In 2017, Swedish-Lebanese filmmaker and videogame designer Josef Fares took the gaming world by storm. Instead of merely announcing Hazelight Studios’ upcoming title, “A Way Out,” like any independent studio head might, Fares capitalized on his snippet of The Game Awards screen time, blurting, “F*** the Oscars,” live on air to millions of fans.

Such an aggressive ad-lib would cost most people an invite back. But Fares’ enigmatic presence, underscored by a quick-witted confidence and flaming gaming passion, quickly captured the industry’s heart.

Delightfully, it isn’t all bark and no bite. Fares’ viral antics define only a fraction of Hazelight’s greatness, responsible for a growing catalog of boundary-pushing, consumer-friendly releases.

In 2021, Fares and team permanently etched themselves in gaming history, accepting the coveted Game of the Year recognition for their innovative co-op romp “It Takes Two.”

Sporting a bolstered budget and widespread visibility, Hazelight launched its biggest game to date, “Split Fiction,” on March 6. Just like “It Takes Two,” the game is an action-packed split-screen co-op platformer filled to the brim with ingenious level design and limitless creativity. It requires only one party to purchase for local/online cooperation.

Astonishingly, “Split Fiction” is even bigger, bolder and better than “It Takes Two,” pushing modern co-op gaming to awe-inspiring heights. Scattered with endless mechanics, fluid controls, stunning environments and unfathomable gameplay diversity, Hazelight’s brainchild is the gaming experience of the year and a bonding exercise like no other.

The game places players in control of aspiring genre authors Mio (science-fiction) and Zoe (fantasy), sweetly named after Fares’s real-life daughters. The two cross paths at Rader Publishing, invited by CEO J.D. Rader to participate in an experimental simulation that transports writers into their submitted stories. Things quickly go haywire. Mio and Zoe become encased in a glitched iteration of the simulation, bridging worlds from their lifetime story concepts. As the narrative progresses, Rader’s sinister intentions unravel. He’s trying to steal their ideas. Somehow, some way, the duo needs to escape the simulation and vanquish Rader’s threats.

“Split Fiction” is defined by fast-paced versatility and endless ideas. One second, Mio and Zoe are swerving through a futuristic metropolis on a motorcycle; the next, they are gliding atop dragon companions overlooking majestic castles. The game introduces brand-new mechanics within each chapter, offering Mio and Zoe separate powers, weapons and forms.

The only constant is a base move set featuring a double jump, sprint, dash and grapple, rendering constant movement fast, fluid and fun. I cannot locate an instance where navigation felt frustrating or burdensome.

The game doesn’t mind switching things up in the blink of an eye, even changing the player’s point of view frequently. It’s loaded with boss fights, mad dashes and clever puzzles that question the limits of what’s possible — an unending gift of unpredictability that refuses to lose your attention.

As Mio and Zoe teeter back and forth through sci-fi and fantasy worlds, they are exposed to “side stories,” which are optional but unmissable gameplay sections. Unlike the primary levels, the side stories aren’t confined to time or completion. Many stem from Mio and Zoe’s childhood or build off past creative flutters. One sees the duo waddling around as pigs; another switches to a hand-drawn art style. Not only are they a lovely break to the main story, but they further saturate the game with insane gameplay gimmicks and vibrant environments.

Speaking of vibrancy, “Split Fiction” is so densely gorgeous and detailed that I’m perplexed at its ability to run so smoothly. It’s even more impressive considering the sheer amount of grand-scale imagery littered throughout. Every inch of this thing pops with color and beauty. Especially given the game’s sprightly, non-stop pace, it’s important to stop and smell the roses every now and then to appreciate the visuals.

Narratively, “Split Fiction” is run-of-the-mill but serviceable. Rader’s dealings represent the hollow creativity and exploitative nature of generative AI. While it’s a tad on the nose, the unsubtle messaging is as critical as ever. Mio and Zoe are likable protagonists and apt vessels for the game’s main draw: gameplay. Their dialogue is often cliché, even annoying at times, but their strangers-to-best-friends dynamic is wholesome and holds a surprising emotional punch. By the end, I felt connected to each of them, despite only playing as one of them.

The cherry on top, the final sequence, is an otherworldly achievement. I could not make heads or tails of it. I cannot fathom how they pulled it off. I cannot wait to play it again.

What Fares and Hazelight Studios have done — and continue to do — is dream their ideas into reality. They have reached the pinnacle of fun. “Split Fiction” isn’t just a game; it’s an opportunity to get closer to someone you hold dear. Don’t wait up.