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Nightmare Fuel / Outlast

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"I know I've said it before, but fuck this place."
Miles Upshur

This game has a huge amount of things to be scared of. Whether it's due to seeing piles of intestines and gore, or running away from the crazed inmates, there's something here to scare everyone. And now there's a sequel.

Main Game
Little Pig.
  • This game's graphics provide plenty to be afraid of. The detail put into the blood and gore is good. Unfortunately, it's a little too good at points, to where just standing around and looking is sure to make you queasy.
  • Many of the other inmates are NPCs that have already mentally gone far past the point of no return, sitting by themselves and whispering random gibberish, each of them with Facial Horror all their own. What's worse? Some of them attack you. Most don't. You'll never know which one's which until it's too late.
  • Opening the door to the library will result in a nasty Jump Scare involving a hanging corpse. It gets worse when you enter the library and discover shelves of severed heads and an impaled man urging you to get out of the asylum before dying.
  • The huge, monstrous inmate, Chris Walker (pictured) is enough to make any player afraid to look around the corner. The first time we see him, he calls Miles a "little pig" and throws him through a window with little effort, whereupon Miles lands on top of a pile of Ludicrous Gibs, and slowly comes to the realization of what he's on. Getting caught by him later will likely result in Miles's head getting literally ripped off from his shoulders if you're not quick on your feet and can find a good place to hide. It makes the Walrider's effortless killing of him all the more terrifying.
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  • Being discovered by the enemies makes things a really fast and intense game of cat and mouse. It's scary because you have no idea where you are going, where's safe to hide, and where the items are.
  • The courtyard level is one of the creepiest areas of the game. It is pitch-black, save for the brief flashes of lightning. You will get several sightings of the Walrider including a nasty Jump Scare when it charges after you when you open a door in the shack. It gets worse when Chris Walker shows up to hunt you down.
  • Early on, you are met with the lovely sight of a necrophiliac inmate having his way with a beheaded body in the form of an effective Jump Scare. And, when he sees you, he calls you the sicko. Miles himself isn't unaffected: "Necromantic," the note you get by filming that, has a very revolted tone.
    Miles: Seriously, just fuck this place. Dying keeps moving lower on the list of the worst things that could happen to me here.
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  • Those Two Bad Guys, who stand naked in front of Miles (complete with uncensored genitals) calmly talk about how they'd love to kill him slowly and take various parts of him. You might be able to control how badly this freaks you out until you have to escape from both of them.
  • Father Martin's death. He crucifies himself while his followers burn him alive. Witnessing his flesh being charred while he screams in agony is very chilling. Miles comments on it in a note if you record it.
    Miles: I can't believe Father Martin one-upped Jesus Christ in shitty ways to die.
  • One of the inmates is trying to clean another... in a bathtub full of blood, softly whispering to him like a newborn baby. Shudder.
  • In one room, you find a guy in a straitjacket, gagged and blinded. He follows you. Slowly, not saying or doing anything, but no matter where you go in the room, he just follows you.
  • One of the rooms in the sewers is a massive underground reservoir, so large it renders the camera's IR pretty much useless. Far on the other side, you see a little speck of light. The sheer size of the reservoir is foreboding in itself, but it's not long before you hear the clinking of Chris Walker's chains. And the echos in the room make it nearly impossible to find out which direction the sound's coming from, forcing you to walk through chest-deep water towards the light and pray that he doesn't find you. He loves to hang right around the stairway and ladder, too, and will immediately find you once you're there even if he wasn't looking at you before.
  • The infamous Cold-Blooded Torture scene is skin-crawlingly sickening. The Faux Affably Evil Doctor Trager straps Miles to a wheelchair, taunts him by showing him an open window that Miles could clearly escape the asylum from, then brings him into a disgusting "lab," AKA a public restroom, complete with urinals. The good doctor proceeds to cut off a finger on each of Miles's hands, the pointer finger on the right hand and the ring finger on the left hand even punching Miles to keep him from passing out. Once Trager leaves, presumably to find something else to torture Miles with, Miles manages to get himself free, only to violently throw up immediately after It becomes worse with a dash of Fridge Horror: it's implied that after the fingers he was going to go for the groin and tongue next, had Miles not escaped.
