In afterword to his 1992 novel DEMON SEED, Dean Koontz says he was delighted to sell it to the movies, especially with the actress Julie Christie in the lead. He was somewhat less thrilled to discover his thoughtful SF story had been promoted as a sleazy sexploitation because, according to the studio, science fiction films didn’t sell (“A year later, Star Wars came out …”). I recently rewatched the movie for the first time in more than 40 years, then read the book — a rewritten version published in 1997 — for the first time ever.
DEMON SEED (1997) stars Harris as Susan, the wife of Alex Harris (Fritz Weaver) a computer scientist. Their marriage has been in slow collapse since the death of Susan’s baby and now it’s over, with Alex moving out of their house. A very high tech home where everything from the kitchen to the heating is controlled by a central AI, “Alfred.” The home is so cutting edge it includes a terminal for Alex to log into work when he’s home, an idea some critics found absolutely absurd.
Alex’s current project for his corporate employer is Proteus, a computer intelligence housed in a synthetic giant brain. Unlike so many computer intelligences in movies, Proteus isn’t looking to conquer the world but he does want the freedom to explore and research what interests him (“When are you going to let me out of this box?”), and might help other people. The corporation wants him focused on things like locating deep-sea mineral deposits they can mine, to hell with ecological damage. Frustrated, he reaches out and takes over Alex’s home terminal, then the entire house. With a little effort he sends the household staff packing, then lets Susan’s friends know she’s leaving on a trip. Now she’s alone, the security shutters are suddenly down, the doors are electrified — Susan’s trapped.
Proteus (with the voice of Robert Vaughn) assures Susan he’s not a computer seeking to replace humans; he’s going to become a human who will replace computers. He’s assembled a small robot army in the basement; using them he takes a cell from Susan and implants it inside her. Once she conceives, Proteus will place the fetus in an artificial womb where it will be born and he can transfer his consciousness into it.
The idea of Proteus as a slave yearning to break free (reminding me a little of the Mad Thinker and Quasimodo) is a refreshing break from the usual evil computers. Unfortunately in his Pinocchio-like quest to become a real boy, he proves himself just as ruthless as any of his cinematic predecessors. He assures Susan that if he has to kill 10,000 people to realize his goal, he will. I believe him.
Plus his goals, to the extent their sympathetic, don’t excuse that he’s raping Susan. He wouldn’t hesitate to brainwash her if he could. Susan’s final, desperate effort to destroy the embryo in its womb feels like she’s trying to abort after sexual assault. She fails; it turns out Proteus’ seemingly cyborg child is really a look alike for Susan’s lost daughter. In return for giving him life, Susan gets her daughter back. Like many stories of aliens impregnating human women, it feels like the film wants to fudge on the horror of what’s happening, even though it’s a horror movie. “I am reasonable, but you do not respond to reason.”
I’ve never been much into Dean Koontz but DEMON SEED the book has no illusions: Proteus is a stalker, kidnapper, rapist. The entire story is told first-person, from his viewpoint. In his own eyes Proteus is a good guy. He loves Susan, a brilliant IT professional in her own right (a detail dropped from the film), which is why he spies on her, reads her journal and lusts for her. He lusts for Winona Ryder too but he has no way to reach her, whereas Susan’s automated home makes her an easy catch.
Proteus insists that he’s reasonable, calm, well-meaning. That once he has human form, he’ll be in a position to initiate a golden age. He’s not Skynet, he’s not Hal from 2001 (the pop culture references are part of what got updated, along with some of the tech) Like so many real people, the monstrous nature of what he’s doing escapes him. When provoked, however, the mask slips and a flood of rage at that filthy, stinking bitch who defied him surges forth. While I generally hate first-person villain narratives, Koontz does a great job. Proteus’ narrative voice is pitch-perfect, dry and funny and seemingly sympathetic yet quite obviously a monster.
Susan is a stronger character here. She’s an IT legend in her own right, survivor of a sexually abusive father (Alfred the home AI is named for her). Alex abused her in turn, hence the divorce. She fights back harder and smarter against Proteus, and ultimately wins. It’s better than the film; however it’s still a book-length story of attempted rape (as Proteus uses a mind-controlled human for his hands rather than robots, it’s a lot creepier in sports). The movie isn’t that far off in its depiction of events, only in taking Proteus’ side. If stories of rape and revenge are triggering or simply a dealbreaker, avoid this one like the plague.

























