Done With #15: Split Fiction

The Beginning

I can proudly say that I've been a huge fan of Hazelight Entertainment since day one. I’ve been following this studio ever since the beloved yet zany director, Josef Fares, shifted to making videogames full time and formed the studio back in 2014. I mean, it was a no-brainer for the guy given the success of Brothers: A Tale of Two Sons and how it’s regarded to be one of the best games of 2010s that helped push the narrative of videogame as an artform to the mainstream. It did take them a while to cook their first baby, the cult classic prison- breaking action adventure game, A Way Out, which Josef dragged his brother (Fares Fares) to star in as well. With its 80s B movie inspired plot, the huge push for couch co-op games at the time, and the never ending word of mouth, A Way Out became a commercial success despite its lukewarm critical reception due to a few technical issues that held it back from being perfect.

However, what really brought the studio on the map aside from the man himself giving Hollywood the middle finger at The Game Awards, is the award winning It Takes Two. Not only did it come out at the perfect time (which was during the height of the 18 months long lockdown), but the refined game mechanics, relatable and heartwarming family oriented story and the comedic route the game took really took the world by storm. With level designs that are a league above A Way Out and technical issues that are resolved from that game, it’s no surprise that It Takes Two wasn’t only a commercially successful game, but a critically acclaimed one as well. Not a lot of people were shocked when the 2021 TGA and DICE awards gave it the Game of the Year spot as there was nothing else as deserving that year.

With all this said, it should not be a surprise that I was incredibly excited and was looking forward to finally getting my hands on the studio’s third game, Split Fiction. I’ve been hyping this up to my partner for months up to its launch. It didn’t take a lot to convince them (I mean they love me loads after all) as the game was speaking for itself through the trailers and gameplay previews that perfectly blend the element of sci-fi and fantasy perfectly, showcasing some crazy game mechanics and technological advancement that leave you feeling intrigued in what the game has to offer. So what’s this game exactly? Is it a twin-stick shooter? A side scroller? A puzzle platformer? Third person shooter!? Welp, we don’t know either! Let’s break it down together shall we?

The Whimsical Fiction

Split Fiction’s plot itself is not very complicated. You could say it does feel like a PG-rated, family friendly narrative in a sense. It’s a story about two broke-ass fictional authors, Zoe and Mio, who were invited by a huge publishing company called Rader. The two and other aspiring authors were promised to get publishing deals if they participate in a scientific experiment with “The Machine” (what a name, huh?) that would transport them into the stories they’ve written. However, it’s a big ruse as Rader, the egoistic owner of the publishing company (I mean bro literally named the company after himself), is using The Machine to steal the ideas of everyone participating in the experiment, inherently taking all the stories they’ve written their entire lives and storing them for his own gain.

Yeah the game takes a huge piss on AI bros in general.

However, everything goes to poop as Mio, the cool and reserved author who has special interest in the sci-fi genre, saw through the bs and refused to get into the machine. Chaos ensued, however, and Mio fell into the same pod as the optimistic and cheerful Zoe, invading her fantasy story and causing glitches in the system. Stuck together, the unlikely duo must find a way out of The Machine and stop Rader from stealing their work, forging an unforgettable friendship along the way.

I think the strength of this game is the straightforward, family friendly nature of the narrative. Hazelight already had experience with this kind of story telling with It Takes Two, which really allows them to add a lot of jokes that feel very well timed. I also love the contrast between the two main characters. Unlikely besties is a trope that’s been done a million times before, but I do think that it’s done well with this game and the trope really helps explore the difference between the two characters. The narrative delves into their interests, their struggles, and obviously their interest in sci-fi and fantasy settings which is a huge part of this game.

Since the game’s timeline is based on real life, there are so many references to real life media to be found in the game that really add so much personality to the campaign. From Metal Gear Solid sections to Sailor Moon transformations, there are multiple easter eggs to be found while playing the game. These references are also used to expand the duos’ character, with the implications on how they grew up and what their personal interests are and it’s cleverly conveyed through the gameplay too.

