#HE HAS SUCH A CLICHE EVIL ORGAN IN HIS FIRST APPEARANCE'S BACKGROUND

[tacagen]

oh dont mind me. omw to base my entire personality upon tssm s2e01

[canimal]

I wanted to write a time travel fanfic and about Evan Rosier/Hermione Granger as a main pairing but... I'm stuck. I didn't choose the most redeemable character (Rosier was killed by Moody after a magical fight) and it's complicated bc how Hermione can fall in love with someone like Evan no matter how charming and smart he is ? How did you deal with that (Hermione, Death Eater and their ideology) ? All I can see is something like Jaime/Brienne (GoT) and a very slow burn. But it still feel wrong.

(Please bear with me as this is going to be a super long response.  I’ll put it underneath the cut so those who want to read it can read it and those who want to scroll past it can do so quickly.)

To be perfectly honest, if a story feels “wrong”, you shouldn’t be writing it.  Trying to force something that you don’t feel comfortable writing and don't fully believe in will not only make for a story that feels forced and unnatural to the reader, but it will also become a story that you will not enjoy writing.  (Never forget that this is our hobby, not our job.). Eventually, you would likely hit a wall where the story was unable to progress further and you’d be stuck.  Lots of writers try to write a story with certain elements or pairings that are “trendy” and end up stuck because they forced a story.  Writing should flow fairly smoothly.  I’m not saying that writers should never stumble or feel blocked, but I am saying that if you’re not allowing a story to remain organic and grow naturally, you will find you quality and likely your own enthusiasm and enjoyment in writing the story suffer.

Why do you want to write a story with Evan Rosier?  Is it because you find his character fascinating or you want to uncover more about him?  Or is it because he’s not a character that’s written about a lot and you’re hoping to stand out in a growing sea of Death Eater stories?  

I promise I’m not trying to be rude or condescending, even if it seems like it.  This is an honest question.  If your answer is on the first couple, awesome.  Go for it.  

But, if you’re hoping writing about him will get you instant recognition and a large number of followers on your story immediately, I’m sorry to tell you that that probably won’t happen.  Most readers don’t want to take a chance on unknown characters.  They just don’t.  I’ve mentioned this many times, but when I first started writing Thorfinn Rowle as more than just a one-dimensional bad guy in the background in first, The Dark Mage’s Captive and then Parolee and His Princess, I frequently got PMs and reviews asking me who the fuck Thorfinn Rowle even was and that I might actually get more people to read my stories if I didn’t write such weird pairings. 🙄 (Let’s not forget the troll who commented “This should’ve been a Dramione” on literally every single chapter at least twice.  Sigh.) So it’s both amusing and incredibly frustrating to have readers in the fandom announce that Thormione is their OTP when most of them wouldn’t have given my stories the time of day when I was writing them and they were the ONLY Thorfinn stories in existence on FFN for certain and probably everywhere else.  Because so few people were interested in reading a story with Thorfinn as the main love interest when I was actually writing Parolee and His Princess, if I was only writing the story in an attempt to stand out and not because that was the story I wanted to write, then I likely would’ve gotten frustrated and quit before I ever finished.

So, if you’re serious about writing an Evan Rosier story because it’s what you want to write, I wish you the best of luck.  It’s always challenging to write a character with little to no background info in canon.  Challenging can also be a great deal of fun.  If we never challenge ourselves as writers, we won’t ever get any better.  Writers must be willing to learn and try new things if they want to get better.  Practice is crucial.  Too many writers (professional and otherwise) get to a place where they don’t believe they need to improve and their writing gets stagnant.  It’s sad.

Now to your question about how or why Hermione might fall in love with someone with such a different and dangerous ideology... there are many different ways this can be tackled.  I must stress thought that you make sure the decision you make makes sense within your story.  Don’t try to force something.  Let it grow naturally.

First of all, I don’t believe anyone is unredeemable.  (Or irredeemable. Same meaning, right?) Perhaps it’s because of my own personal faith and religious beliefs, but I don’t believe anyone is wholly evil or wholly good.  Yes, even in this hyper-partisan world we now live in, I don’t believe that anyone (even those who might disagree with me) are pure evil.  This has actually gotten me a lot of grief from angry trolls and super sensitive former readers alike.  I’ve been accused of being an “apologist” for all manner of depravity including, but not limited to, rape, violence, murder, racism, all the bad things ever, etc. simply because I believe that no is unredeemable... irredeemable.  Ugh, whatever.  You know what I mean.  

