#murkoff comic

[evilejfan]

Comic panel reproduction. Woodburned, colored pencils and acrylic paint.

[daar-o]

Part 1/?

[edalynanarchy]

It should be a crime of how this man is so severely underrated

I want to write a self insert but I'm still practicing (⁠ノ⁠ಠ⁠益⁠ಠ⁠)⁠ノ⁠��⁠┻⁠━⁠┻

[oddri-art]

~Capitalist Pig~

(I think I was 12 the last time I drew this asshole. I don't think younger me would have expected to still be obsessed with Outlast nearly 10 years later, but here we are lmao)

[vvellerr]

DO *NOT* ATTEMPT THE MOUNT MASSIVE 3:AM CHALLENGE ‼‼ (TOTALLY REAL) (NOT FAKE) (I DIED????)

[luvisia]

this is the true dynamic. to me.

anyways let me introduce you to my favorite outlast characters aka the "did fuck all wrong" squad and their scary ghost demon nightmare machine mascot

[deadpuppetboi]

Red Barrels: So Outlast 3 is a thought bubble atm-

Me: ALICE, GET BEHIND ME‼️‼️‼️

[nanotech-terminator]

okay okay so! I hear you work for the place that! owns like EVERYTHING in town. people have been saying they're like.. O'Hare Air? whatever that is.!! ✧⁠\⁠(⁠>⁠o⁠<⁠)⁠ﾉ⁠✧

anywayz! what's it like :00 Is it really as cool as all the Elders say it is?!

"Who is this? Do I know you?" "I don't work for anyone. I don't know what you're talking about."

[mslangermann-a]

me clinging desperately to the only two panels in the outlast comics that featured lynn’s dead body

[sticksbatnix]

Batman/Outlast Au

Murkoff has hit a dead end.

Guarantee, their work was far from done, their technology had reached a newfound high, and the possibility of their end goal was at the tip of their fingers.

The problem was that they weren't making any progress as of late and their resources were limited. Of course, this wasn't new as they have faced similar issues before but time was of the essence. So, they needed another way to continue their experiments.

Many other institutions were named and tested out but only one was truly capable of such a feat.

Arkham Asylum is a place infamous for housing Gotham’s most notorious criminals. From the most common or least common villains, they were all housed within Arkham’s walls.

Every one of them displays hints of insanity, fear, and death from within their minds.

They were perfect patients to be subjected to the morphogenic engine.

[abysswatchers420]

i miss that moment in time when i was super into outlast and loved jeremy blaire bc i love pieces of shit in a suit

[chocohybrid]

TEMPLATE: MURKOFF — a google doc roleplay muse template.

Link: REAGENT

Link: PRIME ASSET

Link: EX-POP

EDIT: GOOGLE DRIVE TO ALT COVER COLOURS

To replace on doc: Double click background image on page 1 and click ‘replace image’.

To use: click “file” > “make a copy” !

The Murkoff templates are based on the Outlast Trials patient files depicted in the comics. Patient number on the front page and top of 2nd page, as well as the ‘Average grade’ can all be edited by double clicking to open up drawings. The image can be edited the same way, double click, and then drag the top image aside, ‘replace image’ and insert your new picture. Return top image to the centre.

Please like or reblog if you use this!! Support me on Ko-Fi if you’d like!

[edalynanarchy]

He's the best guy around♡⁠˖⁠꒰⁠ᵕ⁠༚⁠ᵕ⁠⑅⁠꒱

[luciferdeblack]

WARNING AGRESSIVE "ANIMAL"

I haven't finalized his concept yet, but I've already done the cover for his comic

I'm now thinkin' more of making him a former Murkoff scientist who was “converted” from observer to observed subject. As a biologist (zoologist by specialty), he was hired to help with adgusting experiments and trials to improve the human conditioning program based on basic animal behavioral responses. As time went on, he began to question what was going on as the demands of management became increasingly bizarre and when he began asking questions that were too uncomfortable for the corporation, he was sent to a “therapy” program he had designed, deeming his questions a threat to the project.

After his journey of “detailed tuning” he turned into what he himself once explored, for which the locals gave him the nickname “Animal”. With behavior he often descends to animals, copying the habits of beasts. He often reproduces animal sounds (screams, growls, bird whistles, and other vocalizations that are frightening in the dark). Sometimes, when the human remnants in him awaken, he may mutter something from the scientific field, speaking in terms of science, trying to explain to himself what is happening to him and the reagent. The rest of the time he behaves like an animal dominating its territory (marking corners).

