The Sleep Room in The Outlast Trials is named after a real-life space at McGill University’s Allan Memorial Institute in Montreal, where from 1957 to 1964, doctors conducted mind-control experiments on patients as part of the CIA’s MK-Ultra initiative. Led by Dr. Donald Ewen Cameron, these tests included electroshock therapy, sensory deprivation and heavy doses of psychedelic drugs. One patient, Linda MacDonald, went to McGill seeking help for symptoms of postpartum depression after giving birth to her fifth child. She was placed in a drug-induced coma for 86 days in the Sleep Room, and records show she was treated with 109 rounds of shock therapy. MacDonald lost her identity, memories and motor skills; she had to be toilet trained all over again.

Another patient, Robert Logie, was 18 years old when he went to McGill with leg pain. He ended up in the Sleep Room, where he was injected with LSD every other day for weeks, his syringe sometimes spiked with sodium amytal — “truth serum” — and other drugs. A speaker positioned under his pillow played the phrase, “You killed your mother,” on a constant loop for 23 days. Meanwhile, his mom was alive and well. Logie left McGill with amnesia, insomnia and a painful leg.

The old McGill hospital is just two miles away from the Red Barrels offices, where the Outlast games are made.

“The name of the Sleep Room in Outlast Trials, we took that from McGill hospital,” Outlast series writer JT Petty said. “In the 1960s, they had the Sleep Room where they would treat trauma with LSD and induced comas. It was insane. And the people who came out of that came out severely damaged, in worse shape than they were before.”

“There are still active lawsuits going on because of these events,” Red Barrels co-founder Philippe Morin added. (And he’s correct.)

Like all of Red Barrels’ games, The Outlast Trials draws from dark and true stories of government-backed inhumanity, religious manipulation and capitalistic greed, particularly during the 20th century. Trials is a cooperative four-player horror experience where participants, called Reagents, are trapped in the secret Sinyala Facility run by the Murkoff Corporation. The goal is to graduate therapy by completing objectives and surviving monstrous villains in various maps, including an orphanage, courthouse, police station and toy factory. As in the other Outlast titles, gameplay mainly involves running and hiding from prowling, deranged sadists, though this time you’re not alone.

“The first Outlast, it goes back to the oldest games, you're playing hide and seek,” Morin said. “In Outlast Trials, it's like you're stuck in a haunted house with friends. And it’s, how do we get out of here? That was the initial premise.”

Red Barrels

Trials exists in a world familiar to Outlast fans. It’s a prequel to the original Outlast, which came out in 2013, and Outlast 2, which landed in 2017. Trials replaces the series’ camcorder with a pair of night-vision goggles, and the Sleep Room is the game’s lobby. Here, players can purchase prescriptions for upgrades, arm wrestle other Reagents, customize their cell and prepare for the missions ahead. 

Trials entered early access in May 2023, went fully live in March 2024 and received its first major DLC drop in July, introducing the docks and a new baddie named Franco “Il Bambino” Barbi. Franco is a New Orleans mafia nepo baby with a degradation kink and a gun obsession, plus he has a habit of murdering his sexual partners. He’s eager to do the same to the Reagents trapped in Sinyala.

Franco joins two other Prime Assets, or bosses, in The Outlast Trials. There’s Mother Gooseberry, a deranged former children’s-show host who carries a duck puppet with a giant dental drill inside its beak, and Leland Coyle, a white supremacist and corrupt police officer with an insatiable desire to torture and kill people with his stun rod. Every enemy in the Outlast series employs a unique brand of violent cruelty, their favored forms of torture shaped by generational traumas and dangerous societal norms.

“We do a lot of work trying to make the characters kind of iconic and human despite being monsters, and that kind of love for horror characters — I feel like you know when you’re doing it right,” Petty said. “I'm a 1980s kid, I grew up on Freddy and Jason and all those guys and it's, I think comfort is the right word.”

It’s easy to see the demented priests, sadistic doctors, demonic cult leaders and free-swinging penises in the Outlast games and write it all off as edgelord shit, nothing more. But especially with McGill hospital looming just beyond Red Barrels’ front door, the commentary is clear, and this brand of gruesome social analysis was the plan from the start.