Everyone has good qualities in them, even those who appear to be nothing but evil.  Far fewer good qualities than most certainly, but still there.  I’m also a firm believer that people, even really bad people, can have an existential change of heart and want to be a better person.  Many just have to be given the opportunity to change.  Of course, I don’t believe that they shouldn’t be punished for their crimes or they should be excused just because there’s something good about them.  I’ll never understand why I’ve been accused of being an apologist.  🙄 Some people are truly exhausting.

For every story about a Death Eater falling for Hermione, there’s a different explanation.  If you’ve ready any, you’re probably already familiar.  Because I try very hard to make every story I write unique from the others I’ve already written, I’ve mixed it up.  Antonin only joined for knowledge and power without realizing until too late what was really happening.  Rodolphus was pressured by his wife in one and his grief and depression made him fall further in than he meant to.  Sometimes the Death Eater was pressured by family to follow in their footsteps; others by their peers.  There are countless reasons why people join these kinds of groups.  Disillusionment, looking for a place to belong... you really could make it anything.  I’ve known people who were drawn in and brainwashed by cults because they were desperate for purpose, for belonging, for a feeling like their life actually mattered.  It can be super easy to get sucked into a cult and takes years to get out... if you can.

JKR wrote the Death Eaters as being simply bad for bad’s sake.  They’re almost all one-dimensional.  No person is actually one-dimensional.  They have hopes and fears and dreams just like everyone else.  Maybe they thought they believed in the sort of pro-Pureblood world that Voldemort imagined, but once they got in they were in over their head.  Reality rarely meets our expectations.  People grow and change.  Even my own beliefs have changed as I’ve grown older.  What I used to think was important no longer is and there are issues I have done a complete 180 on as I’ve grown up and begun to live in what I call “grownup reality”.  (Life is much different for me than it was even when I was just in my twenties and how I see the world has changed drastically in some instances.). So if experience and time has been able to shape and change my beliefs and even my values to a minute degree, why could the same not be said for a Death Eater who discovered all was not as it seemed when they were recruited?

It’s also important to remember that no one thinks, acts, or believes like everyone in their set group one hundred percent of the time.  Each individual has their own thoughts and beliefs.  Maybe they joined because they hated Muggles, but then they realized they were wrong to do so.  Maybe their family pressured them to join but they didn’t agree.  Maybe they were afraid to die so they joined.  I know a lovely man whose father died in World War II fighting for the Nazis - not because he was an admirer of Hitler and believed in everything dreadful and evil the Nazi party believed in.  No, his father was conscripted into the German Army and fought because he would’ve been arrested in the best case scenario and executed in the worst.  His young wife and their two small children could’ve also been in danger had he refused.  It’s a terribly sad story.  And hardly the only one.  That’s just one example.  History has countless other incidents all over the world when scared people fought and fell in line with a terrible leader because they had no other choice. Or at least it seemed like they had no other choice.  Not everyone is strong and brave enough to stand up to injustice and evil when their lives are on the lines.  Humans by our very nature can be quite cowardly at times.

It’s possible that a person who has done evil deeds or believed just absolutely atrocious things could want to change and be a better person.  Though it wouldn’t be easy, someone like Hermione could choose to forgive them for their past.  Especially if they’re truly remorseful.

Of course, it’s also unfortunately true that there are sometimes relationships that are just absolutely toxic.  Love can make idiots of us all.  How many women (and men to an extent though not nearly as often) see the potential in a man and want to change them into something good and perfect?  It happens so often it’s a cliche.  Woman falls in love with bad boy.  Wants to change him.  Stays with him with hopes and dreams that he’ll stop being so awful.  Is disappointed over and over again.  Have you ever known someone who fell in love with a truly terrible person and even though their relationship wasn’t healthy whatsoever never seemed to quit them?  Kept going back for more even when everyone told them it was a terrible idea?  I’m pretty sure you have.  You might’ve even been in one of those relationships yourself.  I know I was.  No, he might not have been a murderous minion of a madman, but he certainly had his terrible qualities that I thought I could help him get past.  Tale as old as time.  

