Here are the notes from a playing of A Modern Prometheus between @claireg and I.
She was the Creation - I was the Scientist.
I've pulled out all mechanical notes and updated nouns for clarity.
Lines and Veils
We skipped this part, familiar with each other’s general interests/vibes/limits.
Creation Creation
- Scientist asks - "You come alive in my workshop, born of my invention, my intent. Your eyes fix on me. What do you see?" - “A distinctly androgynous (they/them), waifish, big hair slicked back (almost like a pompadour), well-dressed, designer labcoat, so pleased with myself.’
- Creation asks - "I rise and stagger to the floor of your laboratory. The hiss and thump of your devices surrounds us. You inspect me. What do you see?" - "A disappointment. Sinew that doesn’t quite meet the bone, seams that are coming apart at the edges."
- Scientist asks - "You look around my laboratory, observing papers tacked to the walls, bookshelves overflowing with books and notes; all the signs of a singular obsession that I have created you to fulfil. What is it that I want?" - ‘The prestige of doing something nobody else has done before.’
- Creation asks - "You raise your hand to your mouth, shocked at what you have wrought. I am imbued with abilities far beyond those of a natural human. What unnatural strengths do I possess?" - "Gave me the world. Everything about me is better than a mortal in every way. Stronger vision, stronger muscle, faster, better voice, etc."
- Scientist asks - "Why do you hate me?" - "The Scientist did this for themself."
- Creation asks - "Why do you fear me?" - "That I’m going to embarrass them."
- Scientist asks - "I reach out to touch you. May I?" - "The Scientist didn't give them a choice."
- Creation asks - "I rise to approach you. How do you respond?" - "Struck with awe by their own brilliance and my magnificence, but sees how they could do so much better."
The Scientist - Hallaway Stronton IV, Dr.
- Up all night makin’ monsters, sleepin’ in until awoken by servants. Keeps this sort of late-to-bed, late-to-rise schedule. Highstrung, vain, brilliant, perfectionist.
- Spineless in the face of their overbearing mother, intimidated as hell by her. Fears and dreads her, wants to impress Mummy.
- Was ‘exiled’ to the winter home (equivalent narratively to the north wing) to avoid shaming the family in a wider public.
- Physical notes - waifish, 6', Victorian
The Creation - Shelley
- Confined to the North Wing (at first), later granted permission to roam the grounds and adjoining village.
- Named themself Shelley. Serious, good sense of humour, intelligent, aloof.
- Physical - all around HOT, Victorian 5/7 (perfect), beautiful laugh, pearlescent-silvery shimmer to skin, signs of 'frayed edges'.
Other Dramatis Personae
(in order of appearance)
- Mother - The Scientist’s Mother, a cold, unfeeling woman preoccupied with reputation and projecting the right sort of image.
- Lydia, A Scullery Maid - A young, vivacious woman charged with cleaning dishes late into the night, suiting the Scientist’s unusual schedule. She met the Creation while attempting to reignite the Bellows, and found them to be more human than monster - albeit intimidating.
- Nona, The Confidant - The Scientist’s confidante and childhood friend, Nona procures goods for the Scientist and is one of the few people they trust.
- Kit, the Leader of the Hunting Party - A concerned eldest brother worried about the unhealthsome and impious nature of the manor and it’s occupants, he fears for his sister Lydia’s mortal soul.
The Setting
- A semi-secluded manor, large enough to have several wings, grounds with walls, and a plenitude of staff.
- Late Autumn, dreary and cold. The weather is unpleasant, spitting quasi-rain, quasi-snow down to slick the ground.
The Minigames
Creation - Deliver a Demand
In which the Creation makes a Demand of the Scientist.
When/where does it take place? Within a day or two of the creation’s awakening. The scientist lives in a large, well-appointed manor, but in some dismal corner away from servants. The scientist is locked up in the north wing library, adjacent to the laboratory. Books piled all over.
