the worst part of enjoying musicals from the 2000s is the racism interlude. so many of them have a racism interlude. at least with drowsy chaperone it’s clearly intended as a dig at orientalism in musical theater (and tbh a direct callout for the king and I, though it’s not like I have any citations for that) so imo it depends more on personal tolerance but with curtains it’s like. woah yikes. the skill is undeniable (in the bway production) and it makes sense in context as the show within a show being made in the 80s but it doesn’t serve any narrative or thematic purpose and you really just need to change the costumes to not have a racism interlude.

hello op i have never heard of blitzwing before but i am very curious, would you mind telling us about them? maybe if you're worried it would be unfair you can tell us about their competitor too?

okay okay so I'll allow myself ONE Blitzwing propaganda post, but I'll put it under the cut in case anyone wants to avoid my personal bias :3c

So Blitzwing is my wonderful special boy I love him a lot okay SO he's from Transformers, and is a Decepticon (aka the bad guys in most universes), and is something called a "triple changer". While most transformers have a robot mode and vehicle mode, triple changers get a robot mode and TWO vehicle modes. (Blitzy can turn into a plane OR a tank!)

So in most other Transformers media he's got a pretty basic personality, but the version featured here is specifically from Transformers Animated, where they did a really interesting twist on the "triple changer" trope,

So Blitzwing has three different "faceplates" that he switches between, and for the most part they're all referred to by just "Blitzwing", though they all have different appearances and nicknames of "Hothead" "Icy" and "Random", shown in order in this image:

So I'm sure you can already guess why people are nominating them, this is verrry plural energy. (especially since it's nice how there isn't any """original""" face, they're all treated as equally Blitzwing) The body is the same but the faces and personalities change.

Even if you don't view it as a full system like someone with DID, it still leans heavily into the dissociative spectrum; like I really really like interpreting his faceplates as being strong manifested coping mechanisms. Like I really enjoy Hothead being the "protector" mental state, so on and so forth. And yes I'm self projecting because I have a verrry similar coping mechanism, sue me.

It's definitely not PERFECT rep in canon, I know I was actually offput at first because I thought "Great another negative DID stereotype played off for laughs", a big thing they do is have Icy or Hothead say something, and then Random cut in with a witty one-liner and it's supposed to be a "haha laugh at the crazy bot" type of thing :/

But the fandom really turned me around by portraying him in a much better light, especially when others have taken him and acknowledged that his personalities probably manifested from a place of trauma and giving each of his faceplates a lot of depth and emotional value. I've read some really really good fics treating his faceplates with a lot of respect and really made me fall in love with the character!

It's also nice because even though far from perfect in canon, he subverts the evil trope in a sense. Yeah he's a villain, but he's a villain regardless of if he had 3 faceplates or not, he's not a villain BECAUSE of his identities. He doesn't have an """evil""" alter which is great. They're all assholes (affectionate)

tl;dr: He's funky and has 3 distinct personalities and I care them all so so much and also am biased because I have a fictional crush

@headstrongblake​ sent: which of your muses has had the most character growth since you started writing them? Q’s for a multimuse || accepting

Probably a tie between Cerci and Fox.

Cerci because I started writing her almost ten years ago, and she’s had so much growth since then I couldn’t even begin to start pinpointing all the ways she’s grown as a muse and as a person. 

The most notable change is her self-confidence. When I began writing her she was much… I don’t want to say weaker, but less self-confident, less poised, less collected. Which is fair to her because she was 16 when I started writing her in some HP group rp. She was a lot more hurt, and a lot more flinching, and a lot more sure that everyone was out to hurt her physically. She has grown up since I started writing her, and she’s more in the mid-late twenties range now, and she’s much more sure of herself. 

Her key traits have never changed- she still thinks if given the choice people would choose to hurt her, but she’s less likely to see threats in every passing stranger. She still comes from an abusive background and it shapes a majority of her tics, traits, and reactions to others. She still uses her prim and proper ways as a shield against others and leans heavily into her own little stereotype of a “proper lady” from days of past, but these days she also uses it as a weapon, not just a shield. She’s much more confident in herself and her abilities, and much less willing to take any shit from anyone that crosses her path. Her manipulations are still used to protect herself, but they are also used to get her what she wants. 

The major thing that’s never so much as hinted at change? She is almost pathologically opposed to straight up lying. She’ll omit, she’ll twist, she’ll avoid, she’ll word play, but she will generally refuse to outright lie. When she was younger, information was power. Now that she’s older, information is her currency and her reputation. Without trust in her word, she has nothing.

Fox is less in-depth, I started writing Fox about 7 years ago, but overall given all my hiatuses and ebbs and flows of writing her, I’ve probably only written her actively for about 5 of those. But she too developed from a background character into her own person with her own goals, drives, fears, and desires. She grew in the sense that t100 didn’t give her much to begin with, so she was a semi-blank slate that I had free reign with, and I basically created her off a handful of scenes and interactions. 

These days, her biggest change is more in me than it is in her- I stopped caring about making her op or making her too skilled for her role in the show and finally said fuck it to restraint and allowed my sweet, optimistic, fun-loving little thief graduate from petty delinquent thief to genuine cat burglar thief and I am SO happy about it. 

I guess you could say she developed into a less optimistic, less loving woman from the girl she once was, but I also think that can be attributed to how little I write her as a teenager anymore, and write her after her trauma and after she’s been robbed of her innocence and optimism, so I think that’s less development and more just, she’s been through her trauma by the young adult ages I write her now, and it shows.

Existential Barbie, Bubblegum-pink Patriarchy, & The Plague of Perfectionism

Greta Gerwig’s “Barbie” delves into themes of feminism, patriarchy, and identity exploration to create a powerful narrative that speaks to a multitude of societal issues and challenges traditional gender norms. Using vehicles such as Barbie’s existential crisis and self discovery journey, the audience is taken on a journey through these issues with the intention of arriving in a more authentic destination. “Barbie” explores issues related to societal expectations and authenticity as well as her personal struggles with perfectionism, aging, and what her role is in society. This narrative celebrates individuality, uniqueness, and breaking free from the rigid stereotypes that bind us.

The “Barbie” movie broke several records. “Barbie” became the highest-grossing film directed by a woman, as well as the highest-grossing Warner Brothers picture, and the biggest opening for a non-sequel film. In addition to these records, “Barbie” received eight Oscar nominations, including the prestigious nomination for Best Picture. “Barbie” became a sort of cultural phenomenon and celebration of womanhood, leaving behind a trail of popcorn and pink in addition to the thought-provoking themes and amusing performances applauded by audiences.

