The notes, silent, long, wordy and overly expository. Via flashbacks, now short and infrequent. The story brilliantly has you going back and forth between understanding the why, and being disgusted with the what and how. This is set before it was tempered with caring about the individual. Because the rich wanted them to work harder, as their new wonders could. With the setting of industrialism, the approaching Great War, and the protagonist's hard-earned wealth in sharp focus, we go through sacrificing people's humanity, and for the regular people who were mere workers, well-being emotionally, and in too many cases, even their physical well-being, to where many were injured, even died. This does a solid job exploring many related themes.
Little is creepier than kids, and you never lose sight of catching up to, and aiding, them as they invite you to join their merriment.
Rounding out the cast are your two children Enoch and Edwin(Craig, playing, as all 8-10-year-olds do), who, unfortunately since you hear from them a lot, aren't as well-acted. Both performed by Roper, anxious and curious, respectively. You find recordings of your meeting with The Professor, who you allowed to see some of the otherwise hidden beast. The Engineer phones you when he can, directing you to start back up the huge, ominous thing, the crowning achievement of all your hard work. Of course, how have you been to the poor? Indeed, how has everyone? And what does it all amount to, if you can't protect your own? You find almost no one around. In the name of all that is fair and just, no. It has been sabotaged, and it is up to you to fix it. Fever-ridden since the expedition to Mexico. Near the end of the year, of the century.
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