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‘Outlast’ Comic Issue 1 Review: Meet the Pauls

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Video games have given us enough frighteningly awful corporations over the years that we can actually measure how evil they are by determining its place on the spectrum. A Spectrum of Evil, if you will. If you’re trying to form a picture of what that might look like in your mind’s eye, I like to imagine an aggressively hateful rainbow. Scattered about this spectrum, we have an assortment of fictional corporate entities that were — or continue to be — total jerks.

Among these faceless international conglomerates run by morally bankrupt people-shaped monsters is the mischievous Murkoff Corporation and its obviously evil, teeth-shaped logo. It’s the reason why Outlast plays like a found footage reimagining of Condemned when it could’ve easily been a somewhat spooky Stanley Parable.

Murkoff is responsible for the atrocities this series exposes us to — except, maybe, for that one inmate we meet in the original game as he shamelessly, uh, displays his affection for corpses. I have a feeling that guy was broken long before he ended up at Mount Massive Asylum.

Now, Murkoff isn’t the worst name you’d find listed on the Spectrum of Evil, but it is pretty bad. Disguised as a charity organization, the company secretly experimented on patients, empowering some while killing others, and effectively treated its employees like prisoners. It’s no Umbrella Corporation or Horzine Biotech, but Murkoff’s sinister deeds are comparable to Armacham from the F.E.A.R. series, which also covertly experimented on scores of people, albeit for different reasons.

Still, where series like Resident Evil, Dead Rising and F.E.A.R. have had at least a decade to show us the inner workings of the organization behind much of the bad stuff that happens in the games, Outlast debuted in 2013. We know the Murkoff Corporation is wicked, because we’ve seen what they’re willing to do, the lives they’re willing — eager, even — to sacrifice, and the ultimate result of their vile acts.

Other than that, the company is largely a mystery.

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That’s where the new five issue comic Outlast: The Murkoff Account comes in, to finally acquaint us with the real, and surprisingly vicious, Murkoff Corporation. It accomplishes this, in addition to bridging the gap between the first game and the upcoming sequel, by focusing on Paul Marion and Pauline Glick, aka “The Pauls.” What makes this duo special is their shared occupation as two agents of the Murkoff Insurance Mitigation Department (MIMD).

What that department does is fairly self-explanatory, but its role is to respond to incidents before they’re made public with the goal of minimizing the economic fallout. As Pauline explains to a frightened psychotherapist in the first issue, “We’re not here to save anybody.”

It makes perfect sense that Outlast would approach the issue of needing to expand upon the world they introduced us to three years ago with a “bridge episode” comic that doesn’t only star two corporate-trained sociopaths, but pairs their startling coldness with an art style by The Black Frog that employs a very minimal use of color.

Each monochromatic page has a dreary, washed out look to it, like the story was sketched on old newspaper. It’s conservative with its use of color, but the result is effective, as it forces the few colors — a bright yellow tie, crimson pools of blood — it does use to immediately stand out.

Much like the game it’s based on, in which bouts of exploration are broken up by frantic chases through the labyrinthine, blood-smattered corridors of Mount Massive, The Murkoff Account is paced in such a way that it goes from zero to sixty quickly and often with very little warning. It’s unsurprising, since Red Barrels enlisted Outlast writer J.T. Petty to handle the comic adaptation.

The comic never reaches the level of intensity as its source material — how could it? — but its first issue has more than enough meat to it to maintain interest as Petty and Co. gradually immerse you in a brand new story that promises to be just as creepy and unnerving as the games that inspired it. Fans of Outlast absolutely need to check this out. If that includes you, then you can sign up here to learn more about it.

In related news, I recently spent some time with the demo for Outlast 2, the playthrough of which you can find below for your viewing pleasure. It hits PC, PS4 and Xbox One this fall.

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Gamer, writer, terrible dancer, longtime toast enthusiast. Legend has it Adam was born with a controller in one hand and the Kraken's left eye in the other. Legends are often wrong.

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‘Witchblade’ is Getting Resurrected This Summer in New Comic Series from Top Cow and Image Comics

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Witchblade cover

Witchblade, the popular comic series that initially ran from 1995 to 2015 and launched a TV series, is getting resurrected in a new comic series from Top Cow and Image Comics. It’s set to unleash heavy metal, black magic and blood this summer.

Look for the new Witchblade series to launch on July 17, 2024.

In Witchblade #1, “New York City Police Detective Sara Pezzini’s life was forever fractured by her father’s murder. Cold, cunning, and hellbent on revenge, Sara now stalks a vicious criminal cabal beneath the city, where an ancient power collides and transforms her into something wild, magnificent, and beyond her darkest imaginings. How will Sara use this ancient power, or will she be consumed by it?”

The series is penned by NYT Best-Selling writer Marguerite Bennett (AnimosityBatwomanDC Bombshells) and visualized by artist Giuseppe Cafaro (Suicide SquadPower RangersRed Sonja). The creative duo is working with original co-creator Marc Silvestri, who is the CEO of Top Cow Productions Inc. and one of the founders of Image Comics. They are set to reintroduce the series to Witchblade’s enduring fans with “a reimagined origin with contemporary takes on familiar characters and new story arcs that will hook new readers and rekindle the energy and excitement that fueled the 90’s Image Revolution that shaped generations of top creators.”

Bennett said in a statement, “The ability to tell a ferocious story full of monsters, sexuality, vision, and history was irresistible.” She adds, “Our saga is sleek, vicious, ferocious, and has a lot to say about power in the 21st century and will be the first time that we are stopping the roller coaster to let more people on. I’ve loved Witchblade since I was a child, and there is truly no other heroine like Sara with such an iconic legacy and such a rich, brutal relationship to her own body.”

“The Witchblade universe is being modernized to reflect how Marguerite beautifully explores the extreme sides of Sara through memories, her personal thoughts, like desire and hunger, in her solitude and when she is possessed by the Witchblade. So, I had to visually intersect a noir True Detective-like world with a supernatural, horror world that is a fantastic mix between Berserk and Zodiac,” Cafaro stated.

Marc Silvestri notes, “This is brand new mythology around Sara, and I can’t wait for you to fall in love with her and all the twists and turns. Discover Witchblade reimagined this summer, and join us as we bring all the fun of the 90s to the modern age and see how exciting comics can be. I can’t wait for you to read this new series.”

Witchblade#1 will be available at comic book shops on Wednesday, July 17th, for $4.99 for 48 pages. And it’ll come with multiple cover variants.

  • Cover A: Marc Silvestri and Arif Prianto (Full Color)

  • Cover B: Giuseppe Cafaro and Arif Prianto (Full Color)

  • Cover C: Blank Sketch Cover

  • Cover D (1/10): Dani and Brad Simpson (Full Color)

  • Cover E (1/25): Marc Silvestri and Arif Prianto, Virgin Cover (Full Color)

  • Cover F (1/50): J.Scott Campbell (Full Color)

  • Cover G (1/100): Bill Sienkiewicz. (Full Color)

  • Cover H (1/250): Line art by Marc. Virgin Cover, Inks (B/W)

Witchblade #1 will also be available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

Witchblade comic panel Witchblade #1 cover image

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