It also has the characteristic of adapting to your play style. He will analyze you to anticipate your next move and make its own deadly move. Are you a fan of aggressive play style and challenging a dominant creature on its territory? Be prepared for it to follow your footsteps CONSTANTLY, giving you no rest, being in beastly aggression mode, forcing you to change tactics. If you are a fan of stealth and sit most of the time in cover, he will put your attention to sleep, mimic your style, hiding from sight, creating the appearance of no threat only to attack his victim from behind at a convenient moment. Either way, he knows how to manipulate your behavior to his advantage.

An important reminder! Stay out of his sight during the mating season

[paganminiskirt]

haii gooseberry number one fan here. whats yr thoughts on phylis ... i lov lov lov yr posts abt picking apart coyles character and lore hehe

“You're too delicate! You're too precious! You can't go!”

Well first of all, I love that she’s fat, in part because you can bet your ass that if she wasn’t, she’d be overeroticized and made the object of those shallow copy-pasted “awoooooooga step on me mommy” screeds that fandom regurgitates to avoid having to put coherent thought into female characters. Much like queerness and the role it plays in Coyle’s storyline, fat characters that are conceptualized to act as fonts of horror have traditionally reinforced fatphobic social norms. And because of the gory, grotesque conventions of horror as a genre, these cases are often distinctly more damaging and offensive than, say, a fatphobic character in a sitcom. (You can read more about this topic here and here.)

The voice acting carries all of her appearances, too. Her now infamous cocaine song is the first example to come to mind; that overwrought, wavering tone she adopts makes it sound like she’s always on the brink of breaking down entirely. The sustained anxiety created a harsh juxtaposition between her tone and the lewd lines she’s parroting (“fucking and fighting.”) The quote that I highlighted at the top of the post also shines. Gooseberry’s great vocal performance is cool not least of all because the last major fat antagonist in the series, Chris Walker, didn’t get a lot of lines. I’m midway through replaying the first Outlast, and I think the game treats Chris Walker with a lot more pathos and significance than many games treat fat characters of his kind, although that assessment falls apart once you get to The Murkoff Account.

Chris is the main villain of Outlast. He’s portrayed as brutal but also competent and deliberately ruthless, which implies that he’s capable of complex thought in spite of the dehumanization he endured as a variant. The contradiction there underscores the game’s main theme & the overarching tragedy and atrocity of Mount Massive. In the end, Chris is brutally murdered on screen, and you could argue that the imagery incorporated in his death scene - that of expanding and blowing up - has fatphobic undertones. But unlike Rick Traeger and Eddie Gluskin, who meet similarly grizzly fates, the audience surrogate Miles directly suggests that the viewer should sympathize with Chris after his death. Somehow, Chris emerges as the least monstrous of the three, no matter how much abuse was piled onto his body and mind, and no matter what crimes he committed under that duress. Overall, Outlast presents him as a relevant, memorable, and fully autonomous character. Not bad, for a game that came out while The Biggest Loser was still airing on NBC.

But the comics have a lot less time to develop Chris than the game did. In The Murkoff Account, his main purpose is to act as a human example of broader institutional cruelty, much like Billy Hope did in Outlast. That position naturally invites the audience to view Chris as victimized and, to an extent, sympathetic, but his only notable characteristic outside of that victimization is a childish inability to control his aggression or prevent himself from being bullied. Those two details seem to form a paradox, right? Chris is a former military police officer, he brags about knowing judo, he should be able to get his coworkers to shut up and stop making fun of him. But he lacks the drive, conviction and strength of will necessary to do that. He’s basically a big baby, characterization which is reinforced by the comics’ art style.

Compared to the thin characters, Chris isn’t allowed to act with nearly as much autonomy as he did in the game. What happens to him in the comics could happen to anyone, and the only distinctions relevant to him as a person are crass stereotypes revolving around his body. The cost of expanding on the game’s lore was that the main villain got whittled down to the latent antifat tropes which had always lingered just below the surface - Chris doesn’t get to be a mad doctor like Trager or an abhorrent admirer like Gluskin. Instead, he’s the stout strength trope, he’s the fat idiot trope, and he expands on the pig imagery. Not great times.