I could go on and on and on about reasons why Hermione might fall in love with a completely unsuitable man who might even wish her dead, but there’s no reason.  It could be for a thousand reasons.  And don’t forget, Hermione isn’t exactly some innocent paragon of virtue herself.  She’s pretty dark even in canon.  Trapping a lady in a jar?  Cursing a girl’s face possibly permanently?  Leading another witch into a forest knowing there are centaurs in there who are dangerous?  And those are just the things that unobservant Harry noticed!  Who knows what she was doing off-stage?  She has her own darkness and her own demons to fight.  She’s not perfect nor is she some pure angelic creature who only uses light magic for good.  Nah, she’s pretty twisted at times. (On a side note - Please don’t try to write her as being all-powerful, perfect, and never do anything the least bit bad.  That’s not her character at all.  It bothers me to see her written as some sort of pearl-clutching virgin who has never done anything bad in her entire life.  That’s NOT the Hermione I read in the books.)

You just have to find the right motivation in your own story.  If you’re not forcing the story and allowing it to develop naturally, you’ll figure it out.  If you’re forcing it, I’m afraid you’re going to stay stuck.

I hope this can be so some help!  Sorry I’m rambled on and on and on.

[hellyeahheroes]

Secret Empire: Top Ten DUMBEST Moments

As far as events go, Secret Empire is probably one of the worst. And considering both Civil Wars, Ultimatum, Amazons’ Attack and Countdown are events, that bar has been set pretty low. So as it finally comes to an end, seven months too late, let us showcase some of the worst decisions made during the creation of this story. They made it into such colossal trainwreck.

Honorable Mention: Dress Like a Nazi To Work Day

Out of all moronic decisions in this event, this was the one that irks me the most because it slipped into real life. Marvel tried to get their retailers to not only dress in Hydra shirts the day the book premieres but also dress their entire store in Hydra symbols. At least one store owner told them they hire LGBTQ and Jewish people and will be dropping Marvel. Hard to blame that person. Who in their right mind tells people selling his product to dress like a Nazi?! And don’t tell me the old “Hydra isn't Nazis” crap. First of all, even if they’re not, they’re still a fascist death cult that had absolutely no moral qualms about working with the Nazis during World War II, copying from their style and being effectively taken over by remnants of Nazi Germany multiple times. At this point, it’s splitting hair. And two, Marvel, you had Steve Rogers say Hail Hydrand a whole year before. Since then you were constantly trying to tell people Hydra isn’t a Nazi organization and NOBODY BOUGHT IT! At this point, you should have looked at the “Hydra Takeover” idea and realize it might backfire. That this wasn’t recalled but went through only proves that Marvel’s head is so deep up its very ass they no longer see the reality.

Number Ten: Captain America Walking Out Of Himself and Standing Nearby

It is undeniable that Marvel did horrible damage to Captain America in this story, basically twisting the guy into everything he wasn’t. I was honestly afraid how, if ever, they manage to fix the character. But I was not expecting them to pull out the good, old-fashioned chickening out by having an identical copy of the character before he was ruined appear to take over. While seeing real Captain America beat the shit out of Captain Nazi is really cathartic, one cannot forget it came to be through rather...ridiculous means.

Number Nine: Tony Stark

Okay, this one is simple. Tony Stark is in this story. Despite being in a coma. Tony Stark holographic A.I. from Brian Bendis’ Invincible Iron Man is filling in for him. Only here he parades around in Tony’s old armor all the time without anyone commenting on it, recalibrated his personality to be constantly drunk and at one point Steve Rogers tries to decapitate him, a hologram, talking some technobabble about how Hydra made it possible for Tony to die this way.

He’s just Tony Stark. He is Tony Stark because Spencer had scenes requiring Tony Stark to be there and instead of killing his darlings like a good writer, he just wrote clearly human Tony Stark and threw some half-assed explanations and lampshades. It’s silly and makes every scene with him impossible to take seriously.

Number Eight: All the Fucking Quislings!

