Plot
The story behind Nightmare Creatures draws upon gothic horror elements of the 19th century. The story begins in 1666, when a devil-worshipping cult called the Brotherhood of Hecate were conducting sinister experiments in London so as to take over the city, and then the world. The Brotherhood tried to develop an elixir that would endow them with superhuman powers. However, rather than creating their intended superhumans, their experiments created only grotesque monsters. When they decided to use these creatures as an army of conquest, one of their number, Samuel Pepys, set their headquarters on fire, resulting in the First Great Fire of London.
The game takes place in 1834 when London falls victim to several evil occurrences. Monster sightings are reported along with news of people mutating into ungodly creatures, and that the dead are waking from their graves and walking amongst the living. All of London is in a panic and vulnerable to the schemes of Adam Crowley, a mad scientist and occultist enlisting the help of the Brotherhood.
A book is dropped off at the home of Ignatius Blackward, a priest and occult expert. He finds it is the lost diary of Samuel Pepys, which contains the Brotherhood's research. Knowing he needs help, Ignatius sends the diary to a renowned American immunologist named Dr. Jean Franciscus of New Orleans, who shows up with his daughter Nadia. The doctor is murdered and the book stolen. At the funeral, Ignatius and Nadia are approached by a man who gives them a note reading: "Know about Adam Crowley, Brotherhood of Hecate --- HVHJ." Ignatius and Nadia head out to an address listed on the note, hoping to seek out Crowley and to neutralize the monsters.
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“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
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The Good Old Cause, reviv’d, a Plot requires,
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—John Dryden (1631–1700)