Spoilers for “The Well.”

Sometimes, in fiction, you don’t need to say a Very Important Thing in a Very Important Way to make a good point, just ask how a thing would work if it played out in the world. This week’s episode of Doctor Who, “The Well,” does exactly that, and brilliantly.

Picking up straight after “Lux,” the Doctor and Belinda, still in their ‘50s outfits, are trying to get the TARDIS to work. Belinda helps with the controls, but the vessel still refuses to land on May 24, 2025, which panics the nurse even more. If the TARDIS isn’t broken, she assumes that the date or the Earth itself could be broken, and frets about her parents. The Doctor shares her concerns, but promises that she will be reunited with her family.

The Doctor persists with his plan to land in a few more spots with the Vindicator (the gadget he built last week) to orient the TARDIS. This time, it’s 500,000 years in the future, and Belinda asks if humanity even exists by now. He assures her it does, as humans spread to the stars and wormed themselves into every corner of the universe. The pair head to the TARDIS wardrobe to get into some appropriate clothes before heading out.

They step out onto the gantry of a spaceship where an advance party of marines are leaping into the void. With no choice but to join them, they land on the planet below, enabling the Doctor to take the Vindicator reading. But, alas, the planet’s heavy radiation means the ship (and by extension, the TARDIS) has to glide down slowly over the next five hours. So they tag along with the mission, the Psychic Paper enabling the Doctor and Belinda to insinuate themselves with the team.

The planet is inhospitable, occupied only by a small mining colony that has dug down into the world to extract its last remaining useful resources. The colony went silent a few days before and, before you can say “Oh, is this going to be an(other) Aliens riff?” one of the marines suggests it would have been wiser to “nuke the site from orbit.”

All of the colonists are dead, half from gunfire, half from injuries that look like they fell and broke every bone in their body. The mirrors are all smashed and the systems are offline, the records of what went on inaccessible. But there is one survivor, the colony’s chef, Aliss Bethick (Rose Ayling-Ellis) who, like the actress who portrays her, is deaf. Aliss has been waiting in the middle of a large cargo turntable (which reads on camera as a big circle) for days.

Aliss is isolated, both physically in the staging and because of her hearing loss, and while she can lipread, it’s still a barrier between her and the soldiers. The Doctor can communicate with Aliss in sign, and the soldiers all have their own captioning screens on their lapels. Much of the second act is taken up with the interrogation of Aliss as the marines work through the logistics of how to communicate with her. For instance, getting her attention by casting to another soldier’s screen in her eye-line to get her to turn around. Belinda enters the circle to treat Aliss’ injuries but keeps seeing something lurking behind her new patient.

It isn’t long before the Doctor learns that the desolate planet they stand on was once covered in diamonds. This is the planet Midnight from the series four episode of the same name when the Doctor, trapped in a shuttle, tries and ultimately fails to defeat a sinister entity that possessed one of the passengers. Like then, the Doctor’s pleas for calm fail. Two of the soldiers mutiny and attempt to lure the entity out and kill it. They do not survive.

It’s Belinda who works out and explains the rules: If you imagine the host — Aliss — at the center of a clock, then whoever stands directly behind her is attacked by the unseen monster. If you stand at six o’clock then you’re fine, but “you’ll die at midnight.” Quite literally, as whoever is in the entity’s way gets thrown around like a ragdoll — half the crew shooting each other to kill the entity, the other half getting minced by the alien.

The Doctor approaches Aliss to speak to the monster but since it’s time for the third act to start wrapping up, he just stares for a bit before working out the solution. In order to mine the diamonds the colonists would dump down mercury, using a pipe which is conveniently running behind Aliss’ head. Shooting the pipe will cause a river of mercury to cascade down, creating a mirror that should be enough to banish the monster.

They make their escape, but the Doctor can’t help but wait behind to see the monster, giving it a chance to latch onto Belinda. The captain of the marines shoots Belinda enough that the entity thinks she’s about to die and switches hosts, after which point they leap into the mineshaft. Belinda wakes up in the TARDIS in the Doctor’s care, ready for the next adventure. Meanwhile, the marines debrief their boss — Mrs. Flood! Who knows all about the Vindicator, too — before revealing the alien did make it on board their spaceship after all.

