Split Fiction Review – Page-Turning Action, Predictable Plot

In recent years, Josef Fares and Hazelight Studios have established themselves as the masters of a certain unique brand of co-op-focused games, including 2018’s prison-escape adventure A Way Out and 2021’s family-drama-infused multi-genre extravaganza It Takes Two. The latter ended up becoming a surprise smash hit, selling over 23 million copies worldwide, so anticipation and expectations are high for Hazelight’s latest co-op venture, Split Fiction.

Does Split Fiction double down on Hazelight’s recent success? Or have they gone to this particular well too many times? Time to find out if this one’s a co-optimal experience.

Split Fiction casts you and your co-op compatriot as Mio and Zoe, aspiring writers who meet for the first time upon arriving at the offices of James Rader, an enigmatic tech bro type who’s interested in their stories. Ah, but Rader Publishing isn’t your typical media company. They don’t deal in hardcovers and softcovers, but rather, have invented a machine capable of turning an author’s story into a Matrix-like interactive simulation. Zoe is eager to sign up, but Mio isn’t so enthused, and when Rader tries to force her to take part, both Mio and Zoe end up trapped in the same virtual space. Our heroines quickly realize Rader’s machine is designed to extract all story ideas from its subjects/victims, even ones they haven’t signed away, and begin a quest to track down a series of glitches in the system in order to escape and bring the truth to light.

While the setup for Split Fiction is a bit hackneyed at points, the story feels more relevant to current-year events and concerns than past Hazelight titles. The idea-stealing machine at the center of Split Fiction is clearly meant to evoke the latest crop of generative AI “trained” on other people’s ideas and content, with James Rader being a handy stand-in for the ruthless moguls who evangelize the tech. Split Fiction doesn’t necessarily do that much with its allusions to AI — it’s bad and that’s it — but it’s still an interesting set-up.

Most of Split Fiction’s story instead focuses on the simmering friendship between Mio and Zoe. They start as a typical odd couple — Mio likes sci-fi, Zoe likes fantasy, Mio is cynical and standoffish, Zoe is idealistic and affable, etc. — but slowly begin to appreciate each other and the worlds they’ve created. Both have some baggage they’re carrying around, which I won’t spoil, although in both cases, Split Fiction telegraphs what’s troubling them fairly obviously. I don’t want to give the impression I didn’t enjoy Split Fiction’s story – both its protagonists are quite likable, and appropriately for a story about the nature of fiction, the game delivers a fairly satisfying (if by the books) version of the hero’s journey. That said, Split Fiction’s story lacks a bit of the edge, a bit of the surprise, that A Way Out and It Takes Two delivered.

Thankfully, the same can’t be said of Split Fiction’s gameplay, which is every bit as varied and inventive as you’d expect from Hazelight. The game alternates between sci-fi chapters inspired by Mio’s writing and fantasy chapters based on Zoe’s writing, with most of the action playing out split-screen style, although occasionally, both players share the same screen. Both characters have a standard set of abilities you’ll use throughout the majority of the game — you can triple jump, zip to grapple points, and wall-run – and then in each chapter, Mio and Zoe are given unique contrasting powers. Mio might get a sword while Zoe gets a plasma whip, or Mio might get the ability to glide while Zoe can climb up vines. You get the idea.

As you’d expect, these contrasting powers are used as the basis for a wide array of puzzles and tandem challenges. Overall, Split Fiction feels a bit less “throw anything and everything at the wall” than It Takes Two. With standardized platforming abilities and one major gimmick per chapter, it’s easier to get your head around exactly what the game wants from you as you’re not constantly being sent back to square one. There are still the occasional out-of-left-field challenges, with the game interrupting proceedings to have you, say, engage in a rhythm battle with a dance-crazy ape or navigate a giant pinball machine. That said, a lot of the most out-there challenges are now confined to “Side Stories.” Unlike It Takes Two, where side stuff often took the form of simple “toys,” Side Stories are full-fledged mini levels that see players doing things like navigating the pen-and-paper pages of a diary or engaging in an SSX-style trick-filled snowboard race.

While well structured, Split Fiction does a good job of not falling into a formula. Not every chapter has the same number of bosses or puzzles. Some have combat, others basically don’t. Each chapter really feels unique. Also, what little predictability there is flies out the window in the game’s final chapter, which toys with the very nature of the “split-screen” concept in very creative ways.

All of this is presented with a great deal of style and verve. It Takes Two was a polished game on the upper end of the “AA” spectrum, but Split Fiction feels genuinely AAA, serving up some impressive vistas and a pair of well-realized and animated protagonists. This is all accomplished without any performance snags and very few glitches on PlayStation 5.

If there’s one thing that may trip up some players, it’s Split Fiction’s level of challenge. This is simply a more demanding game than It Takes Two in terms of both platforming skills and co-op coordination required. The game’s controls never feel less than spot on, but you will find yourself cursing at the screen a fair amount. Boss design is also a major step up from It Takes Two, but some of them almost feel plucked from a PlatinumGames title in terms of intensity.

If your co-op partner doesn’t have a lot of experience with platformers or action games, you may find yourself frustrated. Split Fiction is generous with checkpoints and even lets you skip to the next one without punishment if you’re having trouble, but I feel like a more nuanced and adaptable approach to challenge would have benefitted the game. Of course, if you and your co-op buddy are specifically looking for a challenge, you may well enjoy the punishment Split Fiction deals out.

On a similar note, the length of Split Fiction may be a good or bad thing, depending on how dedicated you and your co-op partner are. Each of the game’s individual chapters are quite substantial – at least 2 to 3 hours each. Longer than many are willing or able to commit to a single co-op gaming session, meaning you won’t always be able to get to a satisfying stopping point. This may seem like a minor or unfair quibble, but I feel like some may struggle to rope a co-op partner in for the 15 to 20 hours it takes to complete Split Fiction. But again, if you’ve got that dedicated wing-person lined up to play with you, the more game the merrier.

This review was based on a PS5 copy of Spit Fiction provided by publisher Electronic Arts.

8

WCCFTECH RATING

Split Fiction