And Gooseberry was probably influenced by Chris. She’s fat, she’s strong, she’s associated with an animal, and to an extent, she’s infantile! Although I think that her characterization as hysterical and not fully in control of herself is less a manifestation of fatphobia, as it was with Chris, and more a direct allusion to antiquated perceptions of mentally ill women. “Goose” is itself old-world slang for a silly or witless person. If one thing has emerged from my thoughts on Coyle, it would be that the writers of Trials are a lot more conscientious of social perceptions and stereotyping than the writers of Outlast were. It’s natural for a series that’s been going on for this long to begin to develop redundancy, but Trials’ 1950s setting and new game mechanics help gloss over that. Phyllis’ asserted sexual relationships with in-game characters struck me as unnecessary, but fat women (like dark skin women) are often depicted as masculine and drained of eroticism, so. You win some, you lose some.

You can read Gooseberry as a sort of a combination between Chris and Eddie, with her body and maturity interconnected to present her as disturbingly naive and immature in contrast with the great violence she enacts. This is a concept also explored with Eddie Gluskin: his hand-wringing need to preserve his would-be victim’s “chastity” becomes bizarre and unsettling when pushed up against the graphic, vindictive misogyny. Similarly, one reason the chases with Chris are so unbearably scary is because the sound of his clinking chains gets louder and louder as he gains on you, but he also does this laborious breathing when he runs which emphasizes his weight. When Phyllis chases you, you hear Futterman’s drill and the sound of her mindless shrieking - it’s terrifying in a way that doesn’t incorporate her fatness into the fear factor. Love that. The same unfortunately can’t be said for her implied DID, a demonization which is unfortunately very common, very old and very damaging all at once. (You can read more about that here, and in tons of other places.)

Michel Foucault used a two-pronged framework to examine popular narratives about The Plague and pandemics in general. Within this framework, there is one “political” story model which is defined by a controlling environment and another “literary” dimension which is defined by a collectivized, frenzied environment. Perhaps because Outlast: Trials was developed amidst a pandemic, I think Foucault’s framework translates nicely to examining Trials’ narrative about the cold war and the red scare. Some common themes include mass hysteria, xenophobia, heightened interpersonal suspicion and a seemingly unprecedented increase in government control.

On the surface, Coyle would represent the “political” dimension of Trials’ horror, acting as an exaggerated, kinda ridiculous extension of the extreme social control that white supremacy & patriarchy enforce. Within this dichotomy, Gooseberry would represent the “literary” dimension of the game’s horror, acting as a chaotic dissolver of all social barriers rather than an enforcer of them and creating a frenzied, carnival-like effect within anyone who comes under her spell. The children who watched her old show and took to violence and drug consumption come to mind; regardless of background, parenting or culture, Phyllis changed them. She didn’t even have to see them in person. She did it over the TV.

Gooseberry [hosted] a children's variety show known as 'The Mother Gooseberry Hour” [produced by Futterland Studios] which started airing in 1951. Following Dr. Futterman's death, the cause of which is still unknown, she had a hysterical episode and began experiencing dissociation. The tone of the Mother Gooseberry Hour shifted accordingly. Throughout her tenure on the show, she used her television platform and mail-order "dental drops" business to get children addicted to narcotics, violence, theft, and possibly murder. Over the years, the children watching her show became cult-like, engaging in immoral behavior, drug use, and other shenanigans, leading to larceny and assault. In 1955, Futterland Studios was raided by the police, after which she was charged with racketeering, kidnapping, and conspiracy to commit murder. The raid left two police officers dead and five others injured, as she escaped into the tunnels beneath the set to attack them with drills. It is unclear exactly what was inside Futterland Studios, but police captain Stanley Hoad described the contents of the studios as "The most grotesque architectural perversion since H.H. Holmes’ Chicago Murder Castle.”

Trials is the first Outlast game to allow us to have character customization, and unlike the previous protagonists (who both get stand out from the other characters by being in some way Special within the setting,) the Reagents are intended to act as an endless supply of nameless, faceless grunts, the vast majority of which will die gruesome deaths during the guinea pig stage. In this game, we play as the people who would’ve been those nameless, faceless heads we see on the shelves in Outlast, or hanging from a tree branch in Outlast 2. The game’s customization elements are justified in-universe by the notion that they’re so addled that they can’t even establish a stable perception of their own features: an example of the collectivizing, depersonalizing nature of the literary dimension if I’ve ever seen one. As the popularity of the customizable character feature ebbs and flows, other franchises pull it out just out of laziness in the creative department. With that in mind, I’m really glad Trials did something cool and innovative with the concept instead of just dumping in RPG elements for no reason.