One of the threads in the episode is Belinda keeps discussing human terms and superstitions to shrugs from everyone around her. It’s something that’s got both her and The Doctor puzzled, as there seems to be something very wrong with all of reality.

You die at midnight...

James Pardon / BBC Studios / Disney / Bad Wolf

Showrunner Russell T. Davies was asked about bad faith criticisms that the show had somehow gone woke. “Someone always brings up matters of diversity and there are online warriors accusing us of diversity and wokeness and involving messaging and issues and I have no time for this,” he said. “What you might call ‘diversity’ I just call an open door,” he added, “it’s cold and it’s bracing and there’s a world in front of you! There’s a blue sky, there’s clouds and there’s noise, there’s birdsong, there’s people arguing.”

What’s notable about this is that Davies’ open-minded (and open-hearted) approach to making the show creates storytelling possibilities. For instance, the last time an episode of Doctor Who featured a deaf character (2015’s “Under The Lake”), she relied upon a colleague to interpret on her behalf. And her ability to lipread wound up being part of the solution to the episode’s problem — reducing her to little more than a plot mechanism.

Here, while Aliss’ deafness is a core part of the plot, it doesn’t feel as if she’s defined by that one facet. Effort has been made to flesh out her character, and it’s more a venue to explore how technology and communication intersect with someone with different accessibility needs. Especially as (co-writers) Sharma Angel-Walfall and Russell T. Davies made the effort to think through how this would work.

BBC Studios / Disney / Bad Wolf

Whenever I’m watching an episode of nü-nü-Who, in the back of my mind I’m mulling what the injection of Disney money changed. “Midnight,” the episode “The Well” is a sequel to, was produced as a “double banked” episode — splitting the leads to shoot two episodes at a time. “Midnight” was also intended as a cheap story, with the bulk of the script taking place in a single room. If we’re being honest, “The Well” could have worked just as well given the bulk of the action takes place in a handful of rooms.

That’s not to say the extra cash lavished upon this episode is wasted: “The Well” feels almost indulgent by Doctor Who standards for the sheer breadth and depth of its sets. I can’t help but recall the Aliens riff Strange New Worlds produced in its first season, which re-used the series’ standing sets for the wreck of the USS Peregrine. It sounds weird to say that Doctor Who is luxuriating in the fact it can afford to show a trashed bunkroom for all of a minute, but it is.

Perhaps part of the reason it does feel indulgent is that this is an episode relatively low on incident and high on character. Belinda gets a real showcase here, both asserting herself on the narrative at several points, but also being rebuked for doing so. She tries to take charge to help the injured Aliss but the medical kit is so advanced she’s not able to use it. She’s smart enough to work out the rules of the alien, but also it gets the better of her in the end.

Whereas the first two episodes this season felt overstuffed and rushed, the smaller story and focus on character lets everything breathe. That an accessibility tool is a key focus of the plot and used as a venue for storytelling and character development is marvelous.

Look, I’m as bored saying it as you are reading it, but once again I can’t help but point out the influence of Steven Moffat on this season. One of the inspirations for monsters like the Weeping Angels and the Silence was the idea of them being easy to turn into a schoolyard game. The unnamed entity here, with the mechanic that if you stand directly behind the host you will die, seems perfectly in that tradition.

But “The Well” also offers instances where Davies is in conversation with the rest of this season and his earlier work. In both “Midnight” and “The Well,” the Doctor is at risk of losing his grip on the situation because the threat of the unknown makes people paranoid and jumpy. A streak of deeply dark pessimism runs through all of this work and while it’s also on show here, there’s a little more hope than there was before.

It’s also interesting how Davies, who has always structured his seasons in a fairly rigid manner, seems to be deliberately repeating motifs and beats. The parallels between this season and the last feel almost like they’re trying to draw attention to themselves. “Space Babies” and “The Robot Revolution,” “The Devil’s Chord” and “Lux” and now the “Boom” paired with “The Well” feel like episodes vying for the same space in different realities. Not to mention the repetition of moments from episode to episode — like the TARDIS wardrobe sequence and the repeated hand injuries. If next week's "Lucky Day" is predominantly featured on Ruby Sunday without the Doctor and revolves around physical distance and / or the supernatural, then perhaps we might assume that this is more than coincidence. 