This one is bad. And I mean, just simply bad. Okay, it’s multiple problems, not a singular one. But it makes my very insides turn at the thought. Nick Spencer asked how can he threw some moral ambiguity IN AN EVENT ABOUT HEROES FIGHTING LITERALLY NAZIS and the best idea he had was to have some random heroes join Hydra. I’m not talking here about those who were brainwashed, like Wanda and Vision, although that is a conversation to also be had by their fans about how often this treatment occurs. Although I wonder - if they are too powerful to let them roam freely, why even HAVE them in this event? It’s not like every superhero was there, currently, heroic Victor Von Doom could probably break Hydra at day one and he was nowhere to be seen.

No, the real problem is with the fact they made some heroes join Hydra willingly. Sometimes they tried to throw flimsy reasons in. Punisher joined to get his family back...even though in previous stories he refused the same offer from less evil people. I feel it’s kinda funny they did this with Frank, considering the man who more or less defined him, Chuck Dixon, has thrown in with real-life Nazis like Milo Yiannopolus. Meanwhile, Deadpool and Thor just go along with letting Nazis rule the States because....Steve Rogers said so and Steve Rogers is always right. That’s just a plain stupidity and total lack of compassion on their side. I’m sure don’t feel like buying any book starring them ever now.

But the worst one is, by far, the Hulk. Who also comes back to life for this event, only to smash for Hydra and immediately die.But that is not the worst part. The worst part is how they build up to it. By having Hydra Steve give Bruce Banner long speech over how Avengers and everyone mistreated him over the years and with Hydra he will finally be accepted for who he is. And Banner calls him a Nazi and tells to go fuck himself. And it is a very powerful moment, Bruce Banner symbolizes everyone disfranchised by the society being offered hand by Nazis and heroically rejecting it... Nah, turns out Rogers was talking to Hulk who felt like changing his catchphrase to Sig Heil. I don’t think Spencer even realized what message he sent by this one moment. He basically said that everyone who has been screwed over by the system secretly agrees with the Nazis, but are “too PC” or “too weak” to say it out loud. It’s stupid AND extremely insulting, two for the price of one.

Number Seven: BARF!

How to properly seed a classic Chekov’s Gunman and yet STILL make him feel like a Deus Ex Machina? Make him ridiculously fucking stupid, that’s how!

Enter Barf, a random Inhuman with the power to vomit up things he needs. He shows up in the first issue, is absent through the entire story only to reappear in Captain America #25 and vomit out a fragment of Cosmic Cube. Because why let people work for their victory and earn their happy ending when you can just have all their efforts blow in their faces and just have means of victory handled to them on a silver platter in the most blatant way possible! If Nick Spencer knew he’s going to write himself into a corner, couldn’t he simply change the plot to avoid it instead of setting up something so stupid?

Number Six: Thou Shalt Not Kill, Miles

After Civil War II we were left with a vision of the future where Miles Morales kills Captain America. Once Secret Empire rolled around and we saw Rogers go full Alt-Right on the country, many were hoping this will actually happen. And Miles, with a handful of friends, does join Black Widow in her efforts to off Captain Nazi. And she spends most of the series training them to be more like her....then talking how she doesn’t actually want them to be more like her and how her generation screwed things up....then taking them on the assassination day anyway only to lock Miles up to kill Rogers herself and when that fails, give up her life trying to stop their fight. Which, in the classic refrigerator fashion, pushes Miles hard enough to actually do this. Only to be given one of the most hollow, lazy-written speeches about how killing is wrong. It hits all the old, tired notes. “Heroes should be better than villains”. “If you kill him, you will be just like him!” (a reminder that “you” in this situation is a Black-Latino and “him” is A FUCKING NAZI FOR CHRIST”S SAKE...). “Natasha wouldn’t want this for you.” (she showed it in the strangest way).... It’s especially bad when you have a character who has a backstory of being trained to kill but rejecting those ways, like Nadia Van Dyne, delivering this speech. Despite her background and personality none of this sounds like her words. It reads like she was going through a checklist of tired cliches.

This is why I came to hate this Aesop that superheroes shouldn’t kill. Because nine times out of ten this isn’t done to actually be a piece of a character driven narrative. It’s done to give a bunch of excuses to let villain live when he deserves to die.