“All the games are about extremists,” Morin said. “People who take something and just go too far with it, whether it's religion, science, money, weapons, whatever it is.”

Outlast 2 tells a story about cult members who believe the antichrist is about to be born, resulting in a wave of ritual sacrifice, abuse and mass murder in the Arizona desert. The original Outlast takes place inside Mount Massive Asylum, an even-more-twisted stand-in for the McGill hospital.

“In the first Outlast, there's a lot about the archetypes of 20th century history,” Petty said. “There’s a character who’s a soldier, there’s a character who’s a businessman, there’s a character who's a priest, representing these big, cultural moments of the 20th century. I don’t want to get too grand with it, but there is the notion that everybody's so apocalyptic right now. Like, how did we end up here? I feel like that's the subtext of what Outlast is always about. Who made money getting us here?”

Red Barrels

As the main writer for all Outlast games, Petty’s job is to take the team’s wildest, most potentially offensive ideas and make them palatable for a horror audience. He works with motifs of murder, torture, neglect, mental illness, sexual violence, bigotry and religion, and through comedy and hyperbole, transforms them into caricatures of greed, ego and oppression. There’s an undercurrent of humor in the Outlast games, strategically deployed to further highlight the terror.

“We have to come up with the worst, most horrible, most perverse thing that could possibly happen to you,” Petty said. “And then like two months later, it feels like, come up with something slightly worse and more horrible.”

“You know, for kids!” Morin joked. Later in the conversation he said, “The reality is, we know we're not surgeons operating on brains…. We’re creating entertainment. You need to have fun with it.”

There are no hard boundaries when the Red Barrels team is brainstorming new characters or themes, but Petty and Morin adhere to the same general wisdom when approaching sensitive topics: Don’t punch down.

“We don't want to victimize people who are already victims,” Petty said. “We're dealing with a lot of sensitive issues — mental illness, sexuality and violence, all of this stuff. And I just want to make sure we're always sympathetic.”

Red Barrels

This approach to extremism has resonated with millions of players, allowing Red Barrels to turn Outlast into an enduring horror franchise encompassing single-player narrative games, a multiplayer live-service experience and a graphic novel series over the past 11 years. The first two Outlast games sold a combined 15 million units and pulled in $45 million for Red Barrels, while The Outlast Trials has been purchased by more than 2 million players already. There’s a healthy community of content creators playing and dissecting the games on Twitch and YouTube, too.

Supporting The Outlast Trials is a lot of work, especially for such a small team. The prototype alone took two years of conceptualizing and coding, and the project spent six years in development before going live in early access in 2023. As a living game, Red Barrels not only has to maintain the experience they shipped with The Outlast Trials, but players now expect new content, monsters, missions and mechanics on a regular basis.

Most online multiplayer experiences that look like The Outlast Trials — meaning AAA-level games — have teams of hundreds of developers, and many are backed by companies worth billions. Red Barrels has just 65 employees, and 20 of them joined just in the past year.

“We're now in a war of content creation,” Morin said. “We have to ship content as quickly and efficiently as possible. And to be honest, we’re still learning how to do that because a lot of us are used to, once you ship a game, you get a big downtime, conception phase and all that. But there's none of that right now.”

Red Barrels

Red Barrels is only now expanding because they need people with expertise in multiplayer and live-service design. Morin and Red Barrels co-founders David Chateauneuf and Hugo Dallaire worked at EA and Ubisoft for years before going indie, managing large teams as senior developers. They founded Red Barrels because they wanted to get hands-on with game development again, ideally with a small crew of passionate horror fiends. (Also, Ubisoft turned down all their horror pitches. Thankfully — can you imagine if Ubisoft had greenlit the original Outlast? It probably would’ve been called something like Dr. Murkoff’s Manifesto and the gore would’ve been dialed way, way down. It might’ve given Miles a gun. Maybe, instead of sadistic psychiatric staff, its enemies would’ve been animatronic Rabbids. It could’ve gotten a Just Dance tie-in. Truly, the horror.)

Nowadays, Morin is doing less and less design as his studio becomes more complex, but he’s still involved in the creative process. Red Barrels just recently hired another writer, Jonathan Morrel, meaning Petty is no longer the entirety of the narrative department. The studio has a flat internal structure, where there aren’t harsh distinctions between roles like level designer and game designer. “We’re just all designers,” Morin said.