    • Trager's death is not a lovely sight either. Being crushed to death by an elevator, complete with the realistic bone-crunching sounds is enough to send chill into anyone's spine. Miles writes a very acerbic wrote about it should you record it.
    Miles: How to make Trager juice. Step 1: Squeeze.
  • The Variants' many examples of Body Horror. This is beyond inhumane: it's just evil, plain and simple. If you're squeamish, don't click on these links. Seriously, don't.
  • A mix of this and Tear Jerker with the surprisingly comprehensible Variant you find in the burning room around mid-game. He just sounds so defeated that everything around him has gone to hell, including himself, and he rightfully says that the whole asylum just needs to burn. Him attacking you a little later in the game implied that taking the fire away from him was all that was needed to turn him into a complete mess.
  • At one point, Mile's messes up a jump and has to watch as his beloved camera, his one tool against the monsters hounding him and his only friend in the entire asylum, plummets to shadows below. He reaches for it as it falls, but eventually drops his arm, and you can just tell that he's realized how screwed he is. Navigating the darkness without your light source makes things a lot more nerve-wracking.
  • Chris Walker's death. The player should feel relieved that he's off their back, but just watching how the Walrider kills him is just as disturbing as the others. First, Walker is thrown around like a rag doll but then he's pulled into the air vent and diced up by the fan. And the worst part: that could have happened to Miles! In a disturbing way, it was a Villainous Rescue by The Walrider, but one that you probably won't come away from feeling good about.
  • The documents you find contain all sorts of horrid details about what just happened, but perhaps the most disturbing ones are those referring to the US government and the very much real secret experiments the CIA tried out to control the minds of others, like MK-Ultra and Bluebird. We're told of several experiments of cruel nature, like hypnotizing a woman into killing another by shooting her despite hating guns. And those experiments, and the test subjects, were provided and executed by Murkoff. In other words, a huge amount of the horrors of the game happened because they were promoted and subsided by the CIA itself. Miles and Waylon were not just facing a big corporation, but also the very U.S. government and secret services. The guy at the end of Whistleblower was not kidding when he said Waylon and his family would be in danger after he released his recordings to the public.
  • The glimpses we get of the Walrider are nothing short of terrifying. You'll catch a short glimpse of it in the Prison Block, but your first real encounter with it will be in the Courtyard. Faced with a locked gate, you cross the raining, pitch-black grounds with your infrared on and collect a key, only to turn around and see a glowing black silhouette standing right there, looking at you, before it flies up and off around the grounds, turning into a formless mist as it goes. Only a moment later, you'll have a bad encounter with it when you discover it on the other side of a door—poor Miles will get slashed as it passes, but it will leave you alone least until the end of the game. This part also introduces "Swarm Ambience", which plays specifically for glimpses of this apparition.
  • The video being shown to Billy in the final part of the game. It has no sound, is in black and white, and is playing on several TV screens. It's essentially a mash-up of various bizarre images. The footage in the movie is live action, not done with game graphics, which makes it even more jarring, and all of the images are jittery. And Billy is being forced to watch it all the time.
  • You think Chris Walker is scary? Well, he could have been a lot worse...
  • The very first room you climb into in the Asylum has a clock on the wall that says 09:20am. The clock in the room where you find the Variant Postmortem document says 03:53am. Everything you've done - it occurs over six hours and 33 minutes!

Whistleblower DLC
  • At the beginning, Waylon is forcibly institutionalized after attempting to reveal the abuses going on at Mount Massive Asylum. While this is horrifying by itself, it leads to the question of just how many people were institutionalized like Waylon? According to this document from the first game, at least one orderly could have been.
  • The DLC starts out with the intensely stressful chase sequences in the vanilla game's last level, with you having to intermittently flee from a pissed-off Walrider who will shred you in seconds if you don't reach a decontamination chamber fast enough.
  • Just like its predecessor, Whistleblower does not let up on the scares. Let's start off with Frank Manera, that cannibal who's bent on carving you up and roasting you in an oven.