Mrs. Flood Corner

I’ve always hated “The End… or is it?” fake-outs that often undermine the drama of whatever denouement they’re tacked on to. Sure, it can be effective if you want to cheapen the sacrifices your characters made to vanquish the villain, but often it comes across as hacky. Not to mention that people with poor media literacy will assume that it’s actually a teaser for a cliffhanger to be resolved the following week.

Here, eh, it’s essentially a way to shoehorn Mrs. Flood in as the soldiers' boss taking the debrief after the Doctor and Belinda depart. She knows about the Doctor’s use of the Vindicator, and has now seen it in action thanks to the soldier’s recording. But there’s no breaking the fourth wall, which means she’s operating here in the same manner as Susan Twist did last year. Which is, uh, interesting.

The hit co-op adventure game Split Fiction is already headed for Hollywood with Sydney Sweeney in a starring role, according to Variety. Along with the Euphoria actor, the film adaptation welcomed Wicked’s Jon M. Chu as the project’s director and screenwriters Rhett Reese and Paul Wernick, who worked on Deadpool & Wolverine. Sweeney will also reportedly be an executive producer for the Split Fiction movie. Split Fiction features two authors named Mio and Zoe who get trapped in fictional worlds they penned up. It’s still unknown which of the two Split Fiction protagonists Sweeney will portray.

Shortly after the video game’s release in March, Variety reported on a bidding war for a film adaptation of Split Fiction. Hazelight Studios, an indie video game developer out of Sweden, created the game that centers around split-screen combat and bounces between sci-fi and fantasy worlds. The game saw early success, selling two million copies in its first week, which may have led to the quick turnaround of a proposed Hollywood adaptation. It was picked up by Story Kitchen, a studio known for adaptations of franchises like Sonic the Hedgehog and Tomb Raider, but there’s no release window yet.

New devices are still hitting our desks at Engadget at a rapid pace. Over the last two weeks, we've offered up in-depth analysis of cameras, earbuds, GPUs and a portable display. Plus, there are follow-ups on two of this spring's biggest TV shows and a little something for the gamers. Read on to catch up on everything you might've missed in the last fortnight. 

Panasonic S1R II

If you're looking for a camera that excels at both photos and video that's more affordable than what Sony, Nikon and Canon offer, contributing reporter Steve Dent recommends the S1R II. "The S1R II is Panasonic’s best hybrid mirrorless camera to date, offering a great balance of photography and video powers," he said. "It’s also the cheapest new camera in the high-resolution hybrid full-frame category, undercutting rivals like Canon’s R5 II and the Nikon Z8."

NVIDIA RTX 5060 Ti (16GB)

Devindra is back with another GPU review, and this time he put the NVIDIA RTX 5060 Ti through its paces. Price hikes are the biggest concern here amidst the current retail market (even before potential tariffs kick in). "On paper, NVIDIA has done a lot right with the 16GB GeForce RTX 5060 Ti," he explained. "It’ll be more than enough for demanding games in 1080p and 1440p, even if you let loose a bit with ray tracing. But it’s also relying on DLSS 4 upscaling for much of that performance, which may make some wary about the 5060 Ti’s actual power."

Espresso 15 Pro

Espresso Displays is an Engadget favorite as far as portable monitors are concerned, but senior reviews reporter Sam Rutherford argues the company needed to bridge the gap between its more affordable options and its priciest. The Espresso 15 Pro isn't cheap, but it does offer almost everything you'd want. "It features well above average brightness, a sleek but sturdy design and super simple setup," he said. "It also comes with a few special features like Glide and added touch support for Macs that help you get more out of the devices you already own. And thanks to a wealth of accessories, it can adapt to almost any use case."

Audio-Technica ATH-CKS50TW2

The idea of wireless earbuds with 25 hours of battery life seems impossible, but Audio-Technica made it happen. The company's ATH-CKS50TW2 lasts twice as long as more premium competition with active noise cancellation (ANC) on, but it blows them away with that mode disabled. A-T's trademark warm, inviting sound profile is on display here too. "More specifically, the stock audio isn’t overly tuned, so bass remains pleasantly thumpy when needed and dialed down when it’s not," I wrote.

The Last of Us, Andor and Clair Obscur Expedition 33

Nathan has been keeping up with season two of The Last of Us on an episode-by-episode basis and Devindra penned a full review of the new season of Andor. UK bureau chief Mat Smith spent some time playing Clair Obscur: Expedition 33, noting that the game "does a great job setting up its world in a way that allows everyone to get on board."

