Mother Gooseberry [OUTLAST 🩻]

Phyllis Futterman is a heavy-set woman in her mid-40s. She has stony pale-green eyes. Her skin is red and irritated, and the hair on top of her head has fallen out, exposing her scalp. The hair she does have is wispy and black, peppered with white hairs. She conceals her real face with one of a white latex doll's, which is stapled to her flesh and smeared with red lipstick across the lips. She wears a white collared blouse, a red plaid skirt with a black belt, black tights, a pair of knickers, black leather gloves, and a red ribbon around her neck. Her right hand is missing, and in its place is the mechanical goose puppet she projects Doctor Futterman onto. The Doctor Futterman puppet represents a goose's head and neck, covered in fluffy goose feathers and bulging red eyes that set on either side of its head. It has a long orange bill that has a set of dentures inside of it, and when Phyllis opens the puppet's mouth completely, a long power drill protrudes from the back of its throat like a sharp tongue. The Futterman puppet also has a top hat and yellow bowtie.

Though she is difficult to see in the dark, you can tell that Phyllis is near either from the loud whir of the puppet's power drill or from her singing. Her only weapon is the Futterman puppet, which she uses to drill into her victims' flesh and leave open lesions that eventually bleed out. When she kills someone, she'll grab them and drill either into their mouth, stomach, spine, or genital area. Despite being overweight, Phyllis is uncannily fast when in pursuit, and she is also strong enough to lift adult men with one hand and bash through locked doors. When left with the body of her victim, she will carve the flesh of their face off and keep it as a trophy.

Phyllis is severely mentally ill and suffers from hysteria, psychosis, and dissociative identity disorder. Despite all of the violence she enacts and her backward morals, she believes that she is living in an idealistic, child-like world of her own due to her dissociation. At all times, she'll constantly swap between two alters: Mother Gooseberry and Doctor Futterman. She has conversations with herself as both alters, with the both of them having conflicting interests most of the time.

Mother Gooseberry is supposed to be a caring matriarch who attempts to lure victims under the guise of kindness. She speaks in an overly sweet tone and feigns naiveté, emulating the innocence of a young girl. She doesn't swear, and will quickly catch herself before doing so. She believes that the reagents are children who need to be cared for and taught. Though she stresses the importance of childhood innocence, she demonizes conventional Christian morals and promotes her hedonistic views-- violence against adults, theft, murder, and the consumption of stimulants such as cocaine-- to children. She sounds averse to harming the reagents, though will become violent if they anger her or Doctor Futterman.

Doctor Futterman, on the other hand, speaks in a higher-pitched, nasally tone of voice (with a slightly exaggerated lisp), and is supposed to be a fictionalized representation of Phyllis' late father. Futterman is aggressive, profane, and abusive to Phyllis. He also displays his sadistic, oftentimes hateful tendencies through the guise of dental hygiene. He frequently uses innuendos of a sexual or violent nature in his dialogue.

Occasionally, Phyllis' true personality may filter through her Mother Gooseberry alter, briefly voicing her own desires and laments before she is shut down by her Doctor Futterman alter. Gooseberry sometimes refers to Doctor Futterman as “Daddy” by mistake, and he always corrects her.

As a child, she was an assistant at her father's dentist's office and was interested in musical theater and taxidermy. She was highly charismatic, leading to her involvement in a local broadcast show called "The Mother Gooseberry Hour", where she took on a Mother Goose-adjacent persona and created the goose puppet based on her father. After her father's mysterious death, however, Phyllis would grow hysterical and deranged, and the show would change to become graphic, encouraging children to commit various crimes. She was apprehended by the police shortly after and sentenced to life in a Philidelphia prison. In 1956, she was taken in by the Murkoff Corporation to become part of the experimental population for Project Lathe II due to her charisma and unstable nature.

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