    • Your very first encounter with him is walking in on him standing naked in the kitchen and messily butchering a body, with pots of blood and severed limbs boiling on the stove beside him. When you exit the room and pass the window, you see he's using a buzz saw, has dried blood caked to his beard, and has apparently shoved his victim's head in a microwave and exploded it. Then he throws his saw at you, snarls like an enraged animal, and starts violently ripping off strips of meat from the body with his teeth.
    Frank, revving up buzzsaw: FEED ME! FEED ME! FEED ME!
    • Another thing about meeting the Cannibal is that if you listen carefully while approaching the kitchen before meeting him, you can hear his saw revving up and somebody screaming in agony.
  • There's a moment Waylon will remark on when he's trying to make his way through the labs. A man will bang on the glass of the decontamination chamber, begging for help and initially saying he's part of staff...before noticing Waylon's getup and switching his story to say he's a patient. It's ultimately moot as a Variant kills him in short order, but the chilling thing is, you can't tell which is true: was he a patient trying to survive by claiming to be an orderly, who then switched his story when he saw a fellow victim? Or was he a Murkoff employee who knew full well that the hideous things they'd been doing to patients would earn him no sympathy from Waylon?
  • The doctor who licks your face in the beginning. If you put on some headphones for that scene, you'll hear moaning that is too low to hear otherwise.
  • In one hallway a guy follows you very slowly, telling you that you look so silky and he needs to tell you a secret. No thank you! I don't need any secrets, please!
  • When you are exploring the attic, you overhear what appears to be four people talking to each other, but you can only see one person. Later, you come across a document describing a patient named Dennis with a dissociative identity disorder. Then it hits you, Dennis is the person you hear in the attic, and the other people you hear talking is really just him talking to his alters. A more subtle horror is just how dismissive the doctors are of his illness, saying he's faking it and doubting the disease even exists, which is obviously untrue considering Dennis is talking to his other personalities while completely alone. And their response to his 'attention-seeking?' Electroshock therapy. Then, you see his face, and it looks like it's been fried...
  • One of the most terrifying parts of the DLC is Eddie Gluskin, who is dressed as a groom, thinking you're his "bride" with whom he's supposed to marry and start a family with. He's so persistent in chasing you that he could give Chris Walker a run for his money. Not to mention the creepy way he sings the American Quartet's "I Want a Girl"; you'll never be able to listen to that song again without thinking of him!
    Eddie: When I was a boy, my mother said to me, 'Get married, son, and you will see how happy you can be...
    • When he finally does capture you, he he strips you and stuffs you in a locker, and through the slits you can see him sawing off the genitals of several other Variants (who are all male) and what's worse is that he gets very close to doing the same thing to you, all while tenderly stroking your skin, telling you how beautiful you'll be once he removes everything "vulgar," and how he plans on getting you pregnant. Luckily, another inmate comes to your rescue before the saw can even touch you, but the thought of him doing that to you will make players shudder from remembering that scene with him, especially male gamers.
    • And who could forget that Slasher Smile he gives you when you first meet him?
    Eddie, standing completely still, looking through the door's window: Darling.
    • Before Waylon even enters the Vocational Block, Eddie can be briefly glimpsed in an extremely unsettling moment. Just by the building is a document, and it simply reads, "Kill us. Burn the building. Worse than death here. Kill us. Kill us." Looking through the window of the building reveals a figure (Eddie, unknown to Waylon and the player at this point) walking down the hallway, who suddenly stops, turns, and just stares at Waylon for a moment before continuing on.
    • His Mood-Swinger attitude is pretty terrifying as well, going from soft spoken and polite to furious in a split second.
    • Before encountering Eddie himself, you can find one a piece of... well, let's call it "art," that he's created. It's a mutilated man with the head of another man sticking out of an opening carved into his taint, in a gruesome mimicking of childbirth. Just to give the full extent of gruesome, that includes the man's chest sliced open and stuffed to resemble female breasts, the belly sliced open and stuffed with other bits to show pregnancy, and a severed head stuffed where the nether-regions were messily removed. Do not look for an image; it's absolutely full of nope.
    • Later, Waylon enters a gymnasium - the ceiling of which is covered with the hanged, mutilated corpses of Eddie's victims. There are dozens of them. And not only do you see hanging corpses, but there are also his decapitated victims, whose heads were placed on mannequins scattered around the room.
