There’s something magical about a game that leaves you exclaiming ‘wow’ without any inhibitions. That was my exact experience during an hour-long hands-on session with Split Fiction, the latest offering from Hazelight Studios, soon to be released under EA’s banner. This isn’t just any game; it’s a co-op adventure, and my gaming companion for this session was none other than Josef Fares, Hazelight’s charismatic founder. Over in the UK, we’d likely dub him a smooth operator, or to use a more trendy term, he’s got ‘rizz’. His impeccable style almost made me regret showing up from a gaming site rather than a lifestyle magazine. Not to mention, his wristwatch—being quite the timepiece enthusiast, I couldn’t help but notice—was impressive.
During our chat, my phone acted as the recorder. Google’s AI tends to assign generic names to conversations based on the transcription. Conversations with execs from Flight Simulator and Capcom usually get labeled with straightforward names like ‘Flight’ or ‘Monster’. But after talking with Fares? It cheekily labeled my recording ‘Shitload’. This didn’t only reflect the vibrant language of Fares but also perfectly described the philosophy behind Split Fiction.
The game embodies an abundance of creativity and content. Unlike overwhelming open-world designs, Split Fiction takes cues from the successful It Takes Two. It unfolds in a linear journey with occasional side adventures, constantly presenting fresh surprises every few minutes. The effect is simply astonishing; it had me uttering ‘wow’ or something more colorful on multiple occasions.
Watching the trailer on YouTube, you’ll notice Hazelight’s signature style. This maintains the core philosophy seen in their previous titles. Initially, I feared Split Fiction might feel too familiar, echoing past successes like It Takes Two. But the game cleverly embraces innovation, distinct settings, and bold ideas. Despite sharing similar roots, it quickly asserts its uniqueness.
At its heart, Split Fiction thrives on the dynamic clash of contrasts. We follow two characters, Zoe and Mio, strangers born from Fares’ imagination and named after his daughters. They both possess storytelling prowess, yet their literary realms differ—Mio dreams up sci-fi tales, while Zoe crafts enchanting fantasy worlds. When they inadvertently enter a mysterious company reminiscent of something from Assassin’s Creed, a machine merges their worlds into a single, surreal virtual reality.
In Split Fiction, gameplay toggles between these two creative realms. One moment you’re navigating a Blade Runner-esque futuristic city, the next you’re exploring Zoe’s whimsical fantasy forest.
The game playfully experiments with genre tropes. A sci-fi level might echo Metroid’s puzzles, while another surprisingly morphs into a snowboarding extravaganza like SSX—complete with tricks, grinding, and scoring—set within a futuristic backdrop. Fares beams with pride as I sit, awestruck, while he toggles through debug menus, teleporting us from one inventive mechanic to another. Games, he insists, aren’t mere content but art. Split Fiction, though, is bursting with diverse content, nothing repetitive, everything distinct.
There are playful nods to fan-favorite styles; you might stumble upon a sequence that feels like an homage to Contra or a segment born from a developer’s passing fancy. These bite-sized excursions never outstay their welcome, often vanishing as quickly as they appear. Naturally, the co-op nature of the game underpins its structure, demanding collaboration reminiscent of Hazelight’s earlier works.
Between shifts in aesthetic and gameplay, expect tight platforming, cinematic flourishes, perfectly framed split-screen moments, and puzzles that hinge on player communication. Hazelight has expertly refined these mechanics through years of development, delivering depth and polish.
“We’ve honed our craft,” Fares enthuses in response to my excitement. “We’re almost peerless in co-op design. Sure, single-player games might dabble in split-screen, but not many embrace co-op from the outset like we do.”
However, this dedication to quality presents challenges. As Fares explains, even brief gameplay diversions, like the snowboarding section, must be top-notch. “Players expect authenticity—snowboarding should feel like snowboarding,” he says. “While players might not realize the painstaking polish that goes into games like Devil May Cry, our approach requires every mechanic, however short-lived, to reach a certain standard. It’s not always easy, but we’ve grown adept at recognizing which elements need that extra attention.”
To illustrate, Fares guides me through a demo showcasing various late-game surprises, delightfully unbound by any potential spoilers. Each revelation leaves me more convinced of their creative genius.
Split Fiction’s development philosophy resonates with me, drawing parallels to two unconventional sources. It carries an energy reminiscent of Nintendo’s playful inventiveness, moderated by Fares’ sailor-worthy enthusiasm. And, oddly enough, it reminds me of Doctor Who’s unpredictability. Unlike the structured confines of Star Trek, where familiar ship interiors dominate, Doctor Who builds entirely fresh settings each week, using them for one episode before discarding them forever—a testament to its fearless creative abandon.
In a similar vein, Hazelight seems unrestrained, continuously crafting and discarding ideas, leaving players exhilarated by the sheer pace of innovation. This particular hands-on session provided glimpses, guided with contagious passion by Fares. Despite not experiencing full levels in their natural sequence, it offered a tantalizing taste of what’s to come.
Mark your calendars for March 5, as Split Fiction promises to be one of the standout games of 2025. I eagerly await the chance to dive into its full experience.