The Legend of Ochi feels like a film that shouldn't exist today. It's an original story, not an adaptation of an already popular book or comic. It's filled with complex puppetry and practical effects, something many films avoid because CG is simply easier to deal with. And it evokes some of the scarier children's films of the '80s and '90s, like the nightmare-inducing adaptation of Roald Dahl's The Witches.

According to Isaiah Saxon, the film's writer and director, it was a struggle to get The Legend of Ochi made. "The attempt to make the film took longer than the making of the film," he said in an interview on the Engadget Podcast. " I think it's extremely hard to reach kids with your first film because kids are kind of behind this kind of corporatized IP world now. But I really wanted to reach kids with my first film and, and so that's why it took so long."

Whenever he received a bit of funding for the film, Saxon says he used it to prototype creatures with London's John Nolan Studios, which has built animatronics for films like Jurassic World Dominion, as well as scouted locations in Romania. "And so, through the three-and-a-half years of this work before I got a green light [to make the film], I had then accrued this visual package that was kind of undeniable," he said. "That's when A24 finally just said, okay we're gonna be bold and risky and this isn't what anyone normally does, but we're gonna believe in you here."

The result is a film that feels incredibly personal and distinct. It centers on a young girl, Yuri (Helena Zengel), who is growing up in a tiny village on the island of Carpathia. There the people fear the Ochi, mysterious primates who live in the forests and attack farm animals. Her father Maxim (Willem Dafoe in another unhinged A24 film performance) is a conservative, overly-macho man who leads a band of boys to hunt Ochi. Oh yeah, and he occasionally wears Viking armor.

A24

The film begins with the Ochi, who from afar look like menacing monkeys. Yuri was raised to fear them, but after encountering one young Ochi, she begins to reject everything her father taught her. It also helps that the creature looks adorable, with large eyes and protruding ears, it's a bit like The Mandalorian's Grogu (AKA Baby Yoda), but with fur. The infant Ochi is also a complex puppet created by John Nolan Studios, and it looks uncanny at first, since these days we expect it to be computer generated. But it's clearly a physical object, with actual facial movements that Yuri can react to.

"Puppetry is such an ancient art form," Saxon said, when I asked why he pushed to make the Ochi a puppet and not a purely CG creature. "We've been making shadows on the cave wall for thousands of years, and our brain as we watch the human hand give life to a character is just fully accepting of it."

"And then there's also the charm of the failure space of puppetry. Even when you're not doing it just right, it feels alive. And especially for this baby primate, we found immediately as we were testing the puppet, that the little imperfections that came through rod puppeteering were actually exactly the way that a little baby monkey would be just discovering how to move their own body."

A24

Creating a believable puppet is just one problem though, another is orchestrating it effectively on a movie set. "[John Nolan Studios] pushed the limits of what you could do at a really small scale with animatronics," Saxon said. "We were able to prototype for years to build these creatures. And then on set, we have extensively rehearsed every single scene with all these puppeteers. There's five on the body led by Rob Tygner, who's doing the head, and he's kind of calling out the internal monologue of the animal — all its thinking, all its vocalization — so that everyone can sync."

Another two people control the puppet's face while staring at monitors, so there's a challenge to making them all work as one entity, Saxon says. The film's sets are also built to hold all of the people who control the Ochi puppet, and who often need to be hidden from view. And then there are the suit performers. "We have small people in ape suits with hand extensions with heavy animatronic heads that they can barely see out of. They're hot and they're out in the Carpathian wilderness in the mountains of Transylvania," Saxon said.

After seeing what he accomplished with The Legend of Ochi, it's not hard to see Disney tapping Saxon for something in the Marvel universe, like it has with so many independent filmmakers. But that likely won't happen. "I've already said no," Saxon remarked in regards to making a Marvel film, and he also has no desire to make anything based on an existing IP.

Saxon isn't entirely against using digital tools, despite his obvious love for puppetry. The Legend of Ochi still uses CG for distant shots of the Ochi, and for creating virtual sets. "I've also, over the years, learned CG and I've made purely animated 3D films. And I know the software myself and I know that it's a bespoke craft art that is tedious and full of love and attention to detail."

