I absolutely love when a video game leaves me speechless, and that’s exactly what happened during my hour-long play session with “Split Fiction,” the latest offering from Hazelight Studios, set to be published by EA. This co-op experience had me paired up with none other than Hazelight’s charismatic founder, Josef Fares. In the UK, we might say he’s quite the character. These days, people would describe him as having that natural swagger, or “rizz.” Dressing sharply, he exudes an energy that makes me regret we’re not doing a feature for GQ instead of a gaming site. As a luxury watch enthusiast, I couldn’t help but admire his wristwear as we shook hands.
One interesting tidbit about Fares is that when I use my phone as a makeshift recorder and let Google’s AI transcribe, it gives our conversations quirky titles. Conversations with the brains behind “Flight Simulator” might land with a straightforward ‘Flight’, while chats with Capcom’s Ryozo Tsujimoto get labeled ‘Monster.’ But with Fares, Google simply named it ‘Shitload.’ It’s fitting, given both his colorful language and the game’s dynamic nature.
In “Split Fiction,” the design ethos seems to be all about packing in a ‘shitload’ of content, but not in an overwhelming way. Following the award-winning “It Takes Two,” this game serves up a linear adventure spiced with occasional side quests, aiming to throw something fresh at you every few minutes. It’s an exhilarating experience that had me muttering ‘wow’ – or more colorful variants – on multiple occasions.
The driving philosophy behind “Split Fiction” mirrors the innovative spirit seen in Hazelight’s previous titles. Initially, I worried that this game might feel like a retread of old ideas when I was briefed before its announcement. However, its clever design, unique setting, and relentless creativity ensure it feels fresh, despite any similarities at first glance.
At its core, “Split Fiction” is about the contrast between two protagonists, Zoe and Mio, named after Fares’ daughters. Despite being strangers with clashing personalities, they share the profession of authorship. While Mio pens sci-fi stories, Zoe’s tales are steeped in fantasy. During a visit to a company with an “Assassin’s Creed”-style memory-scanning machine, both characters end up inside simultaneously, leading to a collision of their worlds—both real and imagined.
Gameplay in “Split Fiction” constantly toggles between these fictional realms. One moment, you’re navigating a sci-fi city alongside Mio; the next, you’re exploring Zoe’s whimsical fantasy forest.
The game’s structure is ingeniously crafted, constantly surprising players by riffing on various gaming tropes. Some science fiction levels take cues from the likes of “Metroid,” while others unexpectedly transform into a brilliant homage to snowboarding games like “SSX,” complete with spectacular tricks and scoring.
Fares beams with excitement, clearly proud of Hazelight’s latest creation as he guides me through its debug menus, teleporting from level to level. It’s a wild showcase of creativity. For Fares, video games aren’t just content—they’re an art form. He emphasizes the vast variety awaiting players, not by inflating the game with repetitive elements, but by offering genuinely diverse and original content. Let’s just say, there are loads of surprises—no exaggeration.
Some elements seem included purely because they’re cool. Maybe a team member has a fondness for “Contra,” or they came up with a clever joke—regardless, these optional segments introduce new mechanics only to whisk them away shortly thereafter. Major components are driven by the game’s inherent co-op nature, a signature of Hazelight’s projects.
You can anticipate precise platforming, cinematic moments, and clever puzzles requiring solid communication between players. Hazelight has honed this skill over time, resulting in seamless, polished gameplay.
“I feel we’re improving since we’ve been focusing on co-op for so long,” Fares states, satisfied with my reaction. “We might be the best at what we do because no one else does it quite like us—from the initial design phase, everything centers around co-op.”
Yet, there have been challenges, particularly ensuring each feature meets high standards, even if they’re only spotlighted for a few minutes. The snowboarding left a strong impression, as Fares elaborates, “Players expect authenticity, whether it’s snowboarding or combat like in Devil May Cry.”
“In some ways, we’re setting ourselves up for a challenge”, he continues, “But we strive to deliver something polished and cohesive. Over time, we’ve learned to identify which mechanics we can refine.”
Midway through, I experience the demo again. There’s a fantastic trailer showcased after my hands-on at The Game Awards, expertly introducing the game. But Fares dives deeper, unveiling mechanics from later stages—spoilers I can’t share, yet leave me awestruck by the team’s creativity.
Two thoughts come to mind when considering “Split Fiction.” Its development and design exude a certain Nintendo-like vitality, interlaced with Fares’ lively humor. A more specific comparison is to “Doctor Who,” a show renowned for its unpredictable storylines. Unlike the consistent setting of “Star Trek,” “Doctor Who” thrives on novelty—new environments are constructed and deconstructed weekly, leaving a lasting impression.
This mirrors Hazelight’s approach to “Split Fiction”—the willingness to constantly innovate, leaving players eager for what’s next. This preview consisted more of a guided exploration than a traditional hands-on, showcasing snippets from across the game, passionately detailed by Fares. While it’s tough to predict the final game’s impact based solely on this, the initial impression is beyond promising—it might just be 2025’s most thrilling release.
Luckily, we won’t have long to wait—Split Fiction arrives on March 5. I’m counting down the days to delve into the full experience.