What does the creation notice about the scientist? The scientist’s waning interest, even only a week after their awakening.
What does the scientist notice about the creation? That I’m hot af / JUST LIKE YOU WERE MADE TO BE.
What does the Creation demand? The Creation demands access to more of the manor than they previously had, where they were confined to the north wing. The Scientist asks why. They’ve exhausted everything there is to do in the north wing.
The scientist says that they will allow the creation out if they can prove they will behave perfectly in public. The creation says they cannot do this without people to test themselves against. The scientist gives the creature one week’s freedom in the manor to prove themselves capable of not just integrating with the staff but absolutely wowing them. If they do so, they will be granted regular access to the manor and the scientist will take them to the village.
Scientist - Receive a Letter
In which the Scientist receives a Letter from a Correspondent.
Who is the Correspondent? The Correspondent is the Scientist's Mother. Their existence an heir is primarily not to make her look bad and pass on the legacy. The Scientist does their part by keeping to myself in the north castle, the winter home. The Scientist and their Mother correspond monthly.
“Salutations and greetings to you.” “Greetings Mother. I am pleased to report that I have succeeded in my ventures. I have created life.”
“There was a criminal in the city I grew up in, and my Father the barrister was in charge of convicting this criminal, and was successful in sentencing someone to hang.” It was the scientist’s schoolmate Lucius who was sent to hang, and we know Mother never approved of him.
“All she’s heard is the rumours I’ve to leave my keep, that I’ve become more reclusive before. Some say I’ve taken a lover, and that’s why I won’t leave my walls.” The rumours are exaggerated. They have no lovers, and are consumed by important work. They assure Mother that they will be seen amongst the simple peasants.
“You must go out and be seen in society such that the rumours of my reclusiveness, my lovers, and my waning mental health are dissipated before long.” “Mother, I will do ask you ask but I fear that my reputation among the peerage will suffer even more for it.”
“I will be arriving within a fortnight. I trust my accommodations will be prepared to a satisfactory level.” The Scientist caught the vapours reading this answer, and their letter was in turn delayed. “I will put you up in the Southern wing, Mother, such that you may get the best of the morning light. You will see that all is well and you are well received.”
The Scientist's Hope is faltering.
Creation - Seek Humanity
In which the Creation seeks their Humanity from an Innocent.
Who is the Innocent? The Innocent is one of the servants on the scientist’s estate. She is a scullery maid who just just got hired from the adjoining city, named Lydia.
Lydia is trying to reignite the bellows late at night in the night - she has dishes to do after the scientist’s dinner. It is late autumn, and the weather is poor. She has a single oil lantern that casts long shadows and is quietly saying some unladylike things as she stomps the bellows. The Creation perceives the scullymaid and comes across her as she says something particularly unsavoury about stoking flames and the differences between men and bellows. They laugh at her joke. The Creation asks if she’s aware of the scientist’s friend from the north wing. There is no offense taken.
They offer to relight the bellows, stepping into the light. The maid is struck by their beauty. She is then terrified by their inhuman iridescence.
Who made you? The Head of the House is my Creator. What do you see when you look at humans? What do you see when you look at me? They see someone scared, and nervous (due to perception of physical inferiority) - but more curious than anything else. What does it even mean to be strong? ‘Being powerful enough to help someone light the bellows. What is the purpose of humankind? The purpose of humankind is to be the better.
The scullery maid comments that that’s a particularly bleak outlook of humanity as she picks up her lantern, disappearing inside.
Unfortunately, the Creation overestimates their Humanity and fails to secure a coin.
Scientist - Steal Time with a Confidant
In which the Scientist meets a Confidant.
Who is the Confidant? What have they heard, what do they believe? A friend of the family, not necessarily in the same education class. The Confidant has been ever so helpful in procuring the items the Scientist needed for their studies (including things of an unsavoury nature). They have a positive relationship, even outside of the business. Friends since youth. They know the project the Scientist was working on.