It’s hard to overstate just how small Red Barrels is, particularly considering the AAA quality of the Outlast series.

“I do remember the moment where, for IT support, I stopped going to one of the company's founders,” Petty said. “Hugo used to basically be IT for the company, as well as art director, co-founder. And it was pretty recent, right? It was like eight years into Red Barrels where he stopped being the IT guy.”

Morin added, “He just didn’t want anybody else to do it.”

Morin said that larger studios are always sniffing around Red Barrels, looking to acquire its talent and IP, but none of their pitches have looked better than independence so far. Red Barrels ended up creating the original Outlast with personal savings, loans and a $1 million investment from the Canada Media Fund. Even back then, there was an offer on the table from a major company that would have resulted in a few extra months of production time.

Red Barrels

“But at that point, we had been working so hard to try to make this game on our own and didn't want to give up our independence,” Morin said. “We were not ready to do that, we were so close to shipping the game. So we just doubled down and worked our asses off to be able to ship the game without needing extra money. But there were options. So I think it's, ‘Never say never,’ but up until now, no. We never felt the need to go get more financing to be able to make the games we wanted to make on our own. We'll see if we can keep on doing that.”

For Red Barrels, the focus right now is The Outlast Trials. There isn’t time for anything else — but maybe there will be in the future.

“Ultimately, our goal would be to have two IPs, two projects in parallel, and have them be different enough so that people who need a change of scenery can go from one to another,” Morin said. “I mean, I love the world of Outlast and the reality is that you could narratively make [the second project] fit inside the same world and just do a different kind of gameplay experience. That could always be done as well. But I think creating an IP is a very hard thing, and so when you have success, you don't want to waste it.”

The Outlast Trials is available now on PC, PlayStation 4, PS5, Xbox One and Xbox Series X/S.

This article originally appeared on Engadget at https://www.engadget.com/gaming/cia-brainwashing-experiments-helped-make-outlast-an-iconic-horror-series-195055899.html?src=rss

Rhythm is everything in Kunitsu-Gami: Path of the Goddess. On a micro scale, the maiden Yoshiro dances through the game with graceful, measured movements, her steps cleansing the black defilement that has consumed her mountain and its people. In combat, Yoshiro’s protector, Soh, directs their sword in nimble arcs, landing attacks and parries based on timing and flow. On a grand scale, Kunitsu-Gami employs a soothing cadence of frenzied combat and peaceful base building. Soh’s abilities grow into a powerful crescendo as they guide Yoshiro down the mountain, her body deteriorating with each encounter.

Amid these crashing waves of tension and tranquility, Kunitsu-Gami also balances beauty and hellish terror with supreme skill. The slopes of Mt. Kafuku are lush, but its plants, animals and people are slathered in caustic pools of defilement, oil-slick and sticky. Yoshiro and Soh wear layers of delicate fabrics and glinting metallic jewelry, their movements mesmerizing. The demons that have taken over the mountain are vile — eyeless and bulging with toxic pus, many of them armed with sharp claws and gaping maws. The creature designs in Kunitsu-Gami are body-horrific and each beast is uniquely, grotesquely gorgeous.

Capcom

Kunitsu-Gami finds harmony in its dichotomies. The game’s core loop involves a day-night cycle: During the day, players carve a path for Yoshiro to cleanse a settlement, meanwhile collecting crystals, repairing defenses and freeing villagers from cocoons of defilement. At night, creatures called Seethe pour out of the Torii gates, and Soh must defend Yoshiro with the help of the rescued villagers. Protecting Yoshiro and completing her ritual reverts each region to its pre-defilement form, creating a base where Soh can upgrade their units and abilities.

The game blends real-time combat with tower-defense mechanics, and all of it takes place in a zoomed-out third-person view with a fully adjustable camera anchored to Soh’s body. It’s an effective approach, inviting players to mess around with perspective and investigate every detour in the environment, purging defilement as they go.

