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Of course, this is a huge amount of work. Split Fiction <\/em>feels as though it\u2019s introducing new mechanics every 15 minutes, and jettisoning the old ones \u2013 but it can\u2019t allow each new idea to feel half-baked.<\/p>\n \u201cIn Split Fiction<\/em>, [there\u2019s a section where you ride] dragons \u2013 just one of those dragons took, I think, eight months to create. And in the beginning of my career, a lot of the team members were like, \u2018Why are we doing all this and you\u2019re only playing it for like 10 minutes?\u2019<\/p>\n \u201cBut here\u2019s the thing. [In a] movie, if you have a great scene that cost a lot of money, you don\u2019t reuse that scene because<\/em> it cost a lot of money. I do feel sometimes that cool moments like that wouldn\u2019t have been as cool if we just reused them all the time. There is [an idea] in video games that, just because something was very expensive, it needs to be reused. But why? Why do you have to reuse it? Because that takes away the actual feeling of when you first experienced it.\u201d<\/p>\n Split Fiction <\/em>takes that philosophy to its natural endpoint by including huge sections of totally optional content. It Takes Two <\/em>included some mini-games along the way, but these sections (accessed through portals you\u2019ll find along the way) go so much further.<\/p>\n \u201cHere, it\u2019s actually full-blown worlds with new mechanics, sometimes bosses, new visual worlds. It\u2019s literally almost like a new game inside the game.\u201d<\/p>\n<\/div><\/div>\n