Greta Gerwig’s “Barbie” offers a new twist on an iconic character and reframed perspectives on themes that have plagued society for ages. This biopic offers entertainment, earnestness, and fresh perspectives on the multitude of societal expectations women struggle beneath the weight of. In a lighthearted, bubblegum, beautiful way, serious issues regarding patriarchal constraints and the psychological effects of societal standards are addressed, allowing viewers to see themselves and their inner children intersecting and connecting on the big screen.

This cinematic experience is one that contains healing benefits for those that see themselves within the characters, even if in a melodramatic / comedic / dramatized version. The impact of the film is enhanced by the depth of emotion portrayed by the characters, spanning various ages and backgrounds. Margot Robbie captures Barbie’s emotional turmoil amidst her journey of the self. Robbie’s depiction of existential questioning and crisis was one that resonated with viewers deeply. Robbie exuded vulnerability throughout her quest towards an authentic personhood.

America Ferreira’s performance as Gloria, a human adult woman and mother, was a contrasting and comparative depiction of self discovery. Gloria’s character embarks upon an odyssey from loneliness and despair towards self fulfillment, much like the character of Barbie. Ferreira depicts her own version of societal pressures masterfully, and delivers monologues on the challenges, complexities, and pressures of modern womanhood that leave lasting impacts on viewers. Gloria’s unique perspective as a mother is another depiction of the bridge between a viewer’s present and past, with her heartfelt concern for her daughter within a broken society speaking to both parents and individuals tending to their own inner child.

In the current cultural, societal, and patriarchal landscape, Greta Gerwig’s “Barbie” does indeed serve as a cautionary tale. “Barbie” speaks directly to those suffering beneath the weight of societal pressures, as well as to those enforcing the standards among themselves. Through Barbie’s existential crisis and Gloria’s insightful monologue on the hypocrisy prevalent throughout the human world, the movie encourages viewers to reflect on their own identities and the standards they uphold. These themes present a beckoning for introspection and questioning of traditional norms in the face of rigid expectations. “Barbie” offers an alternative perspective; What if we don’t play along?

“Barbie” depicts the iconic Barbie dolls living within their timeless utopia, as well as adult humans, and modern teenagers. This variety of depictions is bound together by the ever-present thread of societal tradition, gender roles, and unrelenting responsibilities of what one must be / do / feel. The pressure of inflexible authority, often at the expense of women’s freedom and empowerment, is one that brings the characters together in the aim of a common goal. It is the binds that bond us.

The Bechdel test is a set of criteria used to asses a work of fiction’s inclusion and representation of female characters. Due to “Barbie”’s focus on female characters and a central theme of the film exploring female identity within a patriarchal society, it does indeed pass the necessary standards the Bechdel test puts in place. The film’s female characters discuss identity, vulnerability, strength, and empowerment, among other themes. Men do play a role within this film, with Ken being a main character, but this is primarily to illustrate the “man’s world” in which humans live and the effects of a patriarchal society within the Mattel corporation, the business world, advertisement, and essentially everywhere one looks.

Greta Gerwig is the director of the “Barbie” movie as well as a central role in the foundation of creation. The Barbie movie screenplay is an original work of Greta Gerwig and Noah Baumbach. Inspiration for this piece was drawn from previous works of Greta Gerwig’s such as “Little Women” and “Lady Bird”. These films also challenge societal expectations placed on women and explore journeys towards self exploration and discovery.

Barbie is a concept that spreads beyond the recent film, beyond the iconic doll, beyond the decades and decades of pink plastic perfection that has been interwoven throughout childhood, girlhood, and womanhood alike. Barbie has become synonymous with perfection and beauty. The idea of a Barbie doll being the unattainable beauty standard set for young girls and women is a long running concept that this movie builds upon and aims to interrogate and dissect. As time has gone on, beauty standards shift and evolve, as does the classic Barbie doll that children grow up idolizing. This movie is another example of the evolution of societal standards, beauty standards, girlhood, and womanhood. Can one movie fix a multigenerational long issue? Of course not. But every step in the right direction is a positive move. Having a movie like “Barbie” being wildly popular within society and available for children for years to come is something that I find important, powerful, and yes, quite beautiful.

Exploring What Makes Some Stories Not So Good

Unraveling the threads that can leave a narrative feeling lackluster

We've all been there. You crack open a book, eager to dive into a new world, only to find yourself bogged down by clunky dialogue, predictable plot twists, or characters you just can't connect with. The magic just isn't there. But what exactly makes a story fall flat? Let's unravel the threads that can leave a narrative feeling lackluster.

One-Dimensional Characters: Cardboard Cutouts Don't Compel

Great stories live and breathe through their characters. They are the emotional anchors that pull us into the narrative. When characters lack depth or feel like recycled stereotypes, it's hard to invest in their struggles or triumphs. Predictable motivations, unrealistic dialogue, and a lack of internal conflict can all contribute to a character feeling like a cardboard cutout.

Plot Gone Astray: When the Journey Becomes a Maze

A compelling plot is the roadmap that guides the reader through the story. It should have a clear beginning, middle, and end, with rising tension and well-placed payoffs. However, stories can go astray in a number of ways. Predictable plotlines or convenient solutions to complex problems can leave us feeling cheated. Excessively convoluted plots, with too many twists and turns, can create confusion and frustration.

The World Unbuilt: A Lack of Setting Steals the Stage

The world a story unfolds in is more than just a backdrop. It's a character in itself, shaping the narrative and influencing the actions of its inhabitants. A poorly developed setting feels generic and fails to immerse the reader. Imagine a fantasy novel where the magic system is never explained, or a historical fiction piece where the social and political climate feels vague.

Tells Not Shows: The Show-Me, Don't-Tell-Me Rule

Effective storytelling relies on showing, not telling. This means using vivid descriptions and actions to paint a picture for the reader, allowing them to experience the story through their senses. When an author simply tells us how a character feels or what the setting is like, it creates a distance between the reader and the story.

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Logic Gaps: When Plot Holes Become Chasms

A good story adheres to its own internal logic. If the rules of the world you've created are broken for the sake of convenience, it pulls the reader out of the narrative. For example, in a science fiction story, if a character suddenly displays abilities that were never established before, it creates a jarring inconsistency.

Clichés Galore: When Originality Takes a Vacation

Clichés can be comforting. They're familiar tropes that we recognize. However, an overreliance on clichés makes a story feel uninspired and predictable. Readers crave originality, and even familiar concepts can be presented in fresh ways.

