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Thread: [Multi] Control

  1. #1
    Administrator Like-a-Bunny's Avatar
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    [Multi] Control





    Platform(s): PS4, Xbox One, PC

    Control: You are Jesse Faden, a young woman with a troubled past. You become the new Director of the Bureau of Control – Our frontline in researching and fighting against supernatural enemies like the Hiss threatening our very existence. You’ll uncover the secret activities of the Bureau agents and explore the strange and shifting halls of the Bureau’s headquarters, The Oldest House. Unlock new abilities with Objects of Power and upgrade your Service Weapon to take on bigger and more powerful enemies. Venture into lost sectors in the challenging Expeditions mode. Solve puzzles and complete quests to discover the secret of

    Jesse’s past and the true purpose of the Bureau of Control. Above all, you must defeat the relentless Hiss. http://controlgame.com Developed by Remedy Entertainment, Ltd. Published by 505 Games. The Remedy logo and Northlight logo are trademarks of Remedy Entertainment Oyj, registered in the U.S. and other countries. Control is a trademark of Remedy Entertainment Oyj. 505 Games and the 505 Games logo are trademarks of 505 Games SpA, and may be registered in the United States and other countries. All other marks and trademarks are the property of their respective owners. All rights reserved



    Sony debuts Remedy’s new game, Control, at E3 2018

    We don’t know much, but the trailer is interesting


    Remedy has announced its new game, Control, during Sony’s 2018 E3 press conference, and it looks ... strange? The game is coming in 2019, and features a female protagonist who shoots enemies with a shape-shifting gun. It’s the sort of thing that doesn’t give us much to go on, but Remedy’s track record speaks for itself.

    The short trailer features a number of striking images and strong use of shapes and shifting designs to try to make an impression, but without more information it was a bit hard to follow. This was a surprising reveal, but we wish there had been a bit more, or really anything, to give us a sense of what the game is about or what it’s trying to do. At least we know it exists now?

    Here’s the official description from the press release:

    After a secretive agency in New York is invaded by an otherworldly threat, players will take on the role of Jesse Faden, the new Director struggling to regain Control. This sandbox-style, gameplay-driven experience built on the proprietary Northlight engine challenges players to master a combination of supernatural abilities, modifiable loadouts and reactive environments while fighting through the deep and mysterious worlds Remedy is known and loved for.
    The Alan Wake and Quantum Break developer has talked about having another game in development for years, but details have been scant. The level of secrecy is pretty impressive. Control is being published by 505 games. You can look at the gallery of screenshots below if you want to try to guess what’s going on.
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    Administrator Rappa's Avatar
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    Zag er wel erg uit als de combat van Quantum Break, hopelijk niet het geval
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    King in the North Tonne's Avatar
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    Doet me denken aan de film push.
    "As God as my witness I will put you through that fucking wall!"
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    Deze game komt ook naar Xbox en PC.

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    Administrator Like-a-Bunny's Avatar
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    Quote Originally Posted by DarkRuleR View Post
    Deze game komt ook naar Xbox en PC.
    Aangepast, dank!
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    aka PjotrStroganov Cloud's Avatar
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    PsyOps reïncarnated!
    De volgende post hier onder plaatsen aub.

  7. #7
    Administrator Like-a-Bunny's Avatar
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    Quote Originally Posted by Cloud View Post
    PsyOps reïncarnated!
    Verrek, dat was waar ik ook aan dacht.
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    Administrator Rappa's Avatar
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    Control is Remedy's most exciting project in years

    I'm calling it, I'm finally letting go of Alan Wake. There is more to Remedy than its hoodie-and-tweed-wearing writer hero, and more to the studio's trademark brand of pulpy sci-fi than his gravelly, never-ending voice-overs. This is a good thing. Six years on from Wake's last outing, with no sequel in sight and Remedy's odd, live-action hybrid Quantum Break out of the way, Control feels like a clean break for Remedy.

    Control is the studio's first game for PlayStation 4 - its first for any Sony platform since Max Payne 2 on PS2 - something underlined by its unveiling at Sony's E3 conference. ("It felt like a good way to announce it this way and make this statement," Sam Lake, Remedy's chief writer and public face of the studio tells me after.) Control is also a clean slate to tell a new story with a more modern approach - albeit one which will still feel familiar to the studio's fans.

    The demo shown to press at E3 2018 is a proper peek at what everybody saw during the game's Sony conference trailer. You play as Jesse Faden (Courtney Hope, AKA Beth in Quantum Break), who like all Remedy protagonists is skilled in third-person shooting and physics manipulation while exploring dark, mysterious surroundings. These surroundings will host a big change for Control - a space to explore with a narrative path, but also side-missions and Metroidvania-inspired exploration. At one point in the demo we pass a series of prison cells, the unlucky occupant of one screaming for help. It's a side-mission which we can return to later.

    "There's a hub, but it's big sprawling location," Lake says. "From the outside, the Department of Control is a big, brutalist building in Manhattan. Inside, it's vastly bigger, operating on dream logic and magic, ritualistic rules. If you know the right steps, the building shifts and you have access to areas you didn't before. You might have gone through an area multiple times before you gain the power of levitation which can then lead you elsewhere again. [Metroidvania] was certainly an inspiration."



    The Department of Control is a space specifically designed for the type of storytelling Remedy wants to employ - one not constrained by cut-scenes, lost pages of a book or live-action TV episodes, but which unfurls itself more naturally as you venture deeper into its world. As someone who enjoyed visiting the worlds Remedy created in the past but left them frustrated by the limitations of their narrative devices, it's promising news. ("I'm proud of what we achieved - live-action was an experiment," Lake says when I ask if Remedy had any plans to dabble in live-action again. "I don't think we'll do that again, exactly the same way. Coming out of that - it was a long project and a lot of work - in Control we're trying quite a few new things.")

