Control

Right, before we start, it’s worth knowing that this is going to go in to spoiler territory for Control. No just wee spoilers either, the big kind. I’m going to deep wi spoilers, talking all sorts of plot relevance and revelation. So, like, don’t read anymore if you haven’t finished Control yet – at all.

If you haven’t heard by now, Control is magic. The slick design and intriguing nature of its story is something people will be talking about and pondering for the foreseeable future. It’s Remedy’s best work. But I’m not here just to talk about Control as a game, I want to talk to you about Control’s use of colour.

The use of colour in Control is spectacular. Even on the surface level, it’s unbelievably striking. A refined palette, mostly consisting of vibrant reds, blues, the odd green, and a yellow, harks back to comics. While Control isn’t the construct of the Big Two; Marvel or DC, it certainly feels that way in style and execution – the older generations in particular.

Jesse might not dawn a pair of Lycra tights, but she can fly, throw objects with her mind, and, among other things, can communicate with otherworldly beings. There’s also the addition of Jesse’s style, which is unwavering. This leather clad heroine has might have the option to switch outfits, but there’s a clear intention to keep Jesse in her leather jacket and it slowly becomes identifiable as her own costume – even if you can unlock a few more by the end of the game.

On a deeper level, colour theory is most definitely at play.

Red stands for the evil in the world. After all, red means danger. Yet, Jesse’s hair is red. Blood, the very thing that keeps us going from minute to minute, is also red. Enemies, like the Hiss, are often painted in red. Their faces illuminated by the vibrant fluorescent red miasma that possesses their once human hosts. While shifting between realities, the worlds are draped in dark reds and contorted constructs to create a feeling of unease. Then comes the revelation that you, Jesse, might be responsible for these altered states of reality. So, perhaps, the red isn’t all evil. That’s where you start to question the real intention of the colour red. You’ll soon realise that the later stages of the game are bread crumbed by thin red line. Just like your hair, this overpowering red essence is part of your being in this world and contrasts against the blues and yellows of the world.

While there’s a great deal of red paving the way, Jesse’s true intent and support is often guised in blue.

Jesse’s eyes, the very thing she perceives the world through, are blue. There’s also an entity, initially known as Polaris, that often leads Jesse forward through he excursion in the bureau. Polaris is often a source of good in the world, leading Jesse to rescue those lost within the building and often indicating safe zones and objectives with a steely blue resonance. Latterly, Polaris reveals itself to be a polyhedron (that’s a really complex cube type shape that isn’t comprised entirely of squares) called the Hedron. The Hedron is responsible for all the tech within the Federal Bureau of Control which protects its agents from being overcome by The Hiss. While the intentions of Polaris/Hedron were never clear throughout, blue was a colour of serenity and its presence was often found in calmer moments.

Then you have the yellows, often representing control and experimentation. Throughout Control, you’ll find hidden research rooms and laboratories coated in yellow. While it’s often associated with cowardice, yellow is a force of positivity and wisdom in many cultures. So it’s not a surprise that it’s a colour so closely associated with the scientist of Control. In turn yellow becomes synonymous with the containment of The Hiss. In fact, there’s nothing more emblematic of this as the final costume you unlock for Jesse in the campaign. When Jesse ultimately absorbs the power of Polaris/Hedron and assumes the position of Director of the Federal Bureau of Control, her hair is neatly tucked away in a new hairstyle thanks to a golden pin. Sure it’s a tiny representation of the point, but throughout Control we often see a lot of chambers littered with Objects of Power surrounded by yellow. It feels so natural that you stop questioning its purpose and embrace the colour.

All of these colours are so stark and prominent throughout Control that you can’t help but attach meaning. It might not be the diverse game in terms of colour, but the imagery and use of each and every one of the aforementioned chosen colours is exemplary. It’s no surprise that all three colours combined form the basis of Subtractive Colour Theory and their combination often results in the colour black – a colour only reserved for the ambiguous in Control. While it doesn’t feature quite as prominently, you’ll always remember the black objects of the world, like the upside down pyramid or the amorphous spheres that chase after you. Just like the palette of Control, there’s so much more to these shapes to be explored and pondered, but I’ll leave that to you.r