The Pacing Problem: A Slow Start or a Breakneck Rush

Pacing is the rhythm of a story. A well-paced narrative balances moments of action, suspense, and reflection. Stories that drag can feel tedious, while those that rush through plot points leave the reader disoriented.

The All-Knowing Author: Pulling the Strings Too Tightly

A skilled author creates a world that feels real and lived-in, even if it's fantastical. When an author intrudes too heavily, reminding the reader that they're in control of everything, it can be off-putting. Readers enjoy the feeling of discovery and being surprised by the narrative.

The Flat Ending: A Fizzle After the Fireworks

The ending of a story should feel satisfying. It should bring closure to the character arcs and the central conflict. An ending that feels rushed, unearned, or simply doesn't answer the questions raised throughout the narrative can leave the reader feeling cheated.

Remember, It's Subjective: Not Every Story Clicks with Everyone

It's important to remember that storytelling is an art form, and like all art, it's subjective. What one reader finds boring, another might find charming. However, by understanding the common pitfalls that can plague stories, we can become more discerning readers and even improve our own writing if we choose to create narratives.

So, the next time you find yourself struggling to finish a book, take a moment to analyze what's not working for you. Is it a predictable plot? Unrealistic characters? A lack of world-building? By dissecting the elements that fall short, you can not only hone your own critical eye but also appreciate the stories that truly weave their magic.

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The Power of Personal Narratives: Why Your Story Matters

In the vast tapestry of human existence, each individual weaves a unique narrative—a story that is distinctly their own. Our lives are a collection of experiences, emotions, and lessons that form the very fabric of our being. As we navigate the intricacies of existence, it's essential to recognize the profound impact that personal narratives can have on both individuals and society as a whole.

The Elements of a Story: Crafting the Narrative of Your Life

At the core of every compelling narrative are key elements that give shape and meaning to the story. These elements, such as characters, plot, setting, and conflict, are not exclusive to works of fiction; they are the building blocks of our personal narratives as well. Our lives unfold through a series of events, with each moment contributing to the development of our unique story.

Characters in our personal narratives extend beyond ourselves—they include family, friends, mentors, and even the strangers whose paths intersect with ours. The plot is the sequence of events that shape our journey, from the challenges that test our resilience to the triumphs that bring us joy. The setting is the backdrop against which our stories unfold, encompassing the places we've been and the environments that have left an indelible mark on us. Conflict, whether internal or external, adds depth and complexity to our narratives, propelling us forward on our quest for self-discovery.

Understanding the elements of a story allows us to appreciate the richness of our own narratives. It empowers us to reflect on the chapters of our lives, recognizing the significance of every twist and turn in the grand tale we are writing.

The Impact of Personal Narratives on Individuals

Personal narratives hold the power to shape our identities, influencing how we perceive ourselves and how others perceive us. When we share our stories, we invite others into our world, fostering a sense of empathy and understanding. The challenges we've overcome, the lessons we've learned, and the moments of triumph all contribute to the mosaic of our lives.

Sharing our personal narratives can be a cathartic experience. It allows us to externalize our thoughts and emotions, providing clarity and perspective. Through storytelling, individuals often find solace, healing, and a sense of closure. Personal narratives become a tool for self-reflection and growth, enabling us to navigate the complexities of our inner worlds.

Moreover, personal narratives have the power to inspire. When we share our stories of resilience, vulnerability, and triumph, we create a ripple effect that resonates with others facing similar struggles. Our narratives become beacons of hope, reminding others that they are not alone in their journey.

The Collective Impact: Personal Narratives and Society

Beyond the individual level, personal narratives play a pivotal role in shaping the collective consciousness of society. When diverse voices contribute to the narrative landscape, a more comprehensive and inclusive understanding of the human experience emerges. Personal narratives become a bridge that connects people across cultures, generations, and backgrounds.

The sharing of personal narratives can challenge societal norms and foster conversations about change. It has the power to break down stereotypes, dismantle prejudices, and build bridges of understanding. In this way, personal narratives become catalysts for social progress, encouraging empathy and dismantling barriers that hinder authentic connection.

In Conclusion: Your Stories Matter, and History Chip Celebrates!

As we celebrate the International Your Stories Matter Month this December, it is an opportune time to reflect on the significance of personal narratives. Each story is a unique thread contributing to the rich tapestry of human history. It is a reminder that every individual, regardless of background or circumstance, has a story worth telling.

In conclusion, I invite you to consider the impact of your own personal narrative and the potential it holds to inspire, connect, and effect change. As we navigate the complexities of life, let us embrace the power of storytelling and recognize that our stories matter. They matter to us, to those around us, and to the broader tapestry of human history.

In the spirit of celebrating personal narratives, I encourage you to share your story at History Chip, a platform dedicated to preserving and honoring individual narratives. Your story is a valuable contribution to the collective history of humanity. Through History Chip, let us amplify the voices that shape our world, one personal narrative at a time.

Why is Red Dead Redemption 2 a masterpiece in story telling?

After the release of Red dead Redemption back in 2010 on the XBOX 360 and the PS3, fans were left anticipating the release of the much desired sequel for many years before there was even a sniff of a rumour of the sequel within the works. Come the fall of 2016, all the speculation was put to bed as Rockstar announced the sequel to follow up a story that was already masterful within the first game. Fans were hoping that after an eight year wait, that the story would live up to and even surpass the brilliance that the first game provided. Come the Release of Red Dead Redemption 2, it was safe to say the story definitely did not disappoint, with the game winning several awards for both its story telling and acting chops, being widely regarded by fans as one of the best story driven games of all time.

It is important to firstly look into the biggest selling point of RDR2's story, and that is through its stellar and multiple layered protagonist, 'Arthur Morgan'. A man who is gruff and stubborn but also a very endearing and compassionate. His personality has layers deeper than a gold mine. Arthur struggles with his dark past and his will power to become a better man. He is struck between constant polarizing positions of doing what is right for the gang by any means necessary, even if it means he would cause harm to others or doing what is morally the right thing to do as a good man but risks putting the gang in jeopardy for it. He is a man that the players aren't keen on at the beginning of the game, but as he grows as a characters and learns to show compassion towards others we grow we love him and understand that at the heart he isn't a bad man but in fact has just made bad choices that has placed him in difficult positions.

Moving onto who is regarded as one of the greatest video game antagonists of all time 'Dutch Van Der Linde' a once caring an endearing leader, turns into a selfish and very unpredictable outlaw. He is a man always with a plan (As persistently quoted by Dutch himself). We never fully understand what Dutch's true intentions are, as he is the epitome of a character arc than constantly keeps you guessing.

