When a video game leaves me awestruck to the point of exclaiming ‘wow’ out loud, it’s truly something special. Split Fiction, the latest creation from Hazelight Studios, managed to elicit that reaction multiple times during a one-hour hands-on session. This new co-op experience, set to be published by EA, has all the makings of something groundbreaking.
For this play session, my partner was none other than Hazelight’s founder, Josef Fares. He’s quite the character, a man with undeniable flair, or what some might call “rizz” in today’s slang. Dressed in a way that would be fit for a GQ feature rather than a gaming press meeting, he instantly impressed, especially with his choice of wristwear catching my eye. As a watch enthusiast, I couldn’t help but notice.
Let your browser manage any targeting cookies to access this content.
To give you another glimpse into what Fares is like: I often use my phone to record interviews. Once done, Google’s AI transcribes and labels these conversations. For instance, my chat with a Flight Simulator team member became ‘Flight’, while a discussion with Capcom’s Ryozo Tsujimoto was dubbed ‘Monster’. But my conversation with Fares was labeled ‘Shitload’. This not only reflects his colorful language but also aligns with the chaotic creativity driving Split Fiction.
The game embraces the idea of packing in a ton of content. Unlike the overwhelming sprawl of an open-world map, Split Fiction offers a linear journey with sporadic side quests, consistently introducing fresh elements. It’s a breathtaking approach that kept me saying ‘wow’ again and again.
Referencing Hazelight’s past successes, like It Takes Two, there was a concern that Split Fiction might feel familiar. However, despite initial similarities, the game’s innovative design and unique setting offer a distinct experience. At its core, it’s about blending stark differences—our protagonists, Zoe and Mio, are writers with divergent ideas: Zoe loves fantasy while Mio is into sci-fi. During a visit to a company reminiscent of Assassin’s Creed’s Abstergo, they inadvertently find themselves in a mind-melding virtual reality, where their distinct worlds intertwine.
And yes, this is where the split fictions truly shine. One moment you’re navigating a sci-fi cityscape reminiscent of Blade Runner; the next, you’re exploring a whimsical forest dreamt up by Zoe.
This dual-themed structure uses familiar gaming tropes in surprising ways. Science fiction levels might hint at Metroid puzzles, but then you might find yourself in what feels like an SSX-inspired snowboarding segment—complete with all its adrenaline-inducing mechanics, within a sci-fi context.
Fares is visibly delighted with the game’s versatility. As he teleports us through various levels using the debug tools, I find myself increasingly amazed. Every aspect of Split Fiction feels like art rather than mere content. It’s brimming with diverse gameplay elements—truly a ‘shitload’ of creativity.
Sometimes these elements are there just for kicks, evoking a sense of playfulness reminiscent of unexpected quirks in games like Contra. This especially applies to optional parts where new mechanics are introduced, toyed with, and then possibly never revisited. The co-op mechanics crucially drive the design, as with Hazelight’s previous titles.
Expect seamless platforming, cinematic sequences, split-screen synergy, and ingenious puzzles that demand teamwork. It’s clear Hazelight has honed these elements over time. According to Fares, “We’re getting better and better at this, having worked on co-op gameplay for so long. We’re pioneers of a sort in crafting a game designed from the ground up to be a co-op experience.”
Yet, this approach isn’t without challenges. Consider the aforementioned snowboarding level—there’s a standard of excellence that Fares insists upon. Players expect authenticity, even in brief gameplay segments.
“You play a little on a snowboard, and it has to feel right,” Fares explains. “Players don’t realize that big titles spend years perfecting this, but our game demands everything be polished, no matter how short the segment. That’s both a challenge and our strength—it’s what we excel at.”
During the demo session, Fares shows off mechanics from throughout the game, even touching on parts from the finale. While I can’t reveal specifics, it’s evident that Hazelight’s team is brimming with bold ideas.
Split Fiction’s development approach brings to mind two comparisons. First, its vibe echoes a certain Nintendo charm, only with more lively language. Secondly, it shares a whimsical unpredictability with a classic British series, Doctor Who. The analogy fits: like Doctor Who’s episodic adventures into the unknown, Split Fiction dares to constantly reinvent itself. It’s a refreshing departure from the conventional, and it’s this unpredictability that keeps the player engaged.
This hands-on was not the typical experience. I didn’t play through complete levels but was taken on a whirlwind tour across the game’s highlights. Still, the initial impressions couldn’t be stronger, and I genuinely sense Split Fiction might emerge as one of the standout titles of 2025.
Fortunately, we won’t have to wait long to find out—Split Fiction is set for release on March 5. I’m eagerly anticipating seeing how the full game unfolds.