There are 17 bases to cleanse on the mountain plus 10 boss stages. Defeating a big bad in a challenge stage unlocks a new warrior type for Soh to deploy, including healer, sorcerer, ninja, spearman, cannoneer, marksman, and an aesthetic that can slow down enemies. As night falls on a base battle, the game's music grows louder and more discordant, signaling the imminent Seethe invasion. Players assign roles to villagers using the crystals they’ve collected during the day, and then place their fighters around Yoshiro on the map. Each battle involves a different number of units — there are even fights that Soh has to complete on their own, and others where they’re incapacitated, leaving combat to the villagers entirely. The variety built into these encounters is refreshing.

Combat requires preparation and constant attention, as the Seethe attack Yoshiro from multiple sides with a variety of moves, including aerial slashes, suicide bombs and bulbous projectiles that explode in toxic pools. It’s often essential to reposition units mid-battle, and thankfully, time freezes during these tactical moments.

Capcom

Soh mainly attacks with their sword in a smooth, rhythmic form that feels fantastic to control. Attacks are simple — on the DualSense, it’s square for smaller strikes and triangle for a large hit. Pressing square before triangle lines up elaborate sequences where Soh twists and swings their body before landing a series of big blows, and their positioning is completely controllable the entire time. This makes combat feel like one elongated dance, the input perfectly predicting Soh’s on-screen movements. Soh’s abilities evolve steadily with every victory and base repair, eventually adding a ranged bow, an extra form of swordplay, stronger attacks, multiple special moves and other upgrades to their kit.

Mandatory boss levels appear after some settlements are successfully cleansed, offering massive fights against gloriously gross creatures. I had to replay most of these bosses at least once, adjusting my unit types and positions according to each demon’s unique attack style and vulnerabilities. The enemies are all giant and covered in intricate, iridescent designs, but they’re otherwise distinct: There’s a skittering centipede that rushes in for rapid hits, a literal cherry tree with stabbing tentacle roots, a vicious floating sorcerer orbited by a ring of rocky spikes, and a juicy larval beast that moves like a petulant toddler and spews lethal sludge. That last one is called Notsugo and it’s my favorite because it’s so disgustingly adorable.

Capcom

After a fight in a settlement or boss stage, there’s time to take a breath and fix up some bases. The bases trail down the side of Mt. Kafuku in the stage-selection screen following a successful purge — once the defilement is cleared from a settlement, players still have to make it habitable by assigning villagers to fix broken buildings and platforms. Repairs take a few in-game days to complete and they unlock extra resources. It’s easy, tranquil work. This mechanic provides a soft place to land after a big battle, where players can strategize, upgrade their skills, pet a Shiba Inu or let a deer scream at them. I recommend repairing bases as quickly and thoroughly as possible: Not only does this net necessary resources at the proper pace, but it prevents an uncomfortable base-repair backlog from forming. By mid-game, I generally had three or four bases on the go at all times, and that was with immediate, maxed-out repairs.

The bases are also home to some of the most beautiful aspects of the game. Yoshiro sets up a tent in each base where players manage upgrades, and it also contains plates to share food with her. The dessert menu fills up first, offering a variety of mochi treats and crystalline sweets in a fabulous photorealistic viewing mode. I don’t know what it is, but I could stare at hyper-detailed video game food all day. Kunitsu-Gami understands this urge and caters to it.

Capcom

Additionally, the tent contains scrolls featuring traditional, woodcut-style art pieces relating to completed stages, and the bases have collectable ema plaques that showcase detailed, rotatable 3D images of the demons and villagers players encounter. These are sensational touches that not only expand the game’s lore, but shine a brilliant light on Japanese history and culture.

Kunitsu-Gami: Path of the Goddess is perfectly balanced, lovingly crafted, and metal as hell. It’s filled with foreboding demons and intense combat, but it’s also a peaceful experience that invites players to slow down and recognize the beauty around them — even when it’s in the form of a giant, oozing monster. Especially then.

Kunitsu-Gami: Path of the Goddess is available now on PC, PS4, PS5, Xbox One, Xbox Series X/S and Game Pass. It's developed and published by Capcom.

This article originally appeared on Engadget at https://www.engadget.com/kunitsu-gami-path-of-the-goddess-review-demonic-delights-150004066.html?src=rss

Neva is going to make me cry. It very nearly did at Summer Game Fest, as the game’s introductory cinematics faded to black, literally just one minute into my time with the demo. I won’t divulge what happens in those initial frames, but it shattered my soul. It also perfectly primed me for the heart-pounding danger and devastating beauty that I would get lost in for the next 45 minutes, alongside my new best friend, Neva the wolf.

