by mission completion and enemy defeats. Those levels can provide benefits such as improved crafting-material drops or healing. It reports that the main path introduces the zones, while side missions reveal more of their paranormal detail. Middler also cautions that some world activities become repetitive toward the end, while noting they are optional rather than essential.
A melee-led combat system
The shift in protagonist also changes how fights work. PlayStation Blog says Dylan’s powers lean toward close-range combat against the Hiss, demanding dodges and quick strikes rather than careless advances. Cover from the city environment remains useful, but the report emphasizes offensive combinations and upgrades.
Dylan’s shapeshifting Aberrant weapon has primary and secondary forms that can be modified with effects and perks. He can also equip a Combat Ability, with options including a shield, projectiles, or an ally assembled from nearby debris. These abilities consume Power, which melee attacks can restore, creating a loop that rewards staying engaged with stunned enemies.
VGC similarly describes the Aberrant as the basis of combat and reports that the game does not use a parry. Its review characterizes the early combat as demanding and says enemies can overwhelm Dylan. It also reports that Resonants, the bosses associated with zones, are a particular focus for combat and art design.
Horror survives the wider map
A larger setting does not mean the series has abandoned its oppressive visual identity. PlayStation Blog says Control’s Brutalist-inspired design carries forward, but the Manhattan setting introduces altered taxis, distorted gravity, sudden announcements from The Board, and misshapen enemies. It also identifies the Resonants as large boss encounters.
Our reading is that the wider city creates two separate tests for the sequel: whether movement makes exploration interesting, and whether the activities at each destination sustain that interest. More room to traverse does not automatically mean more varied things to do. VGC’s praise for side stories alongside its repetition caveat makes that distinction useful for returning players, particularly those who tend to clear every optional objective. This is an interpretation of the reports, not our own completionist verdict.