Split Fiction
Split Fiction
Never change a running system
How do you define a lack of ideas? Is it when you always tackle a problem in the same way? When you constantly repeat yourself? Or rather, when the same thing happens over and over again? Whatever the answer to this philosophical question may be, the only thing you can accuse development studio Hazelight Studios of lacking ideas is when it comes to plot design. For the third time now, one of their games tells the story of a reluctant couple who are forced by circumstances to team up and escape together.
In the first game, A Way Out, this was meant quite literally, as the story revolved around two prison inmates who work together to find the eponymous way out. It Takes Two on the other hand, moved in the direction of fantasy and shrunk the estranged couple Cody and May to doll size – more on that in the accompanying review. Last year's Split Fiction then did something surprising... namely, exactly what you would expect: a reluctant couple must work together to solve a problem.
When it comes to Mio and Zoe, they're two young authors who just want to make some money with their ideas. But an experiment with new VR technology goes wrong and suddenly they find themselves stuck in their own stories! The initially shy pair, consisting of the always cheerful fantasy writer Zoe and the pragmatic sci-fi fan Mio, make their way from storyline to storyline and (naturally) become friends over the course of the story.
That's basically what every Hazelight game has done so far, and it's also the only thing you can hold against them: predictability. In the case of Split Fiction the regular switching between the magical world and the space saga makes the formulaic co-op even more obvious and the predictable even more predictable, which is a shame, but it doesn't really matter that much. After all, the contrasts between the game worlds have once again been wonderfully crafted.
Every setting, whether futuristic or fantastical, is designed to be varied, and the two heroes' abilities, which only work in combination, ensure that the game remains fun even when the first signs of fatigue set in. Like a new Call of Duty-game, which basically falls into the copy-and-paste category, Split Fiction does exactly what its predecessor did so well. But unlike Activision's shooter brand, we don't get the same thing in a different way, but something different in the same way. Do you understand what I mean, Susi?
Basically, it's very understandable what you're getting at. But I have to interject here. I didn't feel like there was a lack of ideas. Sure, the setting you describe (two initially very different characters who HAVE to work together) is there, but the whole thing was embellished by the story and also changed with glitches in such a way that It Takes Two rarely came to mind.
There's only one thing that came to mind when I thought about the story: Assassin’s Creed ... At least the first games. An unethical company that wants to make money from stories and needs something from the test subjects. In AC they wanted DNA, and in Split Fiction they wanted stories. And there are also similarities between the faces and Abstergo employees... Maybe we're onto something bigger here...
What I really loved about SF, was that it wasn't just one character who was happy as fuck, but that both backstories and psyches had a darker twist. The levels were very lovingly and beautifully designed. Whether as a witch with a ghost cat, a tooth, or a futuristic jet ski rider, I always felt that a lot of effort and passion had gone into it.
About the gameplay
There were some refreshing and easier sequences as intermediate/extra levels, for, let's say, relaxation. Even without much practice since ITT, SF had great playability for me as a “beginner advanced” player. To my surprise, I found it very easy to navigate the levels, and I probably died a lot less often than in It Takes Two. Still, I was glad to have some breathing room, for example as a pig. Even if the whole thing doesn't end grill... uh, well, right?
Yes, I agree with you. You can tell that a lot of heart and soul went into the game and the underlying story, but it's not going to win any innovation awards. It serves as a vehicle to chase us from one scenario to the next – and it works. One thing that occurred to me, which should reduce the frustration level for less experienced players, is the elimination of mini-games. Instead of the entertaining duels of the predecessor, there are now additional story sections that we discover together. So instead of competing against each other, there is even more cooperation. Still, it's a shame that I didn't get to beat you in any more mini-games.
Bottom line
And that brings us to the conclusion. Originally, I would have gone with a “Very Good” because, for me, It Takes Two is more of a “masterpiece.” The idea, the world, the protagonists – everything fit together perfectly. But the same can be said about Split Fiction . So it wouldn't be fair to deduct points. While the predecessor remains the better game in my heart, on paper, the sequel is every bit as good.