    What begins as a mundane US government office building quickly turns into a creepy TARDIS-like expanse, a house of horrors. Dead agents hang motionless in mid-air, offed by Control's mysterious reality-bending force, the Hiss. Others, still alive, possessed, drop to the floor and open fire as Jesse conjurs up some quick cover using nearby items. Tables, chairs, and nearby debris act as part of a force field which can then be flung back into the enemies' faces, alongside their own bullets. Jesse also has the coolest-looking sci-fi gun in any game at E3 - a hand cannon made up of Rubik's cube-esque blocks which fling themselves into various formations as you switch between different firing modes. The coast again clear, the action shifts again back to a mundane building, and a moment of calm.

    "It's a very mysterious, deep world and lore," Lake continues. "And the main story has a slightly different purpose now - to introduce this world to our main character and the player. And, in a different way to how we've done before, there are other stories in this world, other missions to go on. It's less linear, more player-driven."

    I'm all for more story and more mystery to solve, and somewhere with a bit more to explore than the straightforward if beautiful environments and set-pieces in Remedy games of the past. Expect a couple of nods to those games, too - ("I can't confirm, but yes...", Lake confirms when I ask about Alan Wake references). Due out in 2019, Control still has plenty of time to get its right, and flesh out the first steps seen here.
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    King in the North Tonne's Avatar
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    Ziet er erg interessant uit.
    "As God as my witness I will put you through that fucking wall!"
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    Control: No Carol Smillie, but changing rooms

    The most beautiful world in the room




    Ironic, given the game’s called Control, that I had none of that there thing when it came to the demo of Remedy’s latest. That’s fine – it’s part of how things work – but after watching a dev from the studio play this imaginative romp through shooting things and weird buildings at E3, it’s hard not to wish I was the one... well, in control.

    Control takes place inside the Federal Bureau of Control – a regular, everyday building in the brutalist style that is actually riddled with some kind of supernatural power. Most of the game is set in the building, but that doesn’t mean the player spends all of their time in dour, grey halls.

    For you see, there’s some Lynchian shit going on in the FBC building – and some Whovian stuff, too, with the building being a lot bigger on the inside, and all that. It's the kind of stuff that, when you’re watching it in a half hour demo, there’s no real point in trying to decipher it. Though, I am wondering why that guy was sat staring at a fridge (or was it a vending machine?) while asking quite desperately for help...



    Control has you playing as Jesse Faden, an employee of the FBC whose situation changes thanks to Events In The Story, leading her to gain superhuman abilities. Always good. Said abilities include the likes of launch – telekinesis, pretty much, allowing Jesse to pick up objects like chairs and fire extinguishers to lob them at enemies; shield – ripping up chunks of the floor and making them hover in front of her, Jesse becomes temporarily invulnerable; and levitate – which… well, it’s big, floaty jumps and looks cool.



    All the time I was being shown these powers, by the way, I had overlooked gem Psi-Ops: The Mindgate Conspiracy running through my head. If you can possess enemies, controlling their movement and ultimately cause their heads to explode, we’ll all know where Remedy’s main inspiration came from.

    It’s not just the powers you have to rely on – Jesse also wields a transforming gun, which from what I saw looks to be just as effective as her powers, though lacks the raw, kinetic feel of ripping up the floor or lobbing an office chair at a foe. Still, it would appear her single, changing weapon is the replacement for a full loadout – I was only privy to two modes, regular pistol and shotgun-alike – but it would make sense for the shooter to follow this path and morph to utilise different attacks and effects. Transforming is cool.



    And transformation is big in Control, with the FBC building constantly shifting and moving, turning into a completely different layout – be it to help or hinder – and full of the sorts of nooks and crannies that can fit entire extra buildings inside them. You pull lightswitches and end up in entirely different areas (like a painting, if my memory isn’t playing tricks on me). Remedy is going for a feeling of expecting the unexpected, much as I might hate myself for typing that.

    A big part of this hinges on Control’s open world setting – yes, it mostly takes place in a single building, but its ever-changing nature and vast size means it is ‘a world within one location’, to use official Remedyspeak. Control is open-ended and a sandbox, as well as being the longest game the studio has ever made – it’s obviously hugely influenced by Quantum Break, Alan Wake and everything else, but it’s very different to what we’ve seen in structure and size.

    There’s still a cinematic storyline backing the whole thing up, even if Control is non-linear, but if you’re mucking about and ignoring your main story missions you may still pick up the odd bit here and there thanks to the wonder of the studio’s trademark environmental storytelling. Okay, so what it boils down to is ‘hearing something on a TV nearby’, but I like it, stop judging me. It was cool in Max Payne, it’s cool now.

    All these mentions of enemies and I haven’t even gone into what’s going on – well, not specifically what’s going on as I’ve no idea there, but the general stuff. Basically there’s a nefarious force known as the Hiss infesting the FBC (and possibly the world? No idea). It looks vapour-like, with an oil slickish rainbow following its presence around and is actually quite pretty – at least until it possesses someone and makes them try to shoot your face off.

    I saw a few different enemy types – regular policecops/security guards who had been possessed and became targets for a telekinetically-lobbed filing cabinet; flying knobheads who I know will be irritating as they float about avoiding your shots; and a big boss chap who both had a name and, when shot, seemed to bleed fire.

    Remedy isn’t holding back on the odd with Control, and that’s a huge boon in my eyes. It looks lovely, Remedy has chops when it comes to third-person shooters – yes even Quantum Break, it was good and I will fight anyone who says otherwise – and there are some intriguing ideas at play throughout the game. Well, at least according to what I watched being played.

    There’s a quiet confidence about Control – and a louder confidence from Remedy itself. Two years in the making (longer by the time it releases, of course), the studio boosted by a bunch of successes, and buoyed by this particular game’s unshackling from a pointless (and ultimately mediocre) TV series/movie/bunch of FMV scenes that upped the download size by many orders of magnitude. It could be a good one.