Also, that entire plot point dragged since the previous event, in the end, amounted to BUG FUCKING NOTHING!

Number Five: Who Cares About the Civilians, Right?

So okay, the day is saved, villains are defeated, Captain Nazi got his ass kicked by Steve Rogers and Kobik, a sentient cosmic cube, undoes all this damage. EXCEPT FOR FUCKING VEGAS, WHICH HYDRA LEVELED AND LEFT NOT SURVIVORS! Seriously, I don’t care about the explanations given. Someone should have asked her to do it. And no, some “leave it as a reminder” excuse doesn’t work, Kobik is mentally three years old, she isn’t some wise all-powerful being like Odin or the Stranger from whom we could buy this shit. This is pretty much done only so that Nick Spencer can claim he kept his promise to not undo everything by the cosmic cube. He didn’t undo EVERYTHING, that counts, right? It makes all the heroes look like morons and assholes. Even Z Fighters in Dragon Ball have enough decency to ask the dragon to resurrect all dead civilians when they undo everything after every arc. Marvel heroes, for all the “lessons” this even taught them, couldn’t be assed to do even that.

Number Four: Ultron the Centrist

I’ll be honest with you, Pymltron wearing “Kiss the Overlord” apron, forcing Avengers and Hydra to sit and roasting all of them was one of the best parts of the event. But then it also comes off as paying lip service to the “both sides are as bad” mentality that we saw being used by people of today to desperately try to equate alt-right and those opposing them in real life. It’s pretty much justifying this approach in this story and it doesn’t matter one saying that is a fusion of mentally unstable man and a genocidal robot - he never gets challenged on this position because, for all his talk otherwise on twitter, Nick Spencer apparently cannot think of a compelling argument against it. I guess he secretly agrees with him...

And it doesn’t help that while Ultron ends up aiding the good guys, he does say it’s because Hydra became too strong and might pose a threat to him. Sending a message that any outside powers that show support to those opposing Nazis, in reality, wants America’s destruction...

Number Three: Nazi Pandering

Do I really need to explain this one? The entire event does nothing but bends over to kiss Hydra, and by the extension, Nazi ass at every possible opportunity. They beat up all superheroes because the plot says so, while the narrator goes on and on about how NAZI STRONK! We’re told they were supposed to win the World War II and that Allies “cheated” by rewriting reality...but for some reason let the Holocaust in?! Their rule is shown as being the strongest, which is water to the mill of real-life Nazis as their philosophy is based on “might makes right” and they beat up pretty much everyone, even Wakanda. Every victory heroes have against them must be immediately undermined by giving Nazis another win for consolidation. And while the heroes win at the end, this comes after several issues portraying them as absolutely pathetic losers who didn’t really earn their happy ending but it was handed to them by a random inhuman and Deus Ex Machina device. Which brings us to the next point...

Number Two: Cosmic Cubes

All the dumb shit going in this event can be tracked back to Cosmic Cube, be it as Kobik or the shards. She causes Crazy Steve to emerge, launching this story. And she fixes this mess at the end. Shards of Cosmic Cube serve as a distraction to put both good and bad guys on a wild goose chase because Spencer couldn’t think of any actually interesting plotline for this event. All dumb shit evil Steve pulls out can be explained by them. When it’s time for heroes to win, Barf vomits out a shard. And It undermines everything. A story that entirely revolves around this crap doesn’t have any time to actually show things it’s talking about. Maybe instead of running after Dragon Balls, more time should be developed to show how lack of trust and resentments between the good guys gets in the way? You know, something the narration keeps talking on and on and on but never is reflected in the book? Or show more of them acting like an actual resistance would? Worse, thanks to them heroes no longer win because they’re heroic but because they’ve been handed the I Win Button. Any easy win of the villains can be explained by them holding the Fuck You That’s Why Button. Making you wonder why even care if everybody wins only by writer’s fiat?

