Sci-Fi vs. Fantasy: Invented Rivalry Hijacks What Could Be a Thrilling Cooperative Adventure

Split Fiction , the long-awaited It Takes Two a follow-up from developer Hazelight Studios, which is quite entertaining couch co-op game In a gaming setting where such dynamics are increasingly rare, this title stands out with innovative gameplay elements designed to foster collaboration between two players. It offers a wide range of environments and styles of interaction, making it accessible to gamers from various backgrounds. However, one significant issue persists—it detracts from the enjoyment due to an off-putting core premise centered on an odd rivalry reminiscent of "jocks versus nerds," but here pitting science fiction authors against fantasy writers.

In Split Fiction A major publishing corporation has extended invitations to a cohort of aspiring authors, luring them with the promise of getting their manuscripts published. Upon arrival, however, these writers discover a sophisticated virtual reality system designed to immerse them directly into the realms of their own creations. Among the two main characters navigating through this scenario, we have Mio—a somber and detached science fiction author—who feels uneasy about the situation and tries to back out just as he is being connected. Yet, despite his efforts, he ends up pulled into Zoe’s world instead; she is a cheerful and imaginative fantasy writer whose story comes alive around him.

This establishes the core game mechanic—switching between Mio’s grim science fiction environments and Zoe’s vibrant fantastical settings—and their ongoing rivalry, fueled by constant derision towards each other’s preferred genres and the narratives they create within them. In Mio’s realms, Zoe frequently pesters her with skeptical remarks such as "You enjoy “?! ” or through more pointed jabs such as “What is wrong with you?”. Conversely, Mio often brushes aside Zoe’s tales as inconsequential and consistently displays rudeness early on, choosing not to participate in discussions regarding their hobbies or personal histories.

The distinctions between science fiction and fantasy can be quite pronounced at times! However, asserting that these genres—and their fans—are entirely separate with no common ground seems rather archaic, to say the least. Many popular writers in each genre writes about them, and most people I know who enjoy one genre also appreciate the other. (In fact, many of us) annual list of the best books of the year Compiles both science fiction and fantasy due to the overlapping attraction between these types of genre. Certainly, individuals may have their preferences, but that isn’t reflected here. Split Fiction ; the game gives an impression as though science fiction authors believe fantasy doesn't qualify as a valid form of artistic expression, and conversely. It’s difficult to picture fans from both genres today accepting this viewpoint. that hardline about the other.

The setup would make a lot more sense with a different pairing: a sci-fi writer and a traditional romance writer, or a fiction writer and a nonfiction writer (feel free to daydream with me about ancient Rome or Egypt levels), or a genre writer and a Serious Dramatic Fiction writer. Then the conflicts that Split Fiction is attempting to wade into — “serious” art versus frivolous art, or the value of violence in fiction — could actually have some ground to stand on. Instead, Zoe’s character comes off as holier-than-thou about genre fiction when she herself writes escapist fantasy stories.

Many of Zoe and Mio’s critiques about each other’s work tend to apply to their own as well. Zoe is constantly criticizing Mio for how violent her stories are, but the most violent moment I’ve seen in Split Fiction is from one of Zoe’s stories, when trolls are attacking a village and one of them claps his hands and turns an unlucky villager into a cloud of blood. Violence seems to be a particular sticking point for Zoe, but fantasy is also a historically violent genre (something Mio never brings up, as far as I’ve seen).

The intention of Split Fiction The intention behind the characters' conflict is evidently aimed at having them overcome their differences throughout the gameplay. However, it proves challenging to accept their rivalry initially. Despite numerous chances for tension arising from their stark contrasts—such as the recurring theme of one being a "city girl" versus the other a "country girl"—it remains difficult. Split Fiction Instead opts to direct their conflict through the unusual settings characteristic of their selected genres.

The problems with the game's writing extend beyond its confusing main plot or constant arguments among characters who supposedly enjoy fictional genres. Despite being meant to be authors, neither Mio nor Zoe seem to have an understanding of what constitutes a book. Many of their "story ideas," which players experience throughout the game, feel disjointed and poorly conceived. Split Fiction simply consist of various settings or mini-games, or superficial homages to well-known franchises — "there's a dangerous contaminant!" or "desert world" or "gather the dispersed ghost kittens!" While many of these challenges and games are enjoyable, they fail to include any depth that one might expect from actual narratives—no characters have names in these imaginary realms; no additional individuals appear within their tales either. Locations remain unnamed too. These decisions work reasonably well for an action-packed video game filled with numerous activities (some indeed do). Split Fiction If only 's writing issues could be addressed by treating them like games writers' challenges, it might help; however, framing everything around a book-writing scenario seems peculiar. Both Zoe and Mio are portrayed as novice authors without prior publications, potentially justifying their unfinished narratives. Yet, the game fails to fully capitalize on this concept, leaving doubt about whether this was the intended approach.

Most confoundingly, Zoe seemingly introduces Mio (a grown-up, adult writer) to the concept that writers tend to put something of themselves into their work. It is beyond any notion of believability that a writer would not have considered this before, especially one serious enough about their craft that they are actively pursuing publishing deals.

I had similar issues with It Takes Two , a game that came highly recommended to me (despite our very negative review Although certain mechanical aspects were intriguing, I found the writing annoying and soon lost interest. Split Fiction Not focusing on divorce makes it significantly more enjoyable, and fortunately, the game remains highly entertaining. The local multiplayer gameplay is both innovative and diverse, demanding teamwork and rapid problem-solving. The checkpoint system is generous, minimizing frustration over repeated failures, and the game shines brightest during moments of spontaneous innovation: such as an initial stage where you control enchanted swine from one of Zoe’s fairy tales, or a remarkable section set inside a notebook where the player interacts with the writer who constantly alters their concepts, symbolizing the often hesitant nature of artistic creation. Split Fiction manages to effectively convey new puzzles to you remarkably well, frequently doing so without uttering a single word. It’s just disappointing that the remainder of the game doesn’t adopt this same method for its storytelling. Rather, it introduces an unnecessary divide where certain genres are portrayed as being perpetually opposed despite their similarities, implying that somber individuals pen science fiction whereas cheerful folks craft fantasies.