    Plus I saw Sam Lake before I went in to see Control, and he still has Max Payne’s face and, frankly, it still freaks me out in the best possible way. Good stuff all round.
    bron

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    Remedy’s Control Will Run Well On Both PS4 Pro And Xbox One X, But Won’t Be 60 FPS

    “Rest assured that Remedy has always done technically really, really good games.”


    Remedy Entertainment’s upcoming game, Control, is looking like an interesting title in almost every way possible, from its setting to its basic narrative concept- and also its visuals. It has a unique and trippy visual look, sure, but what about its more technical aspects, though? Will it be leveraging the added capabilities of the PS4 Pro and the Xbox One X?

    We asked Thomas Puha, who is the head of communications of Remedy, and while he gave us no specifics on just what sorts of numbers we can expect for the game on the two enhanced versions, he was very confident that it will look great. “We aren’t talking about any of that right now,” he said. “Rest assured that Remedy has always done technically really, really good games. So we’ll make sure we’re taking care of all the different platforms.”

    One thing he was able to tell us definitively was that the game would not be running at 60 frames-per-second on either the PS4 Pro or the Xbox One X. When we asked him if Control would be targeting 4K resolutions or higher frame rates on any of the two systems, he said, “We’re not going to be 60FPS, I can say that.”

    What about the base PS4 and Xbox One, though? “Too early to tell,” Puha said to us. “Rest assured that it will run at 30 frames-per-second, and it will be fine.”

    Control is scheduled for a 2019 release on the Xbox One, PS4, and PC, but it is currently without a more specific release date. We recently witnessed the game in action during a hands-off behind-closed-doors preview, and came away quite impressed with what we saw in our time with it.
    bron
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  12. #12
    Administrator Like-a-Bunny's Avatar
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    Remedy’s Control Could Be Their Trippiest Game Yet

    Welcome back, Director.



    The narrative set up in Remedy’s Control is as weird as it is almost unimportant to know at this time. There’s a malevolent supernatural force called The Hiss, the protagonist, Jesse Faden, has a mysterious past that she’s trying to uncover, and that’s led her to the rather unusual government agency, the Federal Bureau of Control.



    Of course, it all goes a little bit off the rails and Jesse, through some kind of arcane ritual, has become the Director of the FBC, and thus the only person capable of wielding the institution’s powers. On several occasions as she triggers world altering events, she starts muttering a kind of mantra stating that she has the right to do this, she has Control. Whether it’s reassuring herself that she does, or part of the process, it gets the job done.

    It can be quite staggering when these transformations occur, whether it’s something simplistic like pulling a light switch three times and the corridor ahead suddenly being a completely different one, or the more seismic, with a whole room being disassembled into large blocks of concrete that swirl around a weird little black and white TV. Even without the Hiss invading, this has the feeling of a weird haunted house – it’s enigmatically called the Oldest House, to boot – and there’s definitely elements of psychological horror nestled throughout Remedy’s world. The crisp lighting effects in particular look incredible and lend the game a lot of its atmosphere. To be fair, so do the floating corpses.



    A horror game this is not, though, and it wasn’t long before Jesse was battling with the Hiss. It manifests itself through taking control of humans and giving them varying levels of supernatural powers. Also guns. The regular reanimated enemy don’t offer much in that regard, but others might be able to use telekinesis to pick up objects and tear up the world around them.

    They’re similar powers to the ones that Jesse now wields. Her two main abilities are Shield, which rips up a floating wall of debris and catches incoming bullets before flinging them to stun enemies, and Launch, which picks up and hurls items.

    Being the Director also allows Jesse to wield a unique shapeshifting handgun, appropriately called The Director’s Pistol, made out of black blocks that constantly move and reorientate themselves. It can shift from simple pistol shots in its Grip form to shotgun-like blasts as Shatter, never needing to be reloaded, but with its ammo recharging over time.



    Combat is fast and impactful. Combining these various attacks and abilities looks natural and fluid, with Shield meaning Jesse never has to hide in cover and also allowing her to stun enemies before then turning to her offensive abilities. Come up against a similarly powered opponent and it turns into a war of attrition, dismantling the swirling debris that they keep around them, dodging whatever objects they fling at Jesse, and then striking when the opportunity presents itself.

    This is obviously just a small subset of the abilities that Jesse will eventually have and face, but they extend beyond combat. Levitate does exactly what it says on the tin, letting Jesse float across gaps and reach certain ledges in the bureau.



    Remedy describe it as a “world within a location”, emphasising its ability to shift and transform, as well as the admitted Metroidvania structure. As Jessie gains control of more abilities by finding Objects of Power like the aforementioned black & white TV, she’ll open up new parts of the Oldest House; in some ways the demonstration’s glimpse into this world reminded me of BioShock’s Rapture.

    Remedy have long built games with the supernatural at their core, and in many ways Control feels like an evolution of those ideas. More fascinating, however, it the way this is all being woven together in the Oldest House, as it will transform to Jesse’s will and gradually reveals its secrets.
    bron
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    Member Rhaegar's Avatar
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    Ik kan het niet helemaal verklaren, maar alles aan deze game voelt gewoon goed. De esthetiek, het uitgangspunt, de design keuzes en de ontwikkelaar/game director natuurlijk ook. Zowel groots (verhaal) als intiem (omgeving). Ik denk dat dit iets heel speciaals wordt.
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    Quote Originally Posted by Rhaegar View Post
    Ik kan het niet helemaal verklaren, maar alles aan deze game voelt gewoon goed. De esthetiek, het uitgangspunt, de design keuzes en de ontwikkelaar/game director natuurlijk ook. Zowel groots (verhaal) als intiem (omgeving). Ik denk dat dit iets heel speciaals wordt.
    Eens. Het intrigeert in ieder geval, om wat voor reden dan ook. En Remedy schept verwachtingen.
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    Control Will Feature the Voices of Max Payne and Alan Wake

    Remedy Entertainment's Control will feature an all-star cast filled with actors who've worked with the studio before on games like Quantum Break, Max Payne, and Alan Wake.