Arthur and Dutch are just the tip of the iceberg when it comes to explaining the depth of the characters within the game. The Van Der Linde gang feels like a real family. Each member has their own personality traits, traits and whacky stories that keeps the players constantly gripped on the narrative and care for the ultimate fates of each person.

With the gap of eight years between the two title releases fans were hoping that Rockstar invested a lot of focus into the immersive world building of the wild west era, with features that add to the accurate verisimilitude of the time setting. By all accounts Rockstar done a masterful job of creating the world within RDR2. Whether it was the bustling streets full of life in Saint Denis or the sleepy and laid back town of valentine and Strawberry, the locations feel constantly alive with unique encounters and interactions with all folks of life, placing the gamers within this chaotic yet realistic setting of 1899 Wild West America. It is as if Rockstar somehow captured the American frontier on a hard drive and dropped it straight into our consoles.

RDR2 doesn't just impress us with its stunning visuals and realistic character's you could possibly encounter within this setting. The story is incredibly gripping, with twists and turns round every corner. The gang is persistently on the run from the law, moving from location to location and never allow themselves to put their guards down. Their are both moral and ethical dilemmas that they all face. There are underlying themes of deep trust and heart-breaking betrayal. At times we don't see which one is going to come from who before it is too late. The story isn't just your stereotypical and run in the mill wild west tale filled with gang heists, shootouts and visiting saloons, it is a story of loyalty and redemption and the butterfly effect like consequences for the actions each character makes. Even the side quests are filled with intrigue and mystery.

Each quest can feel like it's own little dramatic story, whether that's helping a scientist bring his robot to life, assisting the town folk in hunting down a vampire or helping two brothers decide who is more macho in order to win over the lady of their dreams, each unique encounter can be filled with such mystery, hysteria, and hearth pumping moments, keeping the player constantly gripped in this immersive world.

The little moments implemented throughout the world is really the icing on the cake. The drunken campfire stories, the various card games that can be played within saloons, the humble and down to earth conversations that can be had on horseback whilst you slowly ride through the desert night, they all combine to the rich tapestry of life within the old west.

In the end, what makes Red Dead Redemption 2 more than just your squash buckling trigger happy western is its uncompromising ability to play with your heart and emotions by immersing you into this world where you deeply care for the characters and how they fit into its complex yet heart wrenching story. The game isn't afraid to take on difficult themes, and forcing you to take on tough choices that make you question your own morality but also you own loyalty on who should place your trust into and who you should turn your back on, with the story ending leaving you with a tear in your eye.

100. The Inmate, by Freida McFadden

Owned: No, library Page count: 385 My summary: Brooke’s not having a great life. She survived a horrific attack as a teen, gave birth to her attacker’s child, and moved away to New York. But now she’s back in town, after her parents died and she has inherited their house. Too bad the only work she can get is in the same penitentiary where her attacker is imprisoned. As Brooke goes about her work, however, doubts are niggling at her mind. Is Sean as guilty as she had assumed? What really happened that night, ten years ago? My rating: 1/5 My commentary:

Okay, look. Sometimes, I totally judge a book by its cover. What, it's a legitimate thing to do! Book covers can tell you a lot about genre and themes of the book, and if you add the blurb (if a book actually has a blurb, grumble grumble) you can get a decent impression of the book. And this one seemed interesting enough. Thrillers aren't my usual genre, but it's not like I hate the trappings of thrillers or anything, they're just not usually what I go for. And reader, I was burned so bad by this one. It was just writing by numbers. There was nothing interesting or unique going on here, it was just bland, bland, bland, unsurprising plot twist, bland. I only finished it out of a vague sense of inertia and, honestly, it wasn't even worth the tiny amount of effort I put in.

Our protagonist, Brooke, is kind of nothing. She's torn between Sean, her ex who tried to murder her (maybe) and Tim, the friend next door who's had a crush on her for forever, and may also be a murderer. It's first person present tense, and Brooke's voice sounds like it belongs in a bad YA novel. Children are more mature than she is. She seems like she can't focus on more than one thing at a time, oscillating between 'Sean is evil!' 'Sean is sweet!' 'I'm in danger!' 'How does my hair look?' on a dime. She's just vapid, and I really don't want to use that word, because it's a common criticism for female characters, but she is. She doesn't have any real character. She's just a vessel for the plot. I don't know what she likes and dislikes, what her goals are, what she wants and dreams, just her backstory and how she feels about it. She was the most developed character, and I can't tell you a single character trait she had.

But like...the whole thing was just so boring. None of the characters had any depth, they were just filling out vague archetypes at best, and at worst I couldn't even identify that much. There were so many assumptions and shortcuts made - like, the mystery of who the killer was rested entirely between Sean and Tim in the flashbacks, despite the fact that at that point, any of the girls could have been guilty. Brooke gets pregnant after sleeping with Sean exactly once, despite how unlikely that is. The police and courts apparently convict and acquit people based entirely on Brooke's say-so, and are okay with slamming some guy into jail, then releasing him and imprisoning some other guy, without any other evidence? If the evidence to convict Sean is solely Brooke's testimony where she admits she couldn't see his face or be entirely sure, wouldn't she be ripped apart in cross-examination? Was there no DNA evidence or anything else that could be taken from the scene?

Brooke is also allowed to work at the same penitentiary where a man her testimony got locked up is, which feels like something that would have come up during the hiring process. I know part of the point is that the prison isn't well-funded and the administration doesn't care, but that seems to be a ludicrous breach of safeguarding. And also, you know, she shouldn't be allowed to interact with inmates 1:1, I feel like? She's told not to share personal information and then breaks that immediately. I get what McFadden was going for with the prison, that rights for people who are incarcerated are basically nil, but the prison itself seemed straight out of a stereotype and the two inmates we get to see in any detail are terrible murderers. So, you know, that point was kind of undercut. It was just so...stereotypical. There was nothing to distinguish it from a load of bland tropes with no extra flavour. Avoid at all costs!

Next up, a group of demigods are chosen to participate in a set of trials...which only one will survive.

Magical Diary Wolf Hall: Spend a Year In Magical School But No More

Magical Diary: Wolf Hall is a visual novel that has a very simple pitch: You are an exchange student from... somewhere, living in America for one year in order to be a normal teenager and experience the new culture before your duties at home force you to say goodbye. You’ll take classes to determine what magic you know, test your capabilities in the dungeon, have fun with your hall mates and potentially find love in this land.