    • It's more of an emotional nightmare than a gory one, but finding this document detailing Eddie's background sheds a horrifyingly sad light on what made him the man he is. He was sexually abused by his father and uncle as a child in a, quote, "traumatically violent" way, also detailing that it was ongoing, meaning it happened for years. They even took pictures. He's dissociated so much and is in such a hardcore denial about it that he vehemently insists that he actually grew up in the show Leave It to Beaver. When the interviewer in the document showed him the photos of his abuse, he "responded with a mixture of laughter and anger," and became violent to the point of needing physical restraints. It makes you wonder just what exactly they did to him as a child for him to get such warped views on fatherhood and masculinity.
    • Knowing his horrible past also makes his very first scene where you meet him, when he's still somewhat sane and lucid, sickening in retrospect. The orderlies, two large men, are dragging him into the Engine kicking and screaming, they've stripped him down to his underwear, and what is he doing? Desperately pleading for help and screaming that they're going to rape him.
  • Jeremy Blaire himself may not be a deformed mental patient, but he is arguably one of the scariest enemies in the game, due to his utter indifference to the abuse and exploitation happening at Mount Massive, his willingness to do terrible things to you (even kill Waylon and his family) without feeling any remorse, and his attempts to keep you from spreading the truth about Murkoff above anything else. He even tricks Waylon into thinking he's trying to help him escape at the end, then stabs him in the back (well, the stomach, but still.) He gets a gruesome but well-deserved death from the Walrider. Almost everyone else has the excuse of being, well, insane or a Well-Intentioned Extremist; Blaire is just an asshole with zero redeeming qualities. In the comics, we see how "Dr." Trager ended up at the Asylum; having been committed there by none other than Blaire himself. With Blaire doing it with the utmost glee. There is absolutely no one that's safe from this asshole, not even his "buddies."
    Waylon, in a note, should you record him bleeding out by the front door: Jeremy Blaire. My supervisor's supervisor, a man who'd see me skinned, salted, and raped for a promotion and a few martinis.
  • Early in your escape attempt, the first blocked hallway makes you duck into an operating room. Inside the room is a large group of Variants who have killed and started dissecting a doctor. The leader invites you to join in and cut out the heart, stating that unless one expresses themselves, they'll have a much more destructive blow-out later. When you make no move to participate, he starts stabbing the knife into the corpse's chest in a fit of rage and shouts at you to get out before he decides to use you as the next stress dummy. What makes it worse is that if your first instinct is to turn back to the hallway, you'll see that a new and particularly deformed patient has entered behind you and is blocking the doorway, and when you walk around to the second entrance, everyone turns to glare at your retreating figure.
  • Ever wonder why all the Variants are male? As it turns out, a document explains that the Morphogenic Engine caused at least seven of the female employees to suffer from phantom pregnancies, and then miscarried about halfway through... and in the majority of the cases, they died because of it. It's actually worse if you listen to the downloaded audio files containing some of the used (and unused) scientist's dialogue. It turns out that any woman exposed to the Morphogenic Engine will develop a severe autoimmune response, causing her womb to fall out after 24 hours of exposure. Yeesh!
  • At the end of game, you get a couple of the documents that talk about the transfer of three patients: 14306-8, 14279-1, and 14868-1. Why is that so frightening? Because apparently they are referred as 'lucid dreamers' and they make Billy Hope look like a partial success. If that means what it sounds like it means and considering Miles' survival as the new Walrider, then things could get a lot scarier.
  • Due to a quirk of the game designnote , neither Miles nor Waylon have heads. There's just a bloody stump where their necks are located. They do have non-textured, invisible heads located atop their necks so they can cast a full shadow, but they don't have visible head models. A third person view of the characters shows how creepy they look. You can occasionally see the bloody neckstumps in game, when you ease through tight spots, crawl into Trager's dumbwaiter, or climb out of a sewer tunnel.
  • It's easy to miss, but one of the inmates cowering in a bed in the Prison Block has a syringe lodged up his anus. You have no idea whether the inmate himself put it there or some other Variant did, but it's a moment of subtle horror that may very well be more effective than the game's more bombastic and spectacle-ridden scares.


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