It’s Just Week One, but I May Have Already Experienced One of 2025’s Top Games

There’s nothing quite like that moment when a video game makes you exclaim “wow” out loud, and when those moments happen frequently, it’s truly special. I experienced this firsthand during an exhilarating one-hour session with Split Fiction, the latest creation from Hazelight Studios, which EA is set to publish.

As a cooperative game, I was paired up with none other than Hazelight’s founder, Josef Fares. Now, if we were in Britain, you’d say he’s quite the charismatic chap. In today’s slang that almost feels like it should give me a headache, he’s got what you might call rizz. He was dressed so impeccably that I almost felt the need to apologize for representing a simple gaming site instead of some high-end fashion magazine. My inner watch enthusiast couldn’t help but dart to his wrist when we shook hands, and let’s say, I was duly impressed.

To comprehend the essence of Fares’ personality, consider this: I often use my phone as a makeshift recorder. When I’m done, Google’s AI pops in and attempts to transcribe the conversation, albeit imperfectly, and gives it a title. Like, when I chatted with the creator of Flight Simulator, it aptly named the file “Flight.” My conversation with Capcom’s Ryozo Tsujimoto ended up with the word “Monster.” Appropriate, right? My discussion with Fares somehow got tagged “Shitload.” That says a lot, not just about his candid language but also about the nature of the game itself.

Split Fiction embodies a “shitload” of ideas—designed not to overwhelm in the cluttered open-world sense but to consistently surprise the player with fresh experiences every few minutes. Continuing the legacy of the award-winning It Takes Two, Split Fiction presents a linear adventure with bits of side content, each aiming to evoke a new emotion—a formula that had me saying “wow” more than once.

Despite sharing the same core philosophy that’s driven Hazelight’s recent games, Split Fiction stands apart from It Takes Two, its predecessor. While both games share certain similarities, Split Fiction’s innovative design, captivating setting, and constant flow of new ideas set it apart.

The game’s premise revolves around a fascinating conflict of contrasts. We follow two main characters, named after Fares’ daughters Zoe and Mio, strangers with very different personalities who share a single trait: they’re both writers. Their writing styles, however, couldn’t be more divergent, with Mio crafting sci-fi tales, while Zoe delves into the realm of swords and fantasy.

The duo finds themselves at a company with vibes reminiscent of Assassin’s Creed’s Abstergo, equipped with a brain-scanning machine that extracts mental stories and turns them into virtual experiences. Although it’s meant for one person, both Zoe and Mio end up in it together, causing their imaginary worlds to collide with reality.

In the game, you’ll find that your journey constantly—let’s say “splits”—between these two distinct narratives. One moment, you’re fighting through a sleek sci-fi cityscape lifted straight from a Blade Runner set, and the next, you’re whisked away to explore a whimsical fantasy forest born from Zoe’s imagination.

The manner in which this storyline unfolds is utterly charming, cleverly weaving in familiar video game elements with a thrilling twist. Some sci-fi segments might hint at Metroid-style puzzles, while others surprise with novel twists, such as a genuinely arcade-like snowboarding game akin to SSX—complete with tricks, grinding, and scores—all within a sci-fi framework.

Josef Fares knows that Hazelight is onto something remarkable here. He lights up energetically as he jumps between different levels of Split Fiction using debug menus, clearly proud of the game’s diverse features. Games are works of art, he affirms, not mere content. And indeed, this game has a wealth of varied content—”shitloads,” to use his term.

Bits and pieces exist because they’re cool or because someone on the team is clearly a fan of Contra, or because a certain gag needs exploring. Even optional segments with fleeting new mechanics feel fresh and humorous. The game’s cooperative nature, like previous Hazelight titles, remains integral, pushing for tight communication and collaboration between players.

As you maneuver through each level’s changing landscape, expect fluid platforming, beautiful cinematic sequences, smartly crafted split-screen scenes, and engaging puzzles that demand teamwork. Overcoming these creative hurdles is essential for a game of this magnitude, and Hazelight has developed a keen knack for masterfully executing these elements.

“I think we’re getting better and better at it since we’ve been doing co-op for so long,” Fares says, satisfied with my reactions. “We’re almost the best in the world at what we do because nobody else approaches co-op design how we do.”

Naturally, this ambitious undertaking comes with its fair share of challenges. Consider, for example, their snowboarding mechanic. Fares insists on maintaining a high level of quality because players are perceptive when it comes to game feel—even if they’re only experiencing it for a brief moment.

“Players expect a snowboard game to handle like a snowboard game,” Fares explains. “And that’s understandable. Players don’t know that for games like Devil May Cry, they polish combat throughout development. We can’t do that here, but players have that expectation.”

He continues, “It’s not always easy on us, but releasing a polished product is crucial. That’s what we’ve become really skilled at in Hazelight—knowing which areas to refine to perfection.”

As if to prove his point, I’m back in the demo. A trailer shown at The Game Awards nicely encapsulates the game’s concept, though it’s complex. Yet, Fares dives beyond the public details, showing off secret mechanics from later in the game. I can’t disclose any of it, but trust me: it’s mind-blowing in the best way possible!

Split Fiction reminds me of two things. First, it carries a Nintendo-like spirit, were it not for its leader’s decidedly unfiltered vocabulary. Second, it channels the unpredictable charm of the British classic, Doctor Who.

Let me explain. Doctor Who’s brilliance lies in its unpredictability—unlike Star Trek, with its consistent ship-based storytelling. Doctor Who exists in a wonderfully chaotic space where every episode offers something novel without a center. In gaming terms, while many studios embrace Star Trek’s stable approach, Hazelight’s Doctor Who-like creativity builds complete worlds only to leave them behind, seamlessly advancing the narrative.

Granted, this hands-on experience was more of a curated exploration, moving through snippets accompanied by Fares’ enthusiastic commentary. It’s hard to precisely predict how Split Fiction will ultimately play out, but if first impressions count, this could easily become one of the defining games of 2025.

We don’t have long to wait—mark your calendars for March 5. I’m already buzzing with anticipation for the full adventure.