    Yesterday, I sat down with Sam Lake, the creative director of Remedy Entertainment, alongside Courtney Hope, who voices Jesse, the protagonist in Control. The two shared some new information with me about what other actors will be a part of Control’s story.

    James McCaffrey, the voice actor behind Max Payne, as well as Matthew Porretta, the voice behind Alan Wake, will be in Control. Of course, if you don’t already know, Hope plays Beth in Remedy Entertainment’s previous title, Quantum Break. Lake says that this is Remedy’s all-star cast. I was also told that McCaffrey’s character will share some traits with Max Payne.

    “We have our previous director of the bureau, Federal Bureau of Control, Trench. He is played by James McCaffrey, who is the voice of Max Payne. To me the process was like, we have this secretive government agency, and you know we want this hard-boiled, cynical, older guy, as the director of this place. Then we started thinking, well maybe as a younger man he was a cop, or a fed, and this hard-boiled man of action who must now be pushed up the ladder to be the director. Who would be perfect for a role like that? Well yeah, James was a natural fit for that.”
    We also learned some new details about Trench which may fall into spoiler territory. So skip this paragraph if you’d like. Trench is dead throughout the game, how his role as a dead man will affect Jesse’s story has yet to be revealed.

    Lake did not reveal much when it came to Matthew Porretta’s character or how he’ll play a role in the world of Control.

    “Matt is playing the head of research, the main scientist of the bureau, Dr. Casper Darling. Who more than anything looks into these unexplainable phenomena that the bureau deals with and is trying actively to push the known reality further.”

    In case you missed it, you can catch an exclusive behind the scenes video from the Control panel at New York Comic Con where Hope and McCaffrey talk more about their characters. Control will be Remedy’s first multiplatform game in a long while. It’ll be available for Xbox One, PS4, and PC sometime in 2019.
    bron
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  17. #17
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    Quote Originally Posted by Michiel1986 View Post
    Deze titel hou ik in de gaten, alleen al voor de max payne voice actor

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    Dank voor de tip! Doet inderdaad aan PsyOps denken

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    King in the North Tonne's Avatar
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    Die combat baart wel zorgen ik ben nu Quantum Break aan het doorspelen.
    En het is niet echt heel erg tof....
    "As God as my witness I will put you through that fucking wall!"
    - Frank Murphy

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    Administrator Rappa's Avatar
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    Quote Originally Posted by Tonne View Post
    Die combat baart wel zorgen ik ben nu Quantum Break aan het doorspelen.
    En het is niet echt heel erg tof....
    Klopt, je hebt veel gave powers maar je kan er niet echt leuke dingen mee doen. Combineren van powers hebben ze ook totaal niks mee gedaan, erg jammer.
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    King in the North Tonne's Avatar
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    Quote Originally Posted by Rappa View Post
    Klopt, je hebt veel gave powers maar je kan er niet echt leuke dingen mee doen. Combineren van powers hebben ze ook totaal niks mee gedaan, erg jammer.
    Ja erg veel gemiste kansen. Heb de game ook even weer aan de kant gelegd.
    "As God as my witness I will put you through that fucking wall!"
    - Frank Murphy

  22. #22
    Member Rhaegar's Avatar
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    I'm on to Cincinnati.

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    Member Michiel1986's Avatar
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  24. #24
    Member Glory's Avatar
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    Quote Originally Posted by Rhaegar View Post
    Niet superveel gameplay in deze "gameplay" trailer. Ik ben wel heel benieuwd wat dit wordt. De omgevingen zien er in de trailer een beetje saai uit. Maar het is duidelijk dat de aandacht in de interactiviteit is gaan zitten.

  25. #25
    Member Glory's Avatar
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    Back in Control: Remedy's weird new world feels brilliant to play

    https://www.eurogamer.net/articles/2...lliant-to-play

  26. #26
    Administrator Rappa's Avatar
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    Back in Control: Remedy's weird new world feels brilliant to play

    Even if you did happen to be in Finland, Remedy Games is still off the beaten track. You need to drive out of Helsinki along snow-ploughed roads, across a bridge, over a frozen lake where people play ice hockey and on to the next town, a place named Espoo, to eventually find the studio's new office. The building, a brutalist pile of concrete and glass, was built for a private medical firm. Now, a recently-added machine in the entrance takes a mugshot of your face and immediately emails it to the staff member you're meeting. "You have to do this," I'm told, "since some fans managed to get in".

    I'm sort of impressed they made the journey, but once you're within Remedy's walls you're reminded why they made their trip. The studio has cultivated an offbeat personality over the years - the same personality it poured into cult hits like Alan Wake and Max Payne. There's a sauna in the basement, I'm told, as we pass a row of seaside deck chairs on a landing facing south, ready for the few minutes of bright sunlight Finland gets once in a while. And now more than ever, I think, Remedy embodies a sense of proud independence - worn outwardly through the ubiquitous staff hoodies which act like an optional uniform, and inwardly by the bodies which toiled for five long years building too-ambitious TV-series-slash-video-game hybrid Quantum Break for Microsoft. More on that, though, in a bit.

    It's not too much of a narrative leap to see this slightly weird building in the virtual one I'm here to explore - its cavernous concrete spaces and branching corridors, cramped staircases and side-rooms. You probably know Control's backstory already: lead character Jesse Faden has inherited the directorship of a secret US government agency designed to investigate supernatural phenomena, and which has unwisely set up shop within the eye of the paranormal storm. It's here, within the Bureau of Control's headquarters, Jesse will prove she's the right person for the job, rid the building of possessed former agents, and uncover answers to why things have gotten so weird. But weird, I'm happy to say, is a lot of fun.