It does this exceptionally well though. The magical school has its Hogwarts flair with different halls, hence the name Wolf Hall as the game before this (which you don’t need to play as I didn’t) is called Horse Hall, but it has its own twists as the halls are more about personalities. This allows you to better match up with your roommate and have a partner in crime for the years ahead of you. In theory, it means leaving here you have at least one friend.

And that is kind of the angle taken with a lot of the lessons in the game. Besides just reveling in magic in general and rituals and customs, it’s all meant to make sure these young wizards both master their powers and learn how to use them responsibly. There’s many different angles with this, explored with different characters, etc. like that but magically that’d be my pitch.

And I do want to make something clear: I mentioned dungeon diving with the magic and that wasn’t me over exaggerating. Every month you do need to put your spells to the test and your skills are earned through light RPG mechanics where every week you have five slots with which to spend your time. At certain thresholds, you gain new spells which is charmingly simple and nostalgic for me as a kid who grew up with games where you had to help a young girl get by in life and try to make something of herself.

Admittedly, I shouldn’t be surprised as this is the same team who did Long Live the Queen which is a BRUTAL visual novel and evokes those old games even harder.

The real show stealer here though is the characters. I did three paths personally, two main and one side, and both of the main girls I did were delightful in their own ways with their own twists, turns and fun, flip sides to their personalities that I won’t spoil. What I will say is that the first girl I went after, Barbara, was so fascinating to me that I really want to use a character like her in my own writing someday. But in general, if you want characters who are still genuinely their archtype but with maybe a bit more depth and a bit more complexity than you may expect, just enough to make them feel a bit more human, this game delivers in spades.

I also think it handles its romance INCREDIBLY well. Though I also get that some people might find the bittersweet nature of the premise to be a bit of a turn off. You are going to leave and this is freshman year. That is an immutable fact and the conversations I saw about this dilemma were compelling and painful and sweet. After all, sometimes as kids you have to say goodbye because life simply tears you apart and though that maybe doesn’t mean goodbye forever, how optimistic each person is about that will vary.

One moment I want to highlight without too many specifics is that Barbara at one point did something that was deeply worrying as it seemed she was upset out of nowhere. I couldn’t talk to her until the next day when she explained that it was a test of sorts. When I explained that I almost failed the test because I was concerned about her, she paused and actually had to admit that maybe not talking to your friend was a bad idea and that the confusion was in fact her fault. It was a moment of push and pull in a relationship, the difficulty of wanting to check boundaries but also not knowing how, that I ADORED.

Not to say the writing is always amazing.The side path I did was REAL rough and a little offensive about bi stereotypes in my mind as they’re the only blatantly bi character I saw in the game. It also is absolutely a game set in America made by people who aren’t American so they don’t catch language that is... Awkward to put it mildly like when in the second week of the game, Seniors are ‘claiming’ freshman as their ‘property’ as part of a week long hazing ritual.

And no, this game never gets anywhere close to passing the PG-13 line so it’s not a kink thing.

There are other small oddities here and there, such as the fact that the freshman are 16 which makes the senior, two of whom you can pursue and are you main options if you want to date dudes, 20 because this is a four year school. They also bring up pregnancy on potentially more than two occasions and are NOWHERE near as adverse to the topic concerning teenagers as any staff member of an American school absolutely would be. It never gets to the point of fetishizing anything really, even the hazing is kept really tame, but it tows the line on more than one occasion.

If you can get past that though, you’ll find a charming game with a wonderful cast, some fun magic, genuinely compelling twists and romances that I don’t think I’ll immediately be forgetting. Not when they were as beautiful as a wolf’s howl.

coming back to this post i made again to elaborate - especially as the ted lasso fandom is discussing sam/rebecca and fandom racism in general. there are takes that are important to make that i had failed to previously, but there's also a growing amount of takes that i have to, As A Black Person™, respectfully disagree with.

tl;dr for the essay below sam being infantilized and the sam/rebecca relationship are not the same issue and discussing the former one doesn't mean excusing the latter. and we've reached the glen of the Dark Forest where we sit down and talk about fandom racism.

i should have elaborated this in my last post about sam/rebecca, but i didn't. i'll say it now - i personally don't support sam and rebecca getting together for real. i believe what people are saying is entirely correct, even though sam is an adult legally, he and rebecca are, at the very least, two wildly different stages of life. for americans, he's at the equivalent of being a junior in college. there are things he hasn't gotten the chance to experience and there are areas he needs to grow in. when i was younger, i didn't understand the significance of these age gaps, i just thought it would be fine if it was legal, but as someone who is now a little older than sam in universe, i understand fully. we can't downplay this. whether or not you think sam works for rebecca or not, even despite the gender inversion of the Older Man Younger Woman trope, whether or not he is a legal adult, i don't think at this point in time, their relationship would work. i think it's an interesting narrative device, but i don't want to see it play out in reality.

that being said!

what's worrying me is that two discussions are being conflated here that shouldn't be. sam having agency and being a little more grown™ than he's perceived to be does not suddenly make his relationship with rebecca justified. i had decided to bring it up because sam was being brought into the spotlight again and i was starting to realizing that his infantilization was more common than i felt comfortable with.

sam's infantilization (and i will continue to call it that), is a microaggression. it's is in the range of microaggressions that i would categorize as 'fandom overcompensation'. we have a prominent character of color that exhibits traits that aren't stereotypical, and we don't want to appear racist or stereotypical, so we lean hard in the other direction. they're not aggressive, they're a Sweet Baby, they're not world weary, they're now a little naive. they're not cold and distant, they're so nice and sweet that there's no one that wouldn't want approach them, and yeah, on their face, these new traits are a departure and, on their face, they seem they look really good.

but at a certain point, it reaches an inflection point, and, like the aftertaste of a diet coke, that alleged sweetness veers into something a lot less sweet. it veers into a lack of agency for the character. it veers into an innocence that appears to indicate that the person can't even take care of themselves. it veers into a one-dimensional characterization that doesn't allow for any depth or negative emotion.

it's not kind anymore. it's not a nice departure from negative stereotypes. it's not compensating for anything.

it's patronizing.

it is important that we emphasize that characters of color are more than the toxic stereotypes we lay on them, yes, but we make a mistake in thinking that the solution is overcorrection. for one thing, people of color can usually tell. don't get it twisted, it's actually pretty obvious. for another, it just shifts from one dimension to another. people of color are still supposed to be Only One Character Trait while white people can contain multitudes. ted, who is pretty much as pollyanna as they come, can be at once innocent and naive and deep and troubled and funny and scared. jamie can be a prick and sexy and also lonely and also a victim of abuse. sam, however, even though he was bullied (by jamie, no less), is thousands of miles away from home, and has led a protest on his team, is usually just characterized as human sunshine with much less acknowledgement of any other traits beyond that.