"It doesn't get the respect it deserves," he added. "And that's partly because there's been a kind of corporatization and overuse of CG a lot.” Saxon says he was well aware a CG character couldn’t carry the film, but he also knew that it was the best way to create a 3D river that didn’t exist in Romania. (It’s also reminiscent of the music video he directed for Bjork’s “Wanderlust.”)

"You have to look at each opportunity and come to the technique organically for the task. You can't have philosophies about this."

If you’ve performed a Google search lately, you’ve undoubtedly come across an AI Overview in your search results. This tool, powered by Google’s Gemini, tries to save you some clicks by aggregating information from the links populated in your search results and succinctly delivering what it believes to be the information you’re looking for. The accuracy of these overviews, however, often leaves a lot to be desired, and the tool has been plagued with hallucinations since its launch (with varying degrees of hilarity).

Now Google is bringing the tool to YouTube, testing a video version of AI overviews for a small number of YouTube Premium members in the US across limited English search queries. While Google search results show LLM-generated text summaries, YouTube’s AI overviews will function as something of a highlight reel for certain videos.

In a post on YouTube Community forums, Google said that, "This new feature will use AI to highlight clips from videos that will be most helpful for your search query…This is most likely to show when you search for more information about products you’re shopping for (such as 'best noise cancelling headphones'), or when you search for more information about locations or things to do in those locations (such as 'museums to visit in San Francisco')."

This raises some questions about the revenue model for creators on YouTube and how AI-generated clip reels would affect their incomes. A major concern with AI overview in search is Google’s own summary absorbing traffic that would otherwise have gone to the publications shown in the search results. Bringing these tools to YouTube is likely to raise the same concerns for video content creators.

Google will be collecting feedback on these overviews from Premium members, who can vote with a thumbs up or thumbs down on the AI-generated highlight clips. Google hasn’t said how long this pilot will run for, or whether Google intends to expand YouTube’s AI overview to anyone beyond Premium subscribers.

What feels like a million video games with online multiplayer seem to arrive every week, but good games you can play on the couch with a loved one have only become rarer. If you’re looking for some cooperative fun, let us help. Below we’ve rounded up several of the best couch co-op games we’ve played across the Nintendo Switch, PlayStation 5, Xbox and PC. Just note that we’ve limited our selection to genuine co-op experiences, not games that have local multiplayer but aren’t truly cooperative in practice. (So, no Mario Kart or Jackbox Party Pack.) Still, our guide covers everything from platformers and puzzlers to RPGs and arcade shooters.

Best couch co-op games for 2025

Couch co-op games FAQs

What's the difference between a multiplayer game and a co-op game?

A co-op game is a type of multiplayer game that's designed to let two or more players to play together as a team — or, cooperatively. For this guide, we specifically focus on couch (or "local") co-op games, which allow you and your partner(s) to play from the same device, in the same place. Online co-op games have you play together from separate devices over an internet connection. The latter are much more common these days, but they can be a bit less intimate. (This guide would also be a much more daunting endeavor if we had to keep track of every new game that supports online co-op.) A multiplayer game, meanwhile, is simply any game in which multiple players can play in the same in-game space at the same time, be it cooperatively or competitively, locally or via the internet.

Recent updates

April 2025: We’ve added Split Fiction as a recommendation and noted Donkey Kong Country Returns HD as another good option in our Tropical Freeze write-up.

Check out our entire Best Games series including the best Nintendo Switch games, the best PS5 games, the best Xbox games, the best PC games and the best free games you can play today.

Back when Meta first introduced its Twitter competitor Threads, many noted that the company had failed to secure the threads.com domain and instead launched the website at threads.net. At the time, the Threads dot com domain belonged to a messaging app startup that said it was reluctant to rebrand its business.

But that startup was later acquired by Shopify and Meta did eventually acquire the coveted threads.com domain for an undisclosed amount. Now, Meta is finally moving Threads’ website to threads.com, and adding some much needed functionality to the web version of Threads.

The update adds a new composer that pops up in its own window so you can continue to browse your feeds as you type out a new post. It also allows you to scroll your various custom feeds in a single-column view (much like Threads’ mobile app), and finally adds a menu shortcut for saved posts. (Previously, the only way to view saved posts on web was to add it as a pinned column.)

