There’s something exhilarating about a game that genuinely makes me exclaim ‘wow’ out loud, and Split Fiction from Hazelight Studios, set to be published by EA once again, certainly delivered on that front. During a one-hour hands-on session, the game amazed me repeatedly.
For this co-op adventure, my partner was none other than Hazelight’s founder, Josef Fares. In the UK, we’d probably describe him as a pretty flashy guy. With his slick style, it’s almost a shame that I’m here merely for a gaming review rather than a GQ write-up. My eyes were immediately drawn to his wristwatch – a sight that certainly didn’t disappoint a luxury watch lover like myself.
During our conversation, I often rely on my phone as a makeshift recorder. Post-chat, Google’s AI takes a shot at transcribing the conversation, assigning a name based on content. After a discussion with the Flight Simulator boss, it aptly titled it ‘Flight’. A chat with Capcom’s Ryozo Tsujimoto resulted in the name ‘Monster’. But with Fares? The system dubbed it ‘Shitload’. This choice doesn’t just reflect his colorful language but also encapsulates what the game is all about.
Split Fiction embodies a philosophy of packing in a lot—without overwhelming players with redundant open-world clutter. Inspired by the success of It Takes Two, it sticks to linear storytelling but constantly reshuffles new elements every few minutes. It was enough to elicit ‘wow’ and a few other colorful reactions from me throughout the experience.
Though it’s tempting to think Hazelight might be repeating itself, the clever design, intriguing setting, and fresh ideas in Split Fiction ensure it feels distinct from It Takes Two, even if initial impressions suggest similarities.
The premise explores a clash of opposites, following two protagonists, Zoe and Mio, named after Fares’ daughters. Though strangers, both are authors with differing passions—Mio in sci-fi and Zoe in fantasy. They find themselves drawn into a machine at a mysterious company with vibes akin to Abstergo from Assassin’s Creed. This machine merges their imaginary worlds into a unique reality.
As players, you’re thrust into these intersecting fictions—hence the name. You might navigate a metropolitan sci-fi cityscape one minute, and the next, you’re in a whimsical fantasy forest born from Zoe’s imagination.
The way this concept unfolds is incredible, cleverly integrating gaming elements in a way that captivates. You might face Metroid-inspired puzzles one moment, and in another, you find yourself in a nod to SSX-style snowboarding within a sci-fi realm.
Fares is clearly onto something special. Watching him teleport me through various game levels using the debug menu was like witnessing a magic trick. Each level is unique, filled with different mechanics—proof that games are indeed an art form. Split Fiction offers a plethora of diverse content, not just sheer quantity but true variety—“shitloads” of it.
Some elements are thrown in simply for their sheer coolness or humor, and while these might be short-lived, they’re an absolute delight. But the heart of this design is deeply tied to the game’s cooperative nature, which is essential in all Hazelight’s titles.
Between the whirlwind of mechanics, players can expect sharp platforming, cinematic moments, perfect split-screen dynamics, and engaging puzzles that demand teamwork. Hazelight’s experience shines through in executing these elements with finesse.
“We’re getting better at this, having done co-op for so long now,” Fares said, visibly pleased by my excitement.
“No one else is doing exactly what we’re doing,” he emphasized. Their games are designed from the ground up as co-op experiences, not single-player journeys adopting a co-op mode.
This innovative mindset, however, brings its own set of challenges. The snowboarding segment I mentioned earlier demonstrates this—it had to meet a high standard, as players expect quality, even for brief segments.
“When you’re playing a snowboard game, it should feel authentic,” Fares explained. “Players don’t realize all the work polished games like Devil May Cry require. We can’t focus on one mechanism for the whole game—yet players expect the same quality across the board.”
He acknowledged their limitations but also praised Hazelight’s strength in recognizing which mechanics to polish. “We’ve become very adept at that,” he noted.
Back in the demo, Fares continued to navigate through the game, unraveling secret elements that blew my mind. Seeing him reveal mechanics from later levels solidified just how audacious this project is.
Thinking about Split Fiction reminds me of something reminiscent of Nintendo’s energy, albeit led by someone with Fares’ sailor-like language. There’s a British twist too—it has a Doctor Who vibe. Bear with me. Doctor Who is unpredictable and doesn’t rely on recurring sets week after week like Star Trek. Each episode offers something completely new, building a world from scratch only to tear it down after the show. That’s the kind of daring spirit Split Fiction embodies. It moves at a breakneck pace, not letting you settle into one thing for too long, and that’s entirely intentional.
This session wasn’t your typical hands-on experience; it was more like a curated sneak peek, guided by an enthusiastic director sharing his grand vision. It did make it challenging to predict the final game’s form. But for first impressions, it’s hard to argue against the potential excitement this game holds for 2025.
Fortunately, we won’t have long to wait. Split Fiction is set to release on March 5, and I can’t wait to dive into the full experience.