They’ve heard that the Scientist has been holed up with a lover. They don’t believe it and make fun of the Scientist.
The Scientist meets the Confidant in a smoky tea room, one familiar to the two of us - we meet weekly to smoke hashish, drink brandy, and sip laudanum. The Scientist tells her they’ve succeeded in their ambitions and their Mother is coming to town.
What’s something you care about? The Scientist answers - the science, the potential of the invention, the power of creation.
I want to share the turmoil of my mind with you. Will you listen without judgement? They will happily listen to go on as long as they need, but they can’t promise to do so without judgement. There is friend judgment.
The Confidante goes to touch the face. The Scientist allows it - Nona has double palms on their cheeks, ‘calm down and look at me’. ‘If you did what you say you did. If not perfect, your Creation sounds close to it.’
Do you trust me, in my creation? Do you trust my imperfections to be minor enough not to cause harm? Yes!
The Confidant leans in to kiss them. The Scientist allows it, offended huff, goes to call the bluff and kiss Nona back. They get put in a headlock and is about to get a noogie. They banter, they talk about peacock. The Scientist makes a show of implicating Nona as the lover of their rumours.
The Scientist tries to take their hand. The Confidante allows it, and the Scientist kisses their knuckles.
The Scientist finds solace in their friendship.
Creation - Evade Pursuers
In which the Creation evades an aggrieved hunting party.
Who leads the hunting party? Kit, the brother of the scullery maid, is worried for his little sister and her role at this unsavoury estate. Knows everyone in town and knows that the creation is not from town.
Why do they pursue the Creation? Because they’re ungodly and - directly or indirectly - threatening the soul of his younger sister and also a huge misunderstanding.
This is not the first time the Creation has gone into the city - they are starting to get more confident, and increasingly comfortable with the staff at the estate liking them that they get a little bit bolder. They go window shopping, avoid in-depth conversation until they wind up at a club.
The Creation wanders in the bar, sits nearish to Kit. Kit accosts them, spoiling for a fight and assumes they’re gentry. Claims they’re acting the tourist in this neck of the woods. They meander onto the subjects of the manor, the staff. The Creation mentions helping Lydia - Kit’s sister - pumping the head of house's bellows. Kit takes offence on behalf of his sister's Honour(TM) and swings at the creation, the creation swings back and flips the bench in a show of superhuman strength. The hunt is on.
Kit charges through a nearby building, scattering objects in the path. They flee the bar after the Creation. The Creation uses the terrain to their advantage, flanking Kit and surprising him. They dart in and out of some alleys and between stalls, eventually bypassing him. Kit forces the Creation into a location that benefits him - he chases them down to the catacombs, confident he can take them there. Kit uses an object to distract or mislead you. He lights a torch and leaves it behind as a deception and proceeds after the Creation in the dark. The Creation scurries below the streets, wading through muck and grime. He sees through the deception and scrambles deeper into the catacombs. The Creation uses an object to distract or mislead. Kit followed the Creation into the sewers, and they crack a manhole to trick Kit into thinking they escaped, before ducking around a corner. Kit starts to climb up toward the shaft of light. The Creation attempts to hide, disguising themself as Kit pursues into the night.
The Creation escapes Kit’s pursuit - emboldened, both they and the Scientist get a coin.
Scientist - Make a Desperate Enquiry
In which the Scientist desperately seeks their missing Creation.
The Creation ran off after being pursued by Kit - it has been a few days and they have not come home. The Scientist has begun to enquire after them.
The first Witness is the Bartender - they saw the Creation. They heard the Creation broke into a home and terrorized the inhabitants. They heard it broke into Kit’s brother-in-law’s house. What was it seeking? A greater understanding of humanity.
The second Witness is Nona - they heard from the merchant’s quarter that small objects have been going missing from the shops and stalls. Pans, kettles, etc. What does the creature want with these things? It sounds like it’s trying to hide itself away with some of the luxuries of home.