Number One: Bown Down To the Gary Stu

Most of the problems in this entire story can really boil down to just this. Steve Rogers is a gary stu. He wins because Nick Spencer wants to show how cool and badass he is. His plans always go without a hitch and he never has to adapt or improvise, under him, Hydra wrecks everyone's shit, even if he loses he still wins and in the end, the only man allowed to beat him is...another Steve Rogers. All other problems in the story can be traced back to Spencer’s desperate need to make him look strong. And believe me, he tried soo damn hard. Up to have him go full Super Saiyan God Super Saiyan Four Madara Uchicha with Cosmic Cube Dojustsu on everyone’s ass at the finale. I don’t think we’d see a guy being shoved down our throats so hard if Roman Reigns joined Ultramarines! This is where the book truly falls. Nick Spencer could not let go of his fanboyism over the character and it twisted everything he supposedly wanted to say into a parody of itself, often sending the exact opposite message to accommodate the need to make evil Steve Rogers look good.

So, these are ten dumbest moments in the series. As far as events go, this was one of the worst. It looks like it might have ruined Nick Spencer’s career at Marvel and maybe in general, and will probably make it very hard to look at certain characters for years to come. The only good thing you could say is that it finally ended.

Fuck this book.

- Admin

[ciathyzareposts]

.Missed Classic 58: The Worm in Paradise (1985) – Introduction

By Ilmari

Joe Pranevich has just completed another year of gaming (1984) in his Infocom marathon, and before moving on to the challenges of 1985 games, he is planning to write a few additional articles on other interesting things Infocom was doing at that period. It is thus a good opportunity for me continue my own sideshow marathon and tackle another Level 9 game – The Worm in Paradise.

Robot beauty contest?

Of all the Level 9 games I’ve played so far, the best has definitely been Snowball, a story of a hijacked sleeper ship Snowball, which undercover agent Kim Kimberly had to save from falling into a star. Its sequel, Return to Eden, couldn’t really decide what the major plot line was – was it about Kim’s escape from Snowball to planet Eden, about the battle of nature of planet Eden and colonizing robots or about Kim fooling the robots and becoming a major of Eden? Still, the series as a whole has been of the highest quality of all the trilogies of Level 9 and I just hope that this final installment will provide a good ending to the story.

Reading the manual, it seems that the game will have a message. The two earlier games have occasionally parodied British bureaucracy, and often the tone of these attempts at humour has not been in line with the general tone of the game. This time, the satirical element appears to be on the forefront, since the player character is explicitly said to live in a benevolent bureaucracy. The planet Eden is described as “truly a paradise for the silent majority, with peace in our time, no crime, full employment (with a fifteen hour week), good housing, more entertainment than anyone could watch etc. etc.” Knowing the tone of the creators, this statement must be taken with a grain of salt.

Timewise, The Worm in Paradise is set couple of generations after the first two games. In the previous game, the protagonist Kim Kimberly ended up as the major of planet Eden and the current major is still called Kim Kimberly – I suppose her name became attached with the position, just like all emperors in ancient Rome were eventually “Caesars”. Assuming the current Kim has the same gender as the first Kim, Eden is then a matriarchy. This is probably no coincidence, since the obvious target of this parody is Thatcherite Britain. Indeed, planet Eden is a true right-wing paradise with no taxes and government still making profits. Where do they get the money, you ask? Simple, almost everything is illegal, and most criminals are not imprisoned, but fined (in case of poor this means essentially that you have to sell your organs for cash). Add in the facts that informants are rewarded, holding information from police is fined and accused is always assumed guilty (demanding a trial means extra fines), and you have a surefire recipe for making justice system into a profitable business.

The government of Eden has also managed to cut the public expenditure by replacing all bureaucrats with robots, who not just work for free, but are also incapable of corruption. In fact, robots do pretty much all the real work and humans are not even needed for colonizing new worlds, since the machines have developed the ability to grow humans on the spot at new planets from ova. Humans are still obliged to do work (this is a Thatcherite utopia after all), which means “extensive ‘training’ schemes” and “many pen-pushing jobs”, with the few good jobs handed out to VIPs.

The game itself starts with the most used cliche in gaming industry: I remember nothing. All right, let’s do some mapping them.

The starting area is 3 x 3 square garden, walled off from outside. There’s a locked door and a squirrel I can’t interact with. More interesting are a bench I can move around and a tree I cannot reach. So far, this seems simple: I move the bench near the tree and use it to get an apple.