    Unlike Remedy's offices, Control's world is filled with waves of possessed gun-toting agents, each throng a bespoke mix of sharpshooters, tanks, and mysterious orb creatures which buff enemies around them. Remedy has cooked up a complicated under-the-hood encounter system so when you're exploring the game's Metroidvania-like map - and backtracking through it - you're not overwhelmed at every turn. If you've just caused a ruckus in the room next door you may find yourself getting a breather - at least for a little while.

    But combat is perhaps Control's strongest suit. Fights are wild, breathless, and encourage plenty of experimentation. I felt like Jesse was learning alongside me as I worked out how best to mix gunplay and power combos, all while floating in mid-air. The Service Pistol, one of the best-looking weapons in pretty much any game, is the only gun in Control. But it comes with multiple forms you can switch between (two can be active in your loadout at any one time) and then tweak using different tiers of weapon mods you'll find dropped by enemies or in far-off rooms hidden in chests. My favourite was the Pierce form, a rangey rifle option that lets you shoot through cover and even, if you line up your shot, through multiple enemies. You can find character mods, too, so you can choose to tailor Jesse's loadout to fortify her health, ability duration and so forth depending on a specific encounter.

    Control's world isn't just filled with enemies, however - there are staff still alive in the bureau to meet, chat with and receive missions from. Some of these relate to Control's overall story - how the current crisis began, how it can be resolved - while others are side-missions designed to give Remedy's world a little more colour. Back at E3 last year, for example, we saw poor Phillip, a forgotten staff member left looking after an "altered", deviant fridge. In Control, seemingly mundane items must continually be observed or they will, Weeping Angel-like, devour those who look away. Agreeing to help Phillip eventually leads to you "cleansing" the fridge and being dragged into the game's bizarre Astral Plane, described by Remedy as a sub-dimension which can also handily gift Jesse new abilities. These new powers then unlock fresh areas to explore.





    In another mission, we meet high-ranking bureau employee Helen Marshall, holed up in a section of the Bureau focused on experimental research. Luckily for Marshall, her job was manufacturing gadgets which keep people safe from possession. Unluckily, a spiky ball of energy from the Astral Plane has escaped into her department. So begins a puzzley section where you have to kite the energy tornado - which looks a bit Lost smoke monster - around an area to eventually trap it within an airlock. It's a cool set-piece, and the environmental damage from the enemy as it whips about, splintering furniture and research equipment, offers some real eye candy. This demo is the first to show how Control runs on console (PlayStation 4 Pro) and six months out from release it's already looking polished.

    The mission then dives into the Astral Plane, a vivid white space filled with looming shapes and moving platforms, and it's here, after a big boss fight, we learn the Seize ability, which compels weakened enemies to fight on your side. This new tool is perfect for those enemies that buff others, which are now compelled to buff you. Last year's demo showed how Jesse can launch herself into the air, levitate and shield herself from bullets. This new build includes evade and ground-pound manoeuvres. My favourite is the Mass Effect-like vanguard charge, which can zoom you across rooms. It's meant for combat, but acts as a fun method of traversal, too.

    A sandboxy area I played, the Central Research lobby, offers perhaps the most indicative experience of what Control will be like to play. Free from mission constraints, I'm allowed to simply explore a chunk of the map and poke around its corners - take a hidden lift down into an overgrown staff toilets block, now home to slimy mould and dripping ferns, where I find a new legendary character mod. Back up to the lobby and I try another door, which leads me into a plush study area whose walls move around as I do, the dimensions of the room cascading outwards in front of my eyes. These areas exist to be explored but aren't key to the game's overall plot - unlike the linear narrative in Remedy games of the past, the studio wants you to linger in its creation.



    "We want to keep building worlds, but make them places you explore," Control's director Mikael "Mixu" Kasurinen tells me a little later, "not just blast through in one story arc then you're done. The world should be something that exists which you can find more things to do with." It feels a common problem for games which previously would have lasted 10 hours and then gone back on the shelf - something made all the more obvious after the mammoth development of Quantum Break. "We were looking at people playing Quantum on Twitch," Remedy communications manager Thomas Puha remembers. "We'd spent four to five years on it and then it was over for them in eight hours. There's something very strange about that. We want to make sure we can keep building on Control for a while to come."

    The launch of Control is just the beginning for its world, Remedy is keen to stress. When you're done with the main game and side-missions, you'll be given post-game "Bureau Alerts", a feature which still remains under wraps. With Control, Remedy is spending time to create something it hopes you'll want to return to after the end of its core story, that you may still be puzzling over.

    "Let's be honest, we're not one of the massive studios around the world, but we're still independent," Kasurinen continues. "This is our own IP, we decide what's going to happen with it. The smartest thing for us is to do what we believe in, be ready to be a bit weird, be controversial even - let's try to make a statement than play it safe. That's part of the exhale after Quantum Break. Control is very much an expression of that."

    Remedy hasn't said much about how Quantum Break played out versus its expectations. At launch, the PC and Xbox exclusive received a mixed reception, with praise for Remedy's style and visuals but more of a shrug for its live action episodes, which felt a hangover from Microsoft's failed push into TV. But it speaks volumes Remedy has for its next project created a new IP it holds the rights for, chosen to release it via a smaller publisher - 505 Games - and showed it first to the world last year via Sony's PlayStation E3 conference. "It's a statement, I guess," Kasurinen says, when I remark that the first console hands-on with Control is also on PlayStation 4 Pro units. "The more people who play our games, the better," he adds, diplomatically. "It's something we've wanted to do for a while now."