Phyllis’ multiple personas mimic the changeable qualities of the Reagents themselves, though they’re grounded in her stated backstory: there is the doll, the dead abuser, and there is her, the child-turned-woman reenacting that trauma seemingly without fully grasping what’s doing. We’re left with this character who’s genuineness we’re always unsure about, in hard contrast to Coyle’s blunt, undisguised self-servingness and complete lack of conscious guile or shame. The first time the player gets up close with Phyllis will be in the kill animation, where she nods at the puppet she thinks is her father before slaughtering you unceremoniously. Who can say for sure, if Phyllis is more malicious or misguided? Not us, not the other Reagents, not Murkoff, and least of all herself. I’m glad she was included.

[heretyc]

Barbi's Wife! Reagent AU but...deeper

*KEEP IN MIND this is all a fake theory with inaccuracies that I am forming to further deepen an AU we're cookin' on this blog. I'm MOSTLY aware of the lore and am simply making changes to suit an AU. With that in mind, let's continue.

[SLAMS HANDS ONTO TABLE] Listen...I'm tired but I'm about to get deep with y'all. I may be inaccurate, I may be a hoe, and this will be all over the place, but humour me. Pwease.

So...one of the rebirths you receive takes place in Havana, Cuba, which is where Franco runs his little drug operation. Now, I looked this up. Because I was curious about the rebirths and if they're hallucinations.

You are, legitimately, let go. So this furthers my theory; if we take a look at the Cuba rebirth, it states Franco Barbi is the cause of the gunshots you hear right after your character wakes up,

""In one ending the reagent wakes up in a hotel room in Cuba with the bed they woke up on drenched in blood, and the sounds of people screaming below. According to the comics, the commotion was started by none other than Franco Barbi going on a killing spree.""

So this gives me...ideas to work with. Okay? Because you begin the cutscene dressed in fancy clothes, and you're coated in blood. You murdered somebody. Why was he shooting people and why were the both of you caught? Because he was inspired by your assassination against somebody, and he was meeting a prostitute. In some way or form, you two are connected.

Including and excluding some of the prior information we've learned, here are two ways this rebirth could be taken:

You hired Barbi to keep you safe. You're not an idiot, you know Murkoff isn't gonna let you out with all of the information locked inside your noggin! So you hear of Franco Barbi, and go to him. He has connections with the CIA, the fucker's untouchable. So you promise him money and a fun time in exchange for protection. That "fun time" was originally him planning on sleeping in your chest cavity, but fortunately for you, Murkoff comes around before he has the chance. Albeit you see a Murkoff employee lurking, whispering "spider eye lamb", and you kill him. This both inspires Barbi and really puts your deal into action; he commands a gunfight only to fail and be taken to Sinyala alongside you. You meet again this way, and feeling like he still owes you, you're not given much trouble. He's a man of his word, after all. You form a relationship, and the next thing you know, you've got a ring on your finger and mannequins witnessing the marriage.

It's your honeymoon, and Murkoff fucked it up. After experiencing your second rebirth, Murkoff let Franco go, seeing as you two were connected at the hip, and Franco threatened to shoot them if he wasn't reunited with you. As a result, he takes you to Cuba; he has a drug operation and he has a villa by the beach, it's paradise! However he makes you stay at a hotel...he doesn't want you involved in the madness that is drug dealing until it's all settled. He did leave for a while, after all. After he settled it all, he took you out on the town and gave you a little tour. Havana's too beautiful to hide. But the next thing you know, you wake up in the hotel room coated in blood, and you hear Lupara's shots outside. You encountered ANOTHER Murkoff employee, and killed him off, much like last time. This time, however, Barbi took you back to the hotel room, and put you to bed to sleep off the gas the man tried to shove up your nose. You were drowsy and could barely stand. His efforts were in vain, and the both of you returned to Sinyala.

Listen I KNOW I look like this guy right now but HEAR ME OUT...it gives this AU depth!! I'll likely think of some more stuff later, but I got to thinking and you can tell. My brain fried a little putting this together LMFAO. Anyway if you've read this far, thank you for humoring me! We need to cook [this AU some more because it's my beloved].