Another thing I really think Hazelight Studio really nailed down is the organic friendship between Zoe and Mio. Yeah, they were stuck there for a day max, but the game’s narrative really helps convey that they will become besties for lives. There’s a lot of truth to how sometimes it’s easier to open up about something private to strangers, and the game really takes this idea and helps both characters grow. The way the bond between these two grows really helps push the last 3 hours of the game, as by then you will be fully onboard with their friendship and root for the two of them to face their inner demons. I don’t want to explain too much, but the game really tackles some heavy topics while keeping it light really well.

However, I do believe that the game sadly struggles to find a convincing antagonist. I mean, I love dunking on AI bros, but Rader isn’t that great of an antagonist. The guy has nothing going for him and falls flat for me, leading to an ending that, while I’m happy for the besties, can feel a bit underwhelming. Thankfully, the strong narrative and gameplay really carry the weak ending, so it isn’t a huge con in my opinion.

The Advance Technology

Talking about gameplay, this game is essentially a technical marvel. Aside from being incredibly optimised, the game design itself is nothing short of superb. The gameplay never gets boring, as the game’s genre would change every five minutes, keeping you guessing on what’s next on the menu. You could say this is like eating an omakase meal where the chef (Josef) decides the entire menu for you. Like, bro I trust you, feed me whatever man I’ll eat it up with how fun the game is.

You got it all. Dragon riding? Check. Solving reCaptcha on a motorbike? We got that. Playing as pigs that get turned into sausages? Of course that’s also in this game!!! There are sections where the game goes from action platformer to metroidvania within 3 minutes, just to become something else entirely in 10 is its biggest strength. You won’t be bored by any gameplay loop as there’s no loop but only ever evolving mechanics. Impressing me and my partner at every turn.

On top of that Hazelight did an incredible job building multiple fantasy and sci-fi settings that feel unique among themselves (the sci-fi maps blend a bit, but they’re still rather distinct), which also showcase both Zoe and Mio skills as authors and help push the narrative through level design. The aforementioned easter eggs that are scattered throughout the game never feel out of place or break immersion and feel very relatable as someone who’s around the same age as the protagonists.

Throughout the campaign, you will see “Side Stories” which are self-contained levels based on short stories or scrapped stories by the protagonists. This is where the developers really showcase their creativity as they get free reign to do whatever the hell they want. Be it the side scroller “comic” section that shifts the artstyle completely, or playing as birthday snacks doing a Fall Guy level, they are interwoven into the story and gameplay without feeling forced at all.

The game has all of this without visible load time as they’re cleverly hidden behind cutscene and insane optimisation. There was no moment where we had to wait for the game to load. The netcode of the game is also very well written. Aside from a day where I had an internet shortage, the game feels smooth even at roughly 200 ping. Hazelight seriously is ahead of the curve with their optimisation and their network tricks. It’d also be a disservice to not mention the last chapter of this game where the narrative gets really crazy. Without delving into the spoiler too much, all I got to say is Hazelight accomplished a near impossible task of rendering completely different textures at the same time whilst not tanking the performance.

The Long Lasting Friendship (and Relationship)

This isn’t really about the game, but more about my partner. LOL

Yeah I’m flexing that I’m not single.

A great game like this requires a great partner in crime to play with. Split Fiction is a perfect game to spend your time with alongside anyone you love and care about in all honesty. Being able to fail miserably together and laughing about it was rather magical. I don’t think anything beats bonding with someone through appreciating the media together, and this game is perfect for it. I’m glad I have my partner as my partner. Shoutout to my baboo Pengu.

This game doesn’t have to be played with a romantic partner either. The accessibility options and the theme of the story is perfect to be played with anyone.

The End

Split Fiction is another must play this year. Even though the ending is a bit eh to me, the 14 hours I spent with my partner audibly going “wow” every few minutes is an incredible experience. It’s hands down Hazelight’s best work yet, even though I can see It Takes Two’s story being more relatable to some, but it’s really on another level when it comes to the gameplay aspect of it all.

It’s easily a must play, and it’s also available on multiple platforms. You only need one copy to play with anyone you know.