Control is less a horror game than it is a game of unsettling strangeness. Horror in its world has become familiar and mundane, something to be managed and quantified and filed away in official reports, but still dangerous even if familiarity has bred contempt. That also makes it a bureaucratic comedy, with midcentury modern aesthetics paying homage to the likes of Dr. Strangelove or Noah Hawley’s surreal Legion. It’s a world of complacent and foolhardy managers who fight budgetary and turf wars with more ferocity than they battle the monsters that they are supposed to contain, while a handful of working stiffs try to keep the dam from breaking. It’s also a super-powered shooter where your character essentially arrives in this world of overmatched middle-managers with the power and force of a demigod and the can-do spirit of someone who is just grateful they finally have a decent job.
This is a companion discussion topic for the original entry at https://www.vice.com/en_us/article/ne8njd/control-review