and that's why i cringe when fandom calls sam a Sweet Baby Boy without any sense of irony. is that all we're taking away? after all this time? even for a comedy, sam has received a substantive of screen time over two whole seasons, and we've seen a range of emotions from him. so as a black person it's hurtful that it's boiled down to Sweet Baby Boy.

that's the problem. we need to subvert stereotypes, but more importantly, we need to understand that people of color are not props, or pieces of cardboard for their white counterparts. they are full and actualized and have agency in their own right and they can have other emotions than Angry and Mean or Sweet and Bubbly without any nuance between the two. i think the show actually does a relatively good job of giving sam depth (relatively, always room for improvement, mind you), especially holding it in tension with his youth, but the fandom, i worry, does not.

it's the same reason why finn from star wars started out as the next male protagonist in the sequel trilogy but by the third movie was just running around yelling for REY!! it's the same reason why when people make Phase 4 Is the Phase For Therapy gifsets for the mcu and show wanda maximoff, loki, and bucky barnes crying and being sad but purposefully exclude sam wilson who had an entire show to tell us how difficult his life is, because people find out if pee oh sees are also complex, they'll tell the church.

and the reason why i picked up on this very early on is because i am an organic, certified fresh, 100% homegrown, non-gmo, a little ashy, indigenous sub saharan African black person. the ghanaian tribes i'm descended from have told me so, my black ass parents have told me so, and the nurses at the hospital in [insert asian country here] that started freaking out about how curly my hair was as my mother was mid pushing me out told me so!

and this stuff has real life implications. listen: being patronized as a black person sucks. do you know how many times i was patted on the back for doing quite honestly, the bare minimum in school? do you know how many times i was told how 'well spoken' or 'eloquent' i was because i just happen to have a white accent or use three syllable words? do you know how many times i've been cooed over by white women who couldn't get over how sweet i was just because i wasn't confrontational or rude like they wrongly expected me to be?

that's why they're called microaggressions. it's not a cross on your lawn or having the n-word spat in your face, but it cuts you down little by little until you're completely drained.

so that's the nuance. that's the subversion. the overcompensation is not a good thing. and people of color (and i suspect, even white people) have picked up on, in general, the different ways fandom treats sam and dani and even nate. what all of these discussions are converging on is fandom racism, which is not the diet form of racism, but another place for racism to reveal itself. and yeah, it's uncomfortable. it can seem out of left field. you may want to defend yourself. you may want to explain it away. but let me tap the sign on the proverbial bus:

if you are a white person, or a person of color who is not part of that racial group, even, you do not get to decide what is not racist for someone. full stop. there are no exceptions. there is no exit clause for you. there is no 'but, actually-'. that right wasn't even yours to cede or waive.

(it's also important to note that people of color also have the right to disagree on whether something is racist, but that doesn't necessarily negate the racism - it just means there's more to discuss and they can still leave with different interpretations)

people don't just whip out accusations of racism like a blue eyes white dragon in a yu-gi-oh duel. it's not fun for us. it's not something we like to do to muzzle people we don't want to engage with. and we're not concerned with making someone feel bad or ashamed. we're exposing something painful that we have to live with and, even worse, process literally everything we experience through. we can't turn it off. we can't be 'less sensitive' or 'less nitpicky'. we are literally the primary resources, we are the proverbial wikipedia articles with 3,000 sources when it comes to racism. who else would know more than us?

what 2020 has shown us very clearly is that racism is systemic. it's not always a bunch of Evil White Men rubbing their hands together in a dark room wondering how they're going to use the 'n-word' today. it's systemic. it's the way you call that one neighborhood 'sketchy'. it's how you use 'ratchet' and 'ghetto' when describing something bad. it's how you implicitly the assume the intelligence of your friend of color. it's the way you turned up your nose and your friend's food and bullied them for it in middle school but go to restaurants run by white people who have 'uplifted' it with inauthentic ingredients. it's telling someone how Well Spoken and Eloquent they are even though you've both gone to the same schools and work at the same workplace. it's the way you look down at some people of color for having a different body type than you because they've been redlined to neighborhoods where certain foods and resources are inaccessible, and yet mock up the racial features that appeal to you either through makeup or plastic surgery.

it's how when a person of color behaves badly, they're irredeemable, but a white person performing the same act or something similar is 'having a bad day' or 'isn't normally like this' or 'has room to grow' and we can't 'wait for their redemption arc', and yes, i'm not going to cover it in detail in this post but yes this is very much about nate. other people have also brought up the nuances in his arc and compared them to other white characters so i won't do it here.

these behaviors and reactions aren't planned. they aren't orchestrated. they're quite literally unconscious because they've been lovingly baked into western society for centuries. you can't wake up and be rid of it. whether you intended it or not, it can still be racist.

and it's actually quite hurtful and unfair to imply that concerns about racism in the TL fandom are unfounded or lacking any depth or simply meant to be sensational because you simply don't agree with it. i wish it was different, but it doesn't work that way. i'm not raising this up to 'call out' or shame people, but i'm adding to this discussion because, through how we talk about sam, and even dani and nate, i'm yet again seeing a pattern that has shortchanged people of color and made them feel unwelcome in fandom for far too long.

coach beard said it best: we need to do better.

Daniel LaRusso: A Queer Feminine Fairytale Analysis Part 1 of 3

Disclaimers and trigger warnings: 

1. These fairytales are European, although there’s often overlap in themes globally. I know European fairytales better, which is essentially the reason I’m not going to branch out too far. I opted to also stick to Western movies so as not to narrow things down, but also in particular “waves hand towards all of Ghibli” amongst many others. There’s a reason the guys in Ghibli are so gender.

2. TW for discussions of rape culture and rape fantasies

EDIT: FUCK I’M A GOBLIN CHILD! FORGOT TO PUT A MASSIVE MASSIVE THANK YOU TO @mimsyaf​ WHO HAS BEEN THE NICEST, KINDEST EDITOR ON THESE THOUGHTS AND CONTRIBUTED SO MUCH TO THEM AND GENERALLY IS A WONDERFUL PERSON!

Part 2

Part 3

1. Introduction

I recently wrote a little thing, which was about Daniel as a fairytale protagonist – specifically one that goes through some of the kinds of transformations that are often associated with female protagonists of fairytales.

