I absolutely love it when a video game takes me by surprise and makes me say “wow.” It’s an even greater thrill when that game manages to do it repeatedly, like Hazelight Studios’ latest release, Split Fiction, set to be published by EA. During an hour-long play session, I found myself continually amazed.
Playing a co-op game, I had none other than the charismatic Josef Fares—the founder of Hazelight—as my partner. In the UK, we might describe him as quite the stylish fellow. In today’s jargon, you’d probably say he has undeniable charisma or “rizz.” His outfit was so sharp that I almost felt sorry for not being there to pen a GQ feature instead of writing for a mere video game website. As an aficionado of luxury watches, my attention drifted to his wrist the second we shook hands, and, needless to say, I was thoroughly impressed.
For those who aren’t familiar, Fares has a rather vibrant personality. I frequently use my phone as a voice recorder, and once the recording wraps, Google’s AI steps in, transcribing the conversation—albeit imperfectly—and assigning it a file name based on the text. When chatting with the head honcho from Flight Simulator, the file was aptly named ‘Flight.’ When speaking with Capcom’s Ryozo Tsujimoto, it went for ‘Monster.’ However, my talk with Fares? Simply titled ‘Shitload.’ A fitting label, not just due to his colorful language but because it reflects the essence of the game.
Split Fiction embraces a design philosophy of sheer abundance. It doesn’t overwhelm like a sprawling open-world with endless map markers. Instead, it’s a linear adventure with occasional diversions, delivering fresh experiences every few moments. The result left me jaw-dropped more times than I could count.
The core approach here mirrors what has driven Hazelight’s previous games. Naturally, this brings a risk of feeling repetitious, a worry I initially harbored when I heard about the game pre-announcement. But the ingenious design, intriguing setting, and constant pursuit of novelty set Split Fiction apart from It Takes Two, despite some surface-level similarities.
The premise revolves around two protagonists, Zoe and Mio, named after Fares’ daughters. These characters are complete strangers with contrasting personalities and distinct writing genres—Mio crafts sci-fi narratives, while Zoe indulges in fantasy tales. They both end up at a company with sinister vibes reminiscent of Assassin’s Creed’s Abstergo, where a brain-scanning machine can turn stories into virtual realities. Although only one person is meant to use it at a time, Zoe and Mio accidentally share the space, causing their worlds—both real and imagined—to intertwine.
From this point, the gameplay brilliantly toggles between their contrasting worlds. Imagine battling through a Blade Runner-esque cityscape one moment and venturing into a fantasy forest the next.
The way this concept unfolds is a delightful play on gaming tropes that never ceases to entertain. One sci-fi level might echo Metroid’s puzzles, while another might catapult you into a snowboarding scene reminiscent of SSX, equipped with tricks and scoring systems—albeit set within a sci-fi backdrop.
Fares knows they’re onto something special. While showing me around, grinning widely as he transports us through various levels using the debug menu, I’m repeatedly left in stunned disbelief. “Look at this! Now, this!” he exclaims. It’s a testament to gaming as art, bursting with unique content that’s nothing like the traditional, one-note variety we often encounter. Loads of diverse experiences await—truly a “shitload.”
Even within the crazier segments that pop up every so often, you’ll get meticulous platforming, beautiful cinematics, seamless split-screen framing, and clever puzzles that require communication with your partner—hallmarks of Hazelight’s craftsmanship in co-op games.
“You’re expecting excellence in things like snowboarding physics, even if it’s a brief encounter,” Fares explains, emphasizing the standard of quality they strive to meet. Hazelight has mastered this approach, understanding which elements need polishing and when. It’s a remarkable skill that ensures every part feels refined.
Fares goes on to showcase other parts of the game, diving into advanced mechanics and a sneak peek at the final levels—though it’s hush-hush for now. Yet, here I am, rocked back in my seat, astounded by the creative mad genius at work.
Reflecting on the game, Split Fiction channels a unique energy. It’s almost akin to Nintendo in the way it explores new ideas—except with Fares’ unpolished, sailor-like language. It also reminds me of Doctor Who, a show that thrives on unpredictability, constantly crafting new worlds and storylines. In a game series, this kind of bold, creative freedom is a breath of fresh air.
Much like the whimsical approach of Doctor Who’s ever-changing scenery, Split Fiction’s development is radical, willing to discard hours of work for a few minutes of gameplay that excites and surprises the player. This whirlwind of constant novelty is by design, and it works fantastically.
This hands-on wasn’t typical—it resembled a guided tour across the game’s various slices rather than in-depth gameplay. Still, the first impressions it left were overwhelmingly positive, suggesting it might become a standout title when it launches on March 5. I’m eagerly awaiting the chance to experience it in its entirety.