    Where Quantum Break told a Hollywood-style time travel story, Control is offbeat and indie feeling in a way Remedy hasn't been since Alan Wake. "With Quantum Break we talked about wanting to - for the lack of a better word - be mainstream," Kasurinen says. His team was building a big budget exclusive for Microsoft, after all. "We carefully chose things and maybe sometimes avoided certain things we love. We were anxious about being too weird. We played it safe with Quantum Break in many ways. After coming out from it we felt we wanted to do something different. We wanted to get weird again.

    "You can look back at Quantum and say, maybe it's the farthest we've gone regarding storytelling. There's a live action TV show, extremely long, complicated cinematics, really elaborate facial animation systems. It's as far as we could go with storytelling from a visual perspective. This [Control] is us taking gameplay and a complicated universe and an open ended experience and going as far as we can from a Remedy perspective regarding those."

    On the far wall of the office, there's a roadmap of work still to do before the game's launch in August - and beyond. Papers cover over the latter months of the year. If this was a room in the Bureau of Control, it would be good environmental storytelling. "There will be two expansions," Puha details, when I ask what's next. Named Foundation and AWE, these will only go into full production when the main game wraps. "But we also want to release content in between," Puha continues, "as the first expansion is not going to come two months after we ship - we want to take our time with it."

    These smaller content drops might answer what's behind a locked door, or take players to a new floor - the studio isn't yet willing to say. Whatever happens, they're designed to keep players unravelling the mysteries of Control a while longer. And I understand that impulse, I think. After all, it's something I wanted to do, long after leaving Remedy's studio, and winding my way back home.
    edit:

    Pfff goedemorgen Rappa

    Quote Originally Posted by Glory View Post
    Back in Control: Remedy's weird new world feels brilliant to play

    https://www.eurogamer.net/articles/2...lliant-to-play
    Vragen? Stuur een mailtje naar info@liquidbunny.nl of spreek me aan op Steam.

  27. #27
    King in the North Tonne's Avatar
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    Het leest als Quantum Break maar dan leuk.... I'll give it a shot.
    "As God as my witness I will put you through that fucking wall!"
    - Frank Murphy

  28. #28
    Administrator Rappa's Avatar
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    Quote Originally Posted by Tonne View Post
    Het leest als Quantum Break maar dan leuk.... I'll give it a shot.
    Zo zit ik er ook in. Quantum Break had alle ingredienten om iets tofs neer te zetten maar het was gewoon niet leuk om te spelen.
    Vragen? Stuur een mailtje naar info@liquidbunny.nl of spreek me aan op Steam.

  29. #29
    Administrator Like-a-Bunny's Avatar
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  30. #30
    Administrator Rappa's Avatar
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    Hoor niks anders dan positieve geluiden hierover
    Vragen? Stuur een mailtje naar info@liquidbunny.nl of spreek me aan op Steam.

  31. #31
    Member Overmind's Avatar
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    Remedy en ik komen nooit meer bij elkaar, geen Alan Wake sequel en dus het verhaal afmaken is niet iets wat ik kan vergeven. En gezien het een MS IP is zal het ook wel nooit gebeuren...

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    Quote Originally Posted by Rappa View Post
    Hoor niks anders dan positieve geluiden hierover
    Ik heb ook super veel zin in deze game.
    Persoonlijk vond ik Quantum Break best leuk, en dit voelt heel erg als een spiritueel vervolg.

    Was minder fan van de eind baas / boss. Ik heb de game ook nog op hard gedaan vanwege een Achievement en dan was de eind baas nog 3x irritanter. Brrrrrr.

  33. #33
    Administrator Like-a-Bunny's Avatar
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    Quote Originally Posted by Rappa View Post
    Hoor niks anders dan positieve geluiden hierover
    Zeker!

    'Control' is nearly a fantastic supernatural action game
    Remedy is building a spooky new world, but there are cobwebs in the corners.





    Control comes out on August 27th. That gives developers at Remedy Entertainment less than 80 days to spit-shine their code before the whole thing goes live on PlayStation 4, Xbox One and the Epic Games Store. Control is nearly there: An hour-long slice of the game, not a tailor-made demo, is playable at E3 2019 and it's a stylish, eerie, action-packed experience. However, it feels a little rough around the edges.

    Remedy is famous for creating spooky, linear games like Alan Wake and Quantum Break, and Control mirrors this approach with a story about supernatural forces overtaking a secretive government building called the Federal Bureau of Control. Jesse Faden is the newly appointed director, even though she never asked for the job; she just happened to be in the FBC when a paranormal force called The Hiss invaded and killed the previous director. Jesse picked up his firearm, an alien handgun that transforms into various weapons on the fly, and she became the director. Welcome to the job, kid -- now kill all of the spooky monsters that are trying to blow up the building and maybe the entire planet.



    The FBC building is alive, in a sense. It shifts at will and on Jesse's command, walls pressing inward and falling back in checkerboard chunks. Jesse herself is special, too; she has superhuman abilities, including telekinesis that allows her to pick up large objects and hurl them at enemies. She can also use these abilities to fly, though Remedy isn't showing off that specific ability in its E3 offering.

    The demo kicks off at the start of chapter three. Jesse is new on the job and has to prevent the building from melting down, due to the cancerous, globular tentacles that have subsumed the power cores and cooling pipes. She meets an aloof janitor who sets her on the right path, and then she gets to work mowing down glowing-red monsters and the FBC employees they've possessed.

    Combat in Control flows smoothly between third-person shooting and superhuman powers. Enter a room with bodies floating in the air, silent and still, and they'll soon drop to the ground and start attacking. The Hiss show up when they want to, soaring around in a black-and-red mist and dealing explosion damage when they die. The director's firearm transforms from a shotgun-like weapon into a longer-range pistol as needed, and it doesn't use ammo. However, it requires a few-seconds recharge after Jesse empties the nonexistent clip.