Nomada Studio

Every aspect of Neva is breathtaking. It plays like a living watercolor illustration: Alba, the protagonist, has long, slender limbs, a cloud of silver hair and a flowing red cloak that drapes behind her elegantly with each leap and fall. Neva is a young white wolf, fluffy and energetic, and the two share an intense bond that’s repeatedly reinforced and tested in the demo.

The world of Neva feels slightly more grounded than that of Gris, the game that put Nomada Studio on the map in 2018, but it’s still filled with layers of magic. The landscapes beyond the 2D plane that Alba and Neva traverse have incredible depth — dense forests hiding secrets and mountain ranges towering above wide valleys, sharp peaks piercing the sky in the far distance. The demo has lush glades draped in vines and weeping branches, sunlight streaming through the gaps in the leaves, as well as cave systems with dark, tight corridors. At times Neva takes the Frank Lloyd Wright approach to design, squeezing players through claustrophobic thickets that suddenly burst onto fields of thick green grass, the camera pulling back to show how small Alba and Neva really are in this space.

Nomada Studio

Trees, leaves, rocks and roots compose the game’s sidescrolling playground, with sloping platforms and floating islands built mainly out of stone. Touches of fantastical alien technology appear with increasing frequency as the demo progresses, as do hordes of inky-black enemies with round white faces, mouths open in silent screams.

Platforming in Neva is intuitive. There’s minimal on-screen text in the game, and instead direction comes from the environment, soft highlights and sunkissed glows marking the proper paths in a way that feels completely natural. I flowed through most areas of the demo, leaping onto ledges with almost-subconscious impulses, knowing that I could trust the game’s subtle instructions. There are areas of spiky blackness that Alba has to clear for Neva to be able to progress, and at times it’s necessary to leave the little wolf behind for a moment, generating instant separation anxiety. Neva yelps and squeaks as she learns how to traverse the world, and they’re heart-wrenching sounds. I was keenly aware of Neva with each jump, making sure she could follow my path, lingering to watch her complete big leaps, petting her after each success, and consistently calling out her name.

Alba’s voice is fairy-like and the way she says, “Neva? Neva. Nevaaa!” has become an earworm I can’t shake. In the days since coming home from Summer Game Fest and reuniting with my two small dogs, I’ve been walking around the house saying, “Neva?” as if it were their names. It’s been a very confusing time for them, but they’ve gotten a few extra treats, so all’s well.

Combat in Neva feels as intuitive as platforming, with simple inputs that land satisfying hits of Alba’s sword. The enemies, long-limbed creatures that appear out of dark pools in the ground, slash at Alba with their spiky fingers and throw lethal blobs at her, but one-on-one, they’re fairly easy to dispatch. Alba is able to get incredibly close to each creature before she takes damage, and this generous proximity makes the fight scenes feel like dance, with constant action and minimal interruptions. I didn’t die until I reached the boss fight at the end of the demo, where Neva and I had to fight off a giant creature, double jumping around it to slash at its legs and back, avoiding its attacks. I defeated the boss after three deaths, and the scene felt like an appropriate escalation of everything I’d learned so far.

Nomada Studio

I’m convinced that every preview of Neva (including this one) will mention how quickly and easily the game will make players cry, and I want to take a moment to recognize the magnitude of this achievement. The bond that Nomada Studio have built between Neva and Alba is incredibly powerful, and this type of emotional connection doesn’t just happen when you put an animal and a human in the same scene. Neva is a constant source of anxiety and joy: The cub must be protected, at all costs, and she feels like a physical part of Alba’s being, necessary to the protagonist’s survival. Neva establishes their shared trauma and every following mechanic reinforces their partnership — protect, pet, repeat. Neva and Alba need each other, and their shared love resonates from each frame of the game.

Guaranteed, Neva is going to make me cry.

Neva is due out on PC and PlayStation 5 this year, developed by Nomada Studio and published by Devolver Digital.

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Catch up on all of the news from Summer Game Fest 2024 right here!

This article originally appeared on Engadget at https://www.engadget.com/neva-hands-on-a-grand-achievement-in-emotional-game-design-180516649.html?src=rss