Dylan Faden’s return immediately puts Control Resonant in familiar territory while changing the way that territory feels to play. Rather than simply reproducing Jesse Faden’s abilities, the opening gives Dylan an aggressive melee-focused combat system built around weapon forms, dodging, falter meters, executions and rapid movement. The result is recognizable as part of the Control universe, but the gameplay shown here has a distinctly faster identity.
That combat is easily the highlight of the walkthrough. Strike, crush and other forms introduce different damage properties, while secondary attacks and abilities such as Barrage begin opening up different approaches surprisingly early. Enemies can be pressured into a faltered state and finished with executions, and the combination of double jumps, aerial movement, rushing and dodging makes Dylan remarkably mobile. The presenter repeatedly compares the movement to Prototype, and while that is his subjective comparison, the footage he describes clearly leaves him impressed by how quickly Dylan can cross spaces and close gaps.
The opening also wastes little time escalating from basic encounters into more demanding fights. An early arena introduces waves of enemies before Dylan has accumulated many tools, while the battle against the Artist forces more careful attention to health, dodging and the enemy’s large falter meter. The presenter struggles noticeably during that encounter, which actually makes the walkthrough more useful as a first look: instead of presenting polished mastery, it shows how the systems behave while someone is still learning their timing. His tendency to rely heavily on repeated attacks suggests that the deeper combat possibilities are only beginning to emerge.
Story material provides considerably more context than the frantic action initially suggests. Dylan has spent years contained by the FBC, Jesse is missing, the Hiss has escaped into Manhattan, and an additional resonance phenomenon appears to be changing both the city and the behavior of the Hiss. Emily Pope’s conversations establish Dylan as simultaneously valuable and dangerous, with his mobile containment device capable of incapacitating or killing him if necessary. His uneasy arrangement with Agent de Vera gives the premise an effective tension: Dylan wants an opportunity to help, while the Bureau still has ample reason not to trust him.
There are also promising signs that Manhattan will support a more expansive structure than the introductory corridors suggest. Mapping pylons, sensors, field offices, checkpoints, supply lines and separate city zones create a sense of a larger environment filled with objectives rather than a simple sequence of combat rooms. Side problems involving stranded personnel, an overheating patterned factory, escaped mold and an isolated evacuation site suggest plenty of activity beyond the central mission. The traversal mechanics complement that structure particularly well because getting across rooftops and vertical spaces already looks entertaining in its own right.
The walkthrough itself is enthusiastic and appropriately exploratory, although its loose presentation sometimes works against clarity. The opening sponsorship and lengthy DLSS 4.5 configuration discussion delay the game considerably, and once play begins the commentary frequently jumps between objectives, graphical performance, movement experiments and immediate reactions. Collectibles and documents are often skimmed rather than examined, and some navigation becomes confused. That approach captures the excitement of discovering a new game, but viewers looking for careful explanations of its systems or lore may find the coverage less informative than its lengthy runtime suggests.
Even with those limitations, the presenter communicates genuine discovery unusually well. New abilities, bizarre environmental transformations and escalating combat encounters consistently generate specific reactions rather than detached narration, and quieter conversations with Pope and de Vera are allowed enough space to establish Dylan’s circumstances. Ending shortly after reaching the broader mission structure also makes this feel more like an extensive opening impression than a conventional tightly organized walkthrough chapter, but it succeeds at demonstrating why the game’s combination of mobility, melee combat and surreal world design has captured the presenter’s attention.
Pros
- Dylan’s melee forms, falter system, executions and abilities create an immediately energetic combat foundation.
- Double jumps, rushing, aerial movement and rapid dodging make traversal look exceptionally fluid.
- Dylan’s history with the FBC and uneasy partnership with Agent de Vera give the story an effective layer of mistrust.
- Manhattan’s mapping objectives, distinct zones and environmental crises suggest a substantially expanded playable space.
- Difficult early encounters show the learning process rather than presenting an artificially flawless first playthrough.
- The presenter’s enthusiasm gives the stranger discoveries and new abilities plenty of energy.
Cons
- The lengthy sponsored graphics-settings segment significantly delays the actual gameplay.
- Documents and lore material are frequently skimmed, limiting their usefulness to viewers trying to understand the story in detail.
- Navigation becomes confused in several places, creating avoidable stretches of uncertainty.
- Combat commentary remains heavily reaction-driven and does not yet explore the available build systems in much depth.
Dylan Faden’s opening adventure makes a convincing case for a faster and more physically aggressive evolution of Control, with excellent mobility complementing a promising melee system and another deeply strange supernatural crisis. The walkthrough is loose and occasionally unfocused, but its excitement effectively sells the combat, traversal and mystery while leaving plenty of mechanical depth unexplored.