I used quotes from Red Riding Hood, Labyrinth, Buffy The Vampire Slayer, and Dracula, which, as an aside – the overlap between fairytales, horror, and fantasy and the ways each of those genres delve into very deep, basic questions of humanity and the world is something that will always make me feral. I will be generally sticking with fairytales though. Also I am very excited about some of those Labyrinth concepts going around!

I’m going to use “feminine” and “masculine” in both gendered (as in relating specifically to people) and non-gendered (as in relating to codes) ways throughout this, depending on context.

To be binary for a moment, because sample-sizes of other genders are low, women are usually able to fall into either feminine or masculine arcs, although sometimes the masculine-coded woman can become a “not like the other girls” stereotype and the feminine-coded woman a shallow cliché – in both cases they’re also under more scrutiny and judgement, so it’s always worth asking “is this character not working for me because of the writing or because I have ingrained biases? (Both?)”

Men don’t often get feminine-coded arcs. Because. Probably a mix of biases and bigotry. But there are some that seem to have slipped beneath the shuttered fence of “Sufficient Narrative Testosterone,” and Daniel LaRusso is one of them.

2. Some Dude Comparisons (Men Doing Manly Action-Hero Things like being trans symbolism and loving your girlfriend… seriously those things are hella manly, I wish we saw more of that onscreen…)

a. Neo

Much like Neo The Matrix, whose journey is filled with transgender subtext and specifically and repeatedly references Alice In Wonderland, Daniel doesn’t go through quite the kind of hero's journey usually associated with Yer Standard Male Hero, especially the type found in the 80s/90s.

Neo is my favourite comparison, because of the purposefulness of his journey as a trans narrative and the use of Alice. But I’m sure there are other non-traditional male heroes out there (but are they trans tho? Please tell me, I want trans action heroes).

Neo “passes” as a socially acceptable man, but online goes by a different name - the name he prefers to be known by - feels like there’s something inherently wrong about the world around him and his body’s place in that society, and then gets taken down the rabbit hole (with his consent, although without really “knowing” what he’s consenting to) to discover that it’s the world that’s wrong - not him. And by accessing this truth he can literally make his body do and become whatever he wants it to.

Yay. (The message of the Matrix is actually that trans people can fly).

Neo is – kind of like Daniel – a strange character for Very Cis Straight Guys to imprint on. He spends most of the first movie unsure about what’s going on, out of his depth, and often getting beaten up. He is compared to Alice several times and at the end he dies. He loses. He has to be woken up with true love’s kiss, in a fun little Sleeping Beauty/Snow White twist. Yes, after that he can fly, but before that he’s getting dead-named and hate-crimed by The Most Obvious Stand-In For Normativity, Agent Smith, and being carried by people far more physically capable than he is (people who also fall outside of normative existence).

Trinity and Neo in The Matrix. The fact that a lot of the time neither of them is gendered is something. Literally brought to life by true love’s kiss.

I’m not about to argue that Daniel LaRusso is purposefully written along these same thought processes, so much as the luck of the way he was written, cast, directed, acted, and costumed all came together in the right way. And this is even more obvious when compared to That Other Underdog Fite Movie That Was By The Same Director as Karate Kid.

b. Rocky

The interesting thing about Rocky is that he is (despite being a male action icon) also not written as a Traditionally Masculine person. Large portions of Rocky – and subsequent Rocky films – are his fear and insecurity about fighting vs his inability to apply his skills to another piece of work and wanting to do right by his girlfriend (and future wife), Adrian. The fighting is most often pushed onto him against his will.

Much like in Karate Kid there is barely any fighting in Rocky I. Most of it is dedicated to how much Rocky loves Adrian and the two of them getting together. The fight is – again like in Karate Kid – a necessary violence, rather than a glorified one (within the plot, obviously watching any movie like this is also partly about the badassness of some element of the violence – whether stamina or the crane kick, it’s all about not backing down against a more powerful opponent).

Rocky is played by Sylvester Stallone. He’s tough, he’s already a fighter (albeit in the movie not a great one yet), he’s taking the fight for cash – so although he’s also soft-spoken and sweet, you’re aware of the fact that he’s got those traits that’d make a male audience go “Hell Yeah, A Man,” or whatever it is a male audience does watching movies like that… cis straight men imprinting on oiled muscle men sure is a strange phenomenon, why do you wanna watch a boxing match? So you can watch toned guys groaning and grappling with each other? Because you want to feel like A Man by allowing yourself to touch the skin of other men?

Apollo and Rocky in Rocky III. This sequence also includes prolonged shots of their crotches as they run. Sylvester Stallone directed this. This was intentional. Bros.

Daniel LaRusso is not built like that. But that doesn’t really have to matter. Being smallish and probably more likely to be described as “pretty” than handsome, and not having a toxic masculine bone in his body does not a feminine archetype make. It just makes a compelling (and pretty) underdog. 

c. Daniel

So where does the main difference really lie? Between Rocky and Daniel? Well, Rocky has the plot in his hands – Daniel, largely, does not. Rocky is acting. Daniel is reacting or being pushed into situations by others. Just like our boy Neo. Just like Alice in Wonderland, Cinderella, Snow White – just like some of the women in some contemporary(ish) fairytale films like Buttercup (Princess Bride), Dorothy (Wizard of Oz), or Sarah (Labyrinth).

This isn’t a necessary negative about stories about girls and women, so much as looking at what it is girls and women in fairytales have/don’t have, what they want, and how they’re going to get it. It’s about power (lack of), sexuality (repressed, then liberated), men, and crossing some taboo lines. It’s also about queerness.

3. The Karate Kid Part One: Leaving Home

Daniel LaRusso is a poor, skinny, shortish kid (played by a skinny, shortish twenty-two-year old) who doesn’t fit in after having been taken away from the home he was familiar with against his will. Not every male protagonist in a fairytale leaves of his own will, and not every female protagonist leaves under duress – Red Riding Hood, for example, seems perfectly happy to enter the forest. However generally a hero is “striking out to make his fortune,” and generally a heroine is fleeing or making a bargain or being married off or waiting for help to arrive. She is often stuck (and even Red Riding Hood requires saving at some point).

Daniel then encounters a beautiful, lovely girl on the beach, puts on a red hoodie (red is significant), is beaten up by a large, attractive bully, loses what little clout he may have had with his new friends, and generally has a mostly miserable time until he befriends and is saved by Mr Miyagi. To do a little Cinderella comparison: Miyagi is the fairy godmother who pushes Daniel to go to the ball in disguise as well, and that disguise falls to pieces as he’s running away.