    Between aiming, shooting and telekinetically throwing big metal boxes at baddies, each room has plenty of action to offer. Jesse's superpowers are dope, mostly because they're not too finicky. Items that she can pick up -- electrical boxes, metal panels, lights, concrete blocks -- are outlined in white, but even if there's no throwable object around, hold down the telekinesis button and she simply rips up a section of the floor. As Jesse grabs things, they soar her way from ahead of her, leading to one of the most satisfying mechanics in the game: Killing enemies by suddenly smacking them in the back with a giant metal box.

    The music ramps up deliciously as Jesse enters a fight, and it's supposed to fade away once all of the enemies have been terminated. However, the frantic, pounding beat failed to dissipate after a battle a few times during my playthrough, making the simple action of walking down hallways and across metal staircases uncomfortably intense for a good chunk of time afterward.

    There's room to improvise and pick up mini missions along Jesse's journey; the brutalist concrete architecture is littered with details that add to the background narrative. Navigating the building is fairly simple, with plenty of glowing green lights and signs with friendly arrows pointing the way. However, I found myself lost in the industrial compound once, for about 10 minutes, and the players on either side of me had an even tougher time. Developers eventually came over to help each of them navigate their way out of different maze-like loops, physically pointing them in the right direction.



    There's clearly a full game here, poised to be packed with paranormal-action goodness and a mysterious narrative to unravel, coming from a team that knows how to tell a spooky story. Still, a few moments from the demo gave me pause. Character animations felt unfinished in cutscenes, surprisingly stiff and repetitive. The extended battle music raised a red flag. A handful of folks needed help from developers, some for help with mission goals or navigation, and at least one with a session-ending glitch.

    That happens sometimes, in pre-release demos. But with Control's launch date two months away, I'm surprised by the amount of polish Remedy has left to apply. The studio has the foundation of a fantastic game with fresh and fluid combat mechanics, and I'd hate to see it overshadowed by its flaws.
    bron

    En ik vergeef ze het niet maken van een Alan Wake 2. Het origineel was ook niet zo goed.
    Vragen? Stuur een mailtje naar info@liquidbunny.nl of spreek me aan op Steam.

  34. #34
    Administrator Liquidje's Avatar
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    Holy shit, dit geeft mij echt een insane ierie gevoel met die screenshots.
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  35. #35
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    After an hour playing it, Control seems extraordinary
    Cooped up
    .

    I think maybe the number one rule about anything made by David Lynch is that you should never write about anything made by David Lynch. I'm going to break that rule - just quickly I promise - to say there was a moment that felt straight out of the Lynchian playbook in the Control demo I played at E3, and it was wonderful.

    Dropped into things a few hours into the game, one of the first tasks I had in my slice of Control was to find a janitor. I tracked him down and found him in a little back room (there is a wonderful simplicity to tracking things down in Control - in fact it's much of what the game is - but more on that in a moment).

    To get here I fought through people and monsters, red reality-distorting fields of light in a windowless, brutalist government building, ripping up walls and floors and office desk chairs as I went. Chaos, by way of Ikea. And after that I opened a door and he just stood there. A janitor, with a mop and a bucket.



    There's a quick cutscene and - forgive me for describing camera movements but please just hang in there - the camera glides in on him slowly, from just below eye-line, an imperious hero shot of a dishevelled, 60-something-year-old man in a boiler suit. We start talking and it looks like a bog standard video game cutscene - agonisingly bland, over-the-shoulder angles and all - only I don't think it is. The janitor speaks with a thick Scandinavian accent, slowly. Almost too slowly. He says something I don't completely understand and we cut back to an ultra close-up of Jesse's face (you play as Jesse Faden, the new Director at this Bureau-gone-wrong) and all you can see is her eyes. She's not saying anything.

    "Maybe it's just some extra video game cutscene jank", I'm thinking - you know the kind of awkward-pausing, blank-eyed delivery stuff I'm talking about - but it's not. After an uncomfortable amount of time watching Jesse's face twitch I hear a little whisper of her internal thought ("it's not jank! This is a thing"). Then back to the janitor. Back and forth. It's not the accent that's making him hard to understand; he's genuinely not making any sense. I think he thinks Jesse is his... assistant? He's giving us a side quest? To clean up some rubbish by a furnace? More awkward pauses and cuts and twitching stares (goodness me the facial animation is good, by the way), and the janitor still just leaning on his mop as Jesse goes through various, voiceless ways of expressing "seriously what the fuck?", like she's frozen in time in front of this bizarre little man. All this to a background hum of - you guessed it Lynch fans! - something oddly reverberating. The Janitor From Another Place, in his supply cupboard Black Lodge.


    This encounter was more than enough to convince me to sack off the main quest for a bit, and follow the tangent. I went hunting for the room he talked about so I could burn some rubbish - and so we get to the actual getting-around of Control.

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    Control has a map - although I was encouraged to avoid using it by someone from Remedy, curiously. It's very standard Metroidvania fare, all different-sized rooms connected by tunnels and pathways to bigger or smaller ones, different routes unlocked or totally missed by accident, different ways of reaching a destination just nudged onto you, by some flickering red light or spooky gurn from around a bend. Navigating is just a case of looking at the location name of where you want to go in the top left corner, which is usually something beautifully bureaucratic like "Central Processing Management", and going there. If you've discovered it already somehow, it'll be named somewhere on the map, and you've just got to get to it. If it's not, you've got to wander around the fog-of-warred spots until you do.