Eating the apple I release a worm that soon grows into a huge monster that smashes a hole in the garden wall. Now I know where the title of the game comes.

The area outside the garden is a huge desert, limited by a chasm I cannot jump over. The only other major feature is a huge behemoth, with a slightly loose scale. I proceed to do what I can and take the scale, waking the behemoth, who starts to follow me, retribution in its mind. I have only few turns, before the behemoth catches me. There’s a thorn bush nearby, where I can hide to get some more time and then rush to the chasm, where the behemoth tries to grab me and instead slides into the chasm, providing me with a convenient bridge.

At the other side of the chasm I find the tracks left by the giant earthworm, guarding a door labeled EXIT. The worm tries to spit acid on me, but the scale of behemoth shields me as I step through the door and find everything fading around me – it was all just virtual reality.

This was a bit of a lame way to start the game. Firstly, the surprise was a bit ruined for me, because getting killed in the VR program or taking too long leads to the same conclusion. Secondly, we’ve already faced a similar and a much better scene at the beginning of Spellcasting 201 (I know, I know, The Worm in Paradise is an earlier game). Here, the sequence serves no apparent purpose, but to explain why I don’t remember anything, and even that isn’t spelled out clearly. Oh well, the game has still a chance to pick up the speed. What would you guess for the score of the game?

Session time: 35 minutes

Quick guide for Level 9 Games

Games already played on The Adventure Gamer:

Colossal Adventure (1983, PISSED-score 25): Almost a direct copy of the original Adventure, with an extended end game.

Adventure Quest (1983, PISSED-score 25): A sequel to Colossal Adventure, which is also supposed to continue the tale of Lord of the Rings by introducing yet another Dark Lord that is threatening Middle Earth; Tolkien would have loathed the game, because it mixes extraneous elements to his creation; it could have definitely been a smaller game.

Dungeon Adventure (1983, PISSED-score 29): Final part of the “Middle-Earth -trilogy”, although the connection to Tolkien’s work is even more non-existent; a very traditional treasure hunt, but with occasional intricate puzzles.

Snowball (1983, PISSED-score 31): A sleeper ship has been hijacked and about to crash into a star, unless an undercover agent can fix things; a game with an interesting background story and a female hero, Kim Kimberly, but it has some lackluster puzzles and fails to keep a serious face throughout the game.

Lords of Time (1984, PISSED-score 24): Evil Timelords are plotting to destroy the fabric of time and you must collect several objects from various historical period to magically stop them. Underneath the plot is a basic treasure hunt with too many mazes and unfair puzzles.

Return to Eden (1984, PISSED-score 28): Sequel to Snowball, which continues the story of Kim Kimberly, who has been declared an enemy of Snowball. The plot meanders through various disparate situations and boring puzzles and ends abruptly with an improbable conclusion.

The Saga of Erik the Viking (1984, PISSED-score 23): Based on a children’s book by Terry Jones. Due most likely to intended audience, the puzzles are refreshingly simple. Unfortunately, most of the game is spent travelling on an empty ocean.

Emerald Isle (1985, PISSED-score 30): A very old-fashioned treasure hunt with a non-existent story, but if you enjoy mapping and solving mostly decent puzzles, you might like this.

Red Moon (1985, PISSED-score 31): The game innovates with the traditional treasure hunt concept by adding CRPG-like elements, like spells, monsters and fighting. It is buggy, but still playable.

Games still to be played:

The Secret Diary of Adrian Mole Aged 13¾ (1985)

The Archers (1985)

The Price of Magik (1986)

Knight Orc (1987)

The Growing Pains of Adrian Mole (1987)

Gnome Ranger (1987)

Lancelot (1988)

Ingrid’s Back: Gnome Ranger 2 (1988)

Scapeghost (1989)

Compiled trilogies:

Jewels of Darkness (1986): Colossal Adventure, Adventure Quest and Dungeon Adventure (all the Tolkien references have been removed)

Silicon Dreams (1986): Snowball, Return to Eden and The Worm in Paradise

Time and Magik (1988): Lords of Time, Red Moon and The Price of Magik

source http://reposts.ciathyza.com/missed-classic-58-the-worm-in-paradise-1985-introduction/