When Control director Mikael Kasurinen started referring to the game as a Metroidvania last year fans of the genre took notice. The AAA metroidvania experience has been overtaken by the related-but-distinct Soulesborne genre. Not since perhaps Arkham Asylum have players gotten a honest-to-god 3d Metroidvania. After playing Control from beginning to end for my review, I have some disappointing news: Control is NOT a Metroidvania.

Going back, Mikael specifically said "We're approaching the game structure from the perspective of Metroidvania, so it's a more open ended experience compared to our previous games." So no, he didn't say Control IS a Metroidvania, but the term is buzzy enough that during the review cycle outlet after outlet after outlet latched onto the genre description, miscategorizing the game entirely.

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Metroidvania, like Noir, is really more of a sensibility than a genre. There are hallmarks that distinguish Metroidvanias, but Metroidvania games can fit into a wide variety of genres and game types. I'm going to describe those hallmarks that identify a game as a Metroidvania, and demonstrate why Control doesn't have any of them.

Upgrades and Exploration

Upgrades and Exploration are two of the most important elements of a Metroidvania and are neccesarily linked. Samus begins Super Metroid with no abilities other than her basic arm cannon, but over the course of her adventure collects a huge variety of tools that not only help her defeat powerful enemies, but grant her access to new areas. The gravity suit, the grapple beam, the morph ball, and the missile all give Samus power and access. These powers build on each other and it is often necessary to collect them in a certain order as each one leads to the next until you have all the tools you need to finish the game.

Arkham Asylum similarly grants Batman a huge assortment of gadgets that help him to access different areas of Arkham. The batclaw, line launcher, and remote control batarang are all essential upgrades needed to reach inaccessible areas of the game.

Control has virtually zero upgrade-based exploration. The 5 abilities are all collected in the first half of the game, and only ONE ability provides any kind of advanced mobility. It's the last ability Jesse gets and provides access to areas on the critical path (and some secrets that can only be found after completing the game).

The upgrades that DO provide access to new areas are a series of clearance level cards, from 1-6, that are gained through progression of the story. Each one allows Jessie access to locked doors along the critical path (and some behind you - more on that later).

Without the collection of upgrades to gain power and access, there's very little Metroidvania DNA to identify in Control.

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Still - though this is the most important hallmark of a Metroidvania, it isn't the only one. Mikael specifically referred to the "structure" of Control as a being "from the perspective of Metroidvania," so let's talk about level design.

Backtracking, The 4 Letter Word Of Metroidvania

Metroidvanias have a semi-open world level design that encourages players to backtrack to previously explored areas to find unlockables and power-ups players previously missed because they didn't have the right item/upgrade to find it. Backtracking is typically frowned upon, as players generally don't enjoy retreading ground in games.

Metroidvania players, on the other hand, absolutely crave it. Combing every inch of the map to find all of the secrets is one of the most attractive things about the genre and, in general, Metroidvania players are completionists.

Control does require players to return to previously explored areas along the critical path a handful of times in the stories, typically by providing an aforementioned clearance level upgrade. You'll have an easier time getting from point A to B if you are familiar with the map and remember the areas you've already explored: that locked door you passed an hour ago with a number 4 on it should come to mind as soon as you get the number 4 key. This, admittedly, IS very Metroidvania.

The problem, then, is that what's behind door number 4 sucks. Either door number 4 is part of the critical path and you have to open it either way, which isn't very Metroidvania, or door number 4 has a piece of lore and an mod, both of which are bound to be disappointing.

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The lore is decent flavor at first, but as the hours go by in Control you'll begin to realize none of it really advances the plot or enhances your understanding of events. It's really and simply there for flavor. The mods, as I explained in my review, are practically useless and will never ever feel good to collect.

If there isn't proper incentive to backtrack, or if backtracking is only to continue on the critical path, then the backtracking does not define the game as a Metroidvania.

If It's Not A Metroidvania, What Is Control

When Mikael used the term Metroidvania, he was trying to describe the semi-open world of Control and how it is different from their previous linear games. I don't think Remedy thinks Control is a Metroidvania, but for some reason, everyone seems to be calling it one.

Control is a semi-open world 3rd person shooter. The exploration is incredibly limited and honestly, not even worth including in a description. The power-ups, of which there are only 5, are designed for combat and combat alone. The final ability, levitation, is used to find the secret areas, but only once you've completed the game. So stop calling Control a Metroidvania ok? Wake me up when Hollow Knight: Silksong comes out.

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