    I have no idea why that stood out to me so much. It seems so stupidly simple, but in Control it feels absolutely deliberate (in fact everything feels deliberate, which I wish I could say more often). I am in bureaucratic-name-place X and I need to get over there, to bureaucratic-name-place Y, and I do so by taking the second left, through a squiggly thing, into a big rectangle. It's just using a map! That's all this is! I'm sure it's something clever, to do with making me actively think about where I'm going, as I'm going, probably. To keep me present and conscious as it throws visual weirdness and aural imbalance at me as I go. But explaining it as such, putting a tangible border around something as inscrutable as a feeling, like the one you get from claustrophically drifting around Control's magnificent, suffocating architecture, feels wrong. Whyever it works, it just does.


    Putting these blocks onto generators was the main puzzle-type in the demo. There's room to do more with it but I'm hoping there's some more variety to come.

    Along the way there is combat. It's fantastic. Control controls impeccably, my simple early-game options of shooting, shooting a different version of my gun, or picking up things - any things - and chucking them at enemies feels sublime. It is totally intuitive, almost mystically so; the chunk of drywall, or concrete floor, or filing cabinet that gets picked up always the exact one that I wanted, just by way of body language and intent. You can pick up and lob about three things in quick succession before your picking-up-and-chucking gauge depletes. It recharges after a second or two on its own, so it's just a natural cooldown timer, in a sense, and your gun actually works the same way: a nicely minimalist little row of dots around your reticule are bullets, and when you run out you just need to wait a moment (it's a magic gun, obviously, and the gunfeel is magic too).

    It's all in service of a kind of rhythm: you lob a PC monitor at one grunt, pop a few headshots into one of the charging, destruct-on-death monsters nearby, punt a brick at another, cycle back to your gun and maybe switch it to the kind of shotgun version, if you're feeling fancy; repeat. There's a skill tree to unlock more, as well as mods found - or built from resources - scattered about in containers in little side rooms and hidden nooks, and basic options to upgrade health or thing-throwing damage or number of things you can fling, and the like. It felt like the systems were deep, sure, but also immaculately streamlined. All that's there is what's needed.


    Everything in Control, right down to mechanics like this, is so brilliantly in line. There's a vision. Nothing is wasted.

    After certain spots of combat, you can claim a control point. I'm not actually sure what these do, or the narrative reason for them, but the points could be interacted with afterwards and seem to serve as places you can fast travel from, or rest a moment at, to tinker with and upgrade some unlocked skills. They feel like welcome respite, even if you're hardly in constant conflict. The environment of Control is so incredibly stifling it's like the little endorphine rush of unlocking something is necessary in order to breathe.

    Back to Janitor-from-another-place's quest: I found the furnace. It lines the entire back wall of a fairly vast, warehouse-y room, and it's just a bit too large, and a bit too loud, I think? In fact so are a lot of things in Control. It's all oddly out of balance. From time to time, I found, you'll sink into passively doing your thing and then just catch yourself - "that is an abnormally large furnace, actually" - and realise it's all just a bit off. Why is there a jumbo furnace, roaring like I'm looking at the Sun? Looking straight into reactor four at Chernobyl? Into hell? Why, after a lot of time spent fighting my way here and subsequently looking around, is the task to just lob some scattered barrels of toxic slime into it? Clearly, Control likes a little environmental puzzle, and seems to want you to stop and scratch your head - but even when you're not actively solving things it's like there's a puzzle still rumbling, underneath. A sense that this world, unlike the worlds of so many contemporaries, is not already solved.



    Anyway, I solved that and nothing happened - of course it didn't. I went back to the main quest. More excellent combat, more brain-teasing stuff-chucking environmental puzzles, more of the macabre that I won't ruin, or really be able to explain if I tried. Soon enough I ended up in some other, inexplicable non-place when I was told I had to wrap things up. And that's Control - and now I'm left feeling there's no way for me to write it all down without it sounding ridiculous. I am aware of how ridiculous it reads back even now - and this, along with just the general insufferability of reading someone as they try, is exactly why you don't write about David Lynch. It is an aura. An offness, that you have to feel in order to know. I don't know how to describe it or how to do it justice but Control has it coming out the wazoo, oddness oozing out every time it looks like edging towards big-budget action-game normalcy. After just an hour, I am pretty sure this game is special. In fact, after just an hour I'm pretty sure it's more than that: it's a leap forward, in sheer creativity and vision, from any other game like it, and after just an hour I'm in awe.
    bron

    Ik ben inmiddels wel heel erg benieuwd geworden.
    Vragen? Stuur een mailtje naar info@liquidbunny.nl of spreek me aan op Steam.

  36. #36
    Administrator Liquidje's Avatar
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    Ik ben echt stoked AF. Ik weet amper wat van de game maar ik weet zeker dat dit goed in mijn straatje past.
    Vragen? Stuur een mailtje naar info@liquidbunny.nl of spreek me aan op Steam.

  37. #37
    Member Michiel1986's Avatar
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    Quote Originally Posted by Liquidje View Post
    Ik ben echt stoked AF. Ik weet amper wat van de game maar ik weet zeker dat dit goed in mijn straatje past.
    Kijk dit even af en uit je mening ben wel benieuwt wat je hier nou gaat van zeggen


  38. #38
    Choose Wisely The_wildcard's Avatar
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    Quote Originally Posted by Liquidje View Post
    Ik ben echt stoked AF. Ik weet amper wat van de game maar ik weet zeker dat dit goed in mijn straatje past.
    Co Optional Podcast even bekijken rond 1:24 Jesse verteld hoe het speelt. Komt er op neer beste telekinesis game. Betreft hoe je dingen in elke kamer kan lanceren.
    Vod in E3 topic gepost.
    Getting to know a girl who can fold like Origami paper...... Look a Swan

    Ps4, Ps3, Ps Vita, GameCube, NZXT H500, Amd Ryzen 7 2700x, 16GB Ram, Asus X470 Prime Pro, MSI GTX 1080 Ti, Asus Xonar Essence STX II, Plantronics Rig 500 Pro.

  39. #39
    Administrator Like-a-Bunny's Avatar
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