The third Witness is the Librarian - they found the Creation among the bookshelves. What was it seeking? Knowledge and experience, to be the best/most human of all of us.
The Witness is the Scientist’s Mother - she’s arrived. She’s heard the rumours, she knows something is going on. What are you going to do to stop this? The Scientist falls still, paralyzed by the sight of their mother. They stammer meekly. “I don’t know.”
The Scientist’s desperate enquiry fails and falters at the sight of their Mother.
Creation - Stalk the Creator’s Confidant
Who is the Confidant? Where are they when they meet the Creation? The Confidant is Nona.
After running into their Mother, the Scientist got dragged off to the manor to explain the situation to her. Nona, a true friend of the Scientist, continued to pursue the Creation hoping to get ahead of things before they get worse.
The Creation finds Nona before Nona finds the Creation. They find Nona while Nona is crossing a bridge, they come up from underneath.
The Creation reveals their face - Nona does not recoil, but gets goosebumps. ‘It’s you. I’ve heard about you.’ The Creation has heard of Nona as well ‘the Scientist is fond, if unkind.’
The Creation asks about the Scientist - Nona answers candidly that they are concerned and worried after the last few days, but that their Mother’s arrival superseded all fear. The Creation understands fearing a parent.
The Creation wants to tell them of the turmoil of their mind, asks Nona to listen without judgement - time to go! Nona listens to the Creation talk about being made to be better, but Nona starts to get uncomfortable and fearful as they go as the Creation shows the force. Nona flees, leaving the Creation with an ‘I’m sorry, I thought I could face you but I can’t. I’m sorry.’
Nona fled the Creation in fear after a display of force, apologising as they scurry away.
The Final Confrontation
In which Creation and Scientist face each other at last.
The final confrontation takes place in the manor’s sitting room, with the Scientist, their Mother, and high tea. The room is full of eclectic decor befitting Victorian gentry.
After Nona flees in the direction of the manor, the Creation grimly sets themself toward the site of their creation. There, the Scientist has finished telling their Mother of what has transpired. The scullery maid and other staff are buzzing about, preparing tea. The Creation bursts on scene.
The Creation cries to the heavens, roaring of the injustices. They claim they were not ready, could never have been ready. The Scientist wanted them to be more than human, but I was never human to begin with. The Scientist says they have nobody to blame but themself for their anguish. It is absurd to complain about being “better” or “more”.
The Scientist screams an accusation at the Creation, drawing on a well of white-hot hatred. The Creation, they say, was supposed to be perfect. If they were, this wouldn’t have been a problem. They were greedy in wanting to see the outside world, and now they're paying for it in their emotions.
The Creation lashes out with a fist, connecting solidly with the Scientist's jaw. The Scientist crumbles under the blow, knocked onto the parlour floor. They inadvertently cast their glass of brandy into the fireplace, causing it to roar up briefly. The struck Scientist rolls out of sight and attempts to tackle the Creation at the waist. Still reeling from their display of force, the Creation takes it and we tumble to the floor.
Stunned by their own display of violence, the Creation accepts defeat.
The Scientist has the Creation at their mercy. They kneel with one knee on the Creation's chest, arm raised to return the punch.
But they fail.
The Scientist does not strike the Creation down, or at all. They lower their raised fist, letting it hit the carpet limply. The Scientist mumbles a ‘Get out of my sight’, casting their eyes to the side.
The Creation caresses the Scientist’s cheek briefly in a final moment of tenderness. They slip out from under the unresisting Scientist and make for the door.
The Creation makes eye contact with Lydia, the scullery maid, as they exit the manor forever. She is cast in the soft light and rose palette that lets you know she represents a humane sort of innocence in this tale.
With arms hanging limply, the Scientist raises too. Without looking again at their Creation, they turn to face their Mother, who embodies the projection of unrealistic expectations on offspring and the eventuality of intergenerational trauma.
"It's over."