Screenshot via Threads

Meta is also stepping up its efforts to lure users directly from X. The company says it’s testing a new feature that allows users to upload a list of people they follow on X and find the corresponding accounts on Threads. The feature, currently labeled as being in “beta,” sounds a bit clunky according to Meta’s in-app description. It notes that downloading data from X can take as long as three days, so it’s not exactly a simple process. But in addition to giving users a way to find familiar accounts on Threads, it could also give Meta some valuable insight into users’ habits on other platforms.

Meta is finally acknowledging that Facebook’s feed is filled with too many spammy posts. In an update, the company says it plans to start “cracking down” on some of the worst offenders. “Facebook Feed doesn’t always serve up fresh, engaging posts that you consistently enjoy,” the company writes. “We’re working on it.”

Specifically, Meta says it will lower the reach of creators that share posts with "long, distracting captions” as well as posts with captions that are irrelevant or unrelated to the shared content. These accounts will also no longer be eligible for monetization. Likewise, the company says it’s taking “more aggressive” steps to combat “spam networks that coordinate fake engagement.” This includes making comments from these accounts less visible, and removing Facebook pages meant to “inflate reach.” Meta is also testing a feature that allows users to anonymously downvote comments in order to flag them as not “useful.”

The update comes as Meta is trying to revamp Facebook to make it more appealing to “young adults.” The company recently brought back a tab for friends content, in an update Mark Zuckerberg described as making the platform more like “OG Facebook.” Notably though, Meta’s update doesn’t mention one of the more persistent forms of engagement bait that’s emerged on Facebook over the last year: AI slop.

The phenomenon, which has been extensively documented by 404 Media, involved bizarre, often nonsensical AI-generated images — like the now infamous “Shrimp Jesus” — that serve little purpose other than to farm engagement for people trying to make money on or off Facebook. These spammers are often aided by Facebook’s own algorithm, which boosts the posts, researchers have found.

AI slop and engagement bait aren’t the only types of low-quality posts that have overwhelmed users’ Facebook feeds in recent years. I regularly see posts from pages that seem to do nothing but screenshot old Reddit posts from r/AITA, or recycle old news about celebrities I don’t follow or particularly care about. Meta’s reports on the most widely-viewed content on its platform regularly feature anodyne posts that are engineered to rack up millions of comments, like those that ask users to comment “amen” or solve basic math equations. Posts like that may not fit neatly into Meta’s latest crackdown, though it’s unlikely many Facebook users are actually enjoying this content.

The company does note it’s also trying to “elevate” the creators that are actually sharing original content, including by cracking down on accounts that steal their work. But given how much easier it is to make AI slop than good original content, it could be a long time before Meta is able to get Facebook’s spam problem under control.

Netflix is adding a new way to watch with subtitles. Starting with season five of the psychological thriller You, captions with only dialogue will be available alongside the standard Subtitles for the Deaf and Hard of Hearing (SDH/CC).

If you aren't already familiar, SDH/CC subtitles include not only dialogue but audio cues like [alarm rings], [knock on door] or [Don't Stop Believing intensifies over the jukebox]. Netflix's new option cuts those non-dialogue audio descriptions.

You'll find the dialogue-only subtitles in Netflix's language picker labeled "English." Meanwhile, SDH/CC captions will remain as "English (CC)." The company says that, in addition to You season five, the new type will be available in all upcoming Netflix originals in every language it supports for SDH/CC subtitles.

Every video game is a miracle. Long hours, extraordinary technical and artistic requirements and cross-disciplinary collaboration: the very act of making games is difficult, and leaves room for catastrophic errors. It's a wonder any of them make it to release at all.

Fulcrum Defender, the new Playdate exclusive from Jay Ma, the co-founder of indie darling Subset Games, is one such miraculous game. It's the first new release from the studio since 2018's critically acclaimed Into the Breach. Ma began work on Fulcrum Defender following a life-changing Covid infection that has greatly diminished her quality of life and ability to do the thing she loves.

The story of Fulcrum Defender begins following a trip Ma made to Vancouver, Canada in August 2023 to see Subset co-founder Matt Davis and a few other members of the studio in-person. At the time, the team was working on more than one game. According to Ma, one of the larger, more promising projects was "struggling," but the trip led to a breakthrough. Then, she caught Covid-19. "It was pretty unfortunate timing," she said. "For the first time in a while, I was gung-ho about being able to figure this game out."

