There’s Freedom at Every Mind-Bending Corner, tell me about this news in (https://www.nytimes.com/2026/09/18/arts/control-resonant-review.html)

The article titled “There’s Freedom at Every Mind-Bending Corner,” published in The New York Times Arts section, is a review of Remedy Entertainment’s video game sequel, Control Resonant.

Here are the key highlights and context covered in the review:

• Setting and Scale: Unlike the 2019 original Control, which took place entirely inside the claustrophobic, brutalist architecture of the Federal Bureau of Control’s headquarters (The Oldest House), Control Resonant breaks into an open-world setting: a paranaturally warped, quarantined Manhattan. The review highlights the immense creative freedom and surreal visual design found in exploring this distorted New York City, where physics and reality continuously bend around every street corner.

• Protagonist and Combat Shift: The narrative centers on Dylan Faden, the brother of the original protagonist Jesse Faden. Rather than the firearm-focused psychic shooter mechanics of the first game, Resonant pivots toward fast-paced action-RPG combat. Dylan wields the “Aberrant”a supernatural, shape-shifting melee weapon that dynamically transforms into hammers, staves, and blades alongside telekinetic abilities.

• Artistic Vision and Tone: The review praises Remedy’s signature blend of Lynchian weirdness, striking brutalist and neo-noir aesthetic, and boundary-pushing environmental design, noting that the leap to a wider, more explorable city gives the studio’s surreal storytelling room to breathe.

• Overall Assessment: The piece frames the game as an ambitious, bold evolution for Remedy that embraces player freedom and mind-bending environmental spectacle, while examining how effectively the new melee-heavy combat loop sustains the mystery and psychological intrigue established by its predecessor.