Creating Split Fiction involved a massive amount of meticulous work. The game feels like a whirlwind of innovation, with fresh mechanics popping up every quarter-hour and then swiftly moving on. The challenge lies in ensuring that each new element doesn’t feel rushed or incomplete.
There’s an interesting anecdote about the commitment behind Split Fiction’s creation. Consider this: the dragon ride segment. Just crafting one of those dragons took close to eight months. Early in my career, some colleagues would question, “Why invest so much in something players only experience for about ten minutes?”
Well, here’s my perspective. In the film industry, a remarkable scene isn’t reused just because it was costly to produce. Sometimes, those standout moments wouldn’t retain their magic if they were constantly repeated. There’s a notion in the gaming world that expensive assets should be continually reused, but I challenge that idea. Why should we? Reusing them dilutes the impact of that first magical experience.
In staying true to this philosophy, Split Fiction offers extensive sections of optional content, pushing the boundaries further than anything seen in It Takes Two. While that game featured mini-games, Split Fiction opens up entirely new worlds accessible through portals encountered on your journey.
These aren’t just small diversions; they’re fully realized realms with their own mechanics, sometimes even including bosses and unique visual styles. It’s like finding a brand-new game tucked inside the one you’re already playing.