At first, Ma's latest bout with the coronavirus didn't seem all that different from her previous experiences. She returned to her home in Kyoto, Japan, quarantined and eventually recovered from the acute symptoms, but never bounced back completely. "I think it was the first day that I went out to be outside, bike, do normal things, and I just completely shut down," she said. "I couldn't get out of bed for like four days." She realized she was experiencing long Covid.

As we chatted over Google Meet, Ma frequently took long pauses to piece together her memories and find the right words to express her loss. "I'm a different person," she told me after one such break. "I walk around with a cane. I need to structure exactly how I do something outside. I need to know where all the chairs are. I walk at a grandma's pace, and I'm constantly forced to maintain awareness of my physical state, because if I do too much, it's already too late. It makes everything feel dangerous."

For the first four months of her illness, Ma couldn't work at all. "Even even when I was more used to needing to pace myself, not only was it harder to do things that used to come naturally to me, but I would also get lost in my own head," she said. She worried she might never make games again.

Subset Games

Fulcrum Defender was a chance to prove to herself she could still do the thing she loved. Subset’s Mauro López provided additional programming, and composer Aaron Cherof, best known for his work on Minecraft’s Trails and Tails update, made the music for the game. Panic contacted Ma about the project after she showed a few friends the game around the time of Kyoto's annual Bit Summit indie game festival in the summer of last year.   

"I would wake up in the morning and think about the game and make progress every day – even if it was only a couple of hours – that did something really important for my psychological state," she said.

In a preview released by Panic, Ma describes Fulcrum Defender as a game "that starts out slow and relaxing but gradually ramps up until it becomes frantic chaos." You can see the connective tissue between it and Ma's previous work. Players can earn upgrades to make their run easier. Success then depends on a combination of good aim (using the Playdate's signature crank), smart decision-making and a well thought out build. I expect it will have the same addictive "one more run" quality that Subset’s other games are known for.

This illness has shrunk my world and perception of time considerably.Jay Ma

"With Into the Breach, if I wanted to add one enemy, that one enemy would change how maps are designed, how character weapons are designed, and how scaling works," she said. "So a single new idea requires you to kind of keep everything in your head at once, and that specifically is just something that I struggle to do now." Fulcrum Defender taught Ma how much she had taken for granted the ease with which she one juggled those various dependencies in her mind.

Ma hasn't found a doctor in Japan who knows enough about the illness to offer her a conclusive diagnosis, and the state of research on long Covid in general is nascent. "They hate to make uncertain calls," she explained. The one thing she's found she can do is take frequent dementia tests to track the condition of her mind.

"I feel like I need to live with the possibility that it won't go away, so I just sort of operate with that mindset," she told me. "This illness has shrunk my world and perception of time considerably. My memory is way worse. I'll forget what happened like a week ago, and I don't really think about the future at all. And so I'm just in a constant present. It feels like I'm being forced to train to be a monk."

When I asked what her illness might mean for the future of Subset, Ma took a long time to consider her answer. "We set a rule that we will not announce anything unless we're absolutely certain it's coming out. We want to live with the freedom of being able to cancel rather than feeling we're stuck in having to release something we don't like," she said. "So Subset is doing fine, but my output has dropped to like 20 percent of what it used to be."

Subset Games

Davis, she adds, has been productive, but he too has had to adapt his work schedule, in his case due to two young kids. "If we want to make another Into the Breach-scale game, it feels like we might need more help in the long run. I need to come to terms with the fact I can't do all the art the way I used to."

Ma has been through so much, and yet Fulcrum Defender isn't a game about chronic health concerns, disability or memory loss. It seems to studiously avoid borrowing any biographical detail from Ma's life whatsoever. People will play and enjoy it knowing nothing of the challenging circumstances in which it was made. It turns out, that's the only way Ma would have it.

"I know of a lot of developers who put themselves into their game. You can see the author's intent, emotional state and the things they were processing in it. I've wondered what it would be like to make a game like that, but I have no idea how. Basically, the only thing that drives me is mechanics," she told me. "So I have no expectation, or really desire for people to see the author in the little arcade games I make. I would be very happy to never be perceived."

Fulcrum Defender — along with 11 other games — arrives as part of Playdate's second season of weekly games beginning on May 29. You can pre-order Season Two for $39 through the Catalog store.