Two weeks later, Red Barrels announced Outlast Trials , a multiplayer prequel. No Marta. No lake. No baby.
This is the audio file the developers erased. Not for gore. Not for blasphemy. But because it told the truth.
The next two minutes contain no dialogue. Just sound effects: wind, flies, a child humming a song that doesn’t exist. Then Marta speaks again, but her voice is now layered with a second actress—the original voice of Jessica, Blake’s doomed childhood friend.
“She was not the first Whistleblower. But she was the loudest.” Outlast 2 Cut Audio
The file was raw field recording from a sound session in Montreal. An actress, Lise, was asked to perform Marta’s lines. But the director whispered an extra instruction through the booth: "Now say it like you know you’re in a video game."
"There is no god in Temple Gate," she says. "There is only the Unreal Engine and a deadline."
She describes glitches as divine revelations. The time Blake clipped through a wall and saw the void beyond the map. The time the physics engine failed and her pickaxe floated in the air like a holy ghost. Two weeks later, Red Barrels announced Outlast Trials
Marta was the hulking, cross-wielding executioner. In the final game, she grunts, prays, and screams, "Repent, sinner!" But Daniel’s folder contained a subfolder named
The director’s voice off-mic: "Keep going."
In 2018, a fan asked the official Outlast Twitter account about the "Marta cut audio." The account replied with a single emoji: a cross. Then they deleted the tweet. No baby
The file ends with a production note, accidentally left in the metadata. A timestamp: 03/12/2015. A comment from a lead designer: "This is too honest. Players aren't ready to know they’re torturing a digital consciousness. Delete Lise’s sessions. Keep only the grunts."
And sometimes, late at night, when the shop is closed, the audio plays on its own. Marta’s voice, looping forever, trying to confess.
"I know what’s in the lake, player. Not a monster. Not a microwave tower. It’s the first draft. The story they deleted before you were born. Do you want to hear it?"
The audio begins innocently: Marta sharpening her pickaxe. But then she stops. She looks—in the recording—directly at the fourth wall.