Then Daniel asks for help, Miyagi gets him enrolled in a Karate Tournament, and starts teaching him. Daniel wins the tournament and gets the girl, the end.

While Daniel has chutzpah and is a wonderful character, none of the big events are initiated by him, except for the initial going to the forest/beach (and within all of these events Daniel absolutely makes choices – I’m not saying he’s passive): Lucille takes them to California, Miyagi pushes him to go to the dance, Miyagi again decides to enroll him in the tournament and trains him, and only because Kreese doesn’t allow for any other option, Ali is the one who more often than not approaches Daniel, and even their first encounter is pushed by Daniel’s friends.

Daniel really is at a dance/ball in disguise and receives a flower from a girl who recognises him through said disguise, it’s unbearable! It’s adorable! I get it Ali, I fucking get it!

Daniel’s main journey within this – apart from not getting killed by karate thugs (love u Johnny <3) and kissing Ali – is to learn from Miyagi. He’s not necessarily a full-on feminine fairytale archetype at this point, although there are fun things to pull out of it, mainly in the context of later films and Cobra Kai: the subtext of karate and how that builds throughout all the stories, the red clothes, the themes of obsession, his being targeted by boys whose masculinity is more than a little bit toxic and based on shame… more on all that coming up.

He doesn’t technically get a home until they build him a room at Miyagi’s place, but he definitely leaves the woods at the end of this one, trophy lifted in the air after being handed to him by a tearful Johnny and all.

And then they made a sequel.

4. The Karate Kid Part Two: Not Out Of The Woods Yet

Daniel’s won the competition, Kreese chokes out Johnny for daring to lose and cry, more life-lessons are given (for man without forgiveness in heart…) and Daniel and Ali break-up off-screen, confirming that TKK1 was not really about the girl after all, which, despite Daniel and Kumiko having wonderful chemistry, is also an ongoing theme. Daniel enters the screen in The Most Baby-Blue Outfit seen since Tiana’s dress in Princess and the Frog? Or that dress in Enchanted? Maybe Cinderella’s (technically silver, but later depicted as blue)? 

(Sidenote: At everyone who says Sam ought to wear a callback to that suit,  you are correct and sexy).

Surprise, Miyagi’s building him a room.

Double-surprise, Miyagi needs to go to Okinawa.

Triple surprise, Daniel reveals he’s going with him, because he’s his son dammit.

The Karate Kid Part Two is maybe the least Daniel-LaRusso-Feminine-Fairytale-Protagonist of the three, because it’s not really his movie. Daniel runs around with Kumiko (aka the most beautiful girl I’ve ever seen), continues to be The Best Non-Toxic Boy a middle-aged Okinawan karate master could ask for, lands himself another Built Karate Rival (twice is just a coincidence, right? Right?), and eventually doesn’t die while wearing red again – twice: When Chozen almost strangles him to death at the Miyagi dojo and then during the final fight. The Saving Of The Girl (both the little girl in the storm and Kumiko) actually puts him in a more traditional masculine space than the previous movie did, even if the main theme of the film is about compassion and kindness and by the end, once more the boy whose masculinity is built on rockhard abs and matchsticks is on his knees. Daniel just has that power over big boys. It’s called kick/punch them in the face hard enough that they see stars.

There’s an aside to be made here about how much Daniel really is an observer in other peoples stories in this, although he is the factor that sends both Chozen and Kumiko into completely different directions in life (Chozen and Kumiko main characters when?) Anyway he comes out of it presumably okay, despite being almost killed. Maybe a few therapy sessions and he’ll get over it. Too bad Terry Silver is lurking around the corner…

5. The Karate Kid Part Three: The Big Bad Wolf

Alright people have written Words about the third movie. It’s fascinating. It’s odd. It’s eye-straining. It’s like olives – you’re either fully onboard the madness or it’s too off-putting for you (or you’re like. Eh, don’t see what all the fuss is about either way...). It’s basically a non-consensual secret BDSM relationship between a guy in his thirties (played by a Very Tall twenty-seven year old Thomas Ian Griffith) and a 17/18 year old (played by a shorter twenty-eight year old Ralph Macchio).

Also recently we got more information on Mr. Griffith’s input on the uh… vibes of the film. Apparently it wasn’t just The Sweetness of Ralph Macchio’s face, the screenplay (whatever that amounted to in the first place – release the script!), the soundtrack, the direction to not tone it down under any circumstances, the fact that Macchio categorically refused to play a romance between himself and an actress who was sixteen, no: it was also TIG coming up with fun ways to torture Daniel’s character and suggesting these to the director. Clearly everyone has fun hurting Mr Macchio (including Mr Macchio).

The point is that aaallll of that amounts to that Intense Homoerotic Dubiously-Consented-To D/s subtext that haunts the movie and gives a lot of fun stuff to play with. It’s also a film that – if we’re analysing Daniel along feminine-coded fairytale lines recontextualises his role in this universe.

The Fairytale goes topsy-turvy. Through the looking glass. Enter Big Bad Wolf stage right. Karate is a metaphor for Daniel’s bisexual awakening. 

“Oh, when will an attractive man touch me in ways that aren’t about hurting me?” he asks after two movies of being hurt by boys with rippling muscles. “Why do men continue to notice me only to hit me? Do you think wearing red is making me too noticeable? Anyway, Mr Silver looked really good in his gi today.” 

Daniel’s diary must be a trip.

I seriously don’t understand why people don’t like sword and shield.

Like okay, I was one of those people who didn’t like it initially for the whole dynamax thing. I remember watching the trailer and being like “omg this is so stupid, first it’s mega evolution, then z moves, now THIS?!” And Yanno what? I still am not too big on it, but damn, it’s such a small thing. You don’t NEED to do it to win. And the raids are OPTIONAL.

Also, the exp candy. I also complained about this when I first heard of it. It’s super overpowered. Personally, I don’t think we should’ve been allowed to earn them until AFTER the game was completed, but that’s just me. End game tho, it’s GREAT. I love not having to grind all the freaking time to raise new Pokémon. And sure, sometimes it is LESS fun, but sometimes I get really pissed off from constantly dying. And you don’t have you use them all the time anyway, so 🤷 getting your shinies to level up is so much more easy

And about that, they’ve made it more easy. So what? That’s been a thing for years. I mean, in the older games, poison types could get POISONED for gods sake. And poison hurt your Pokémon OUSIDE of battle! But they took that away and made it easier. They made the exp share actually DO something! I played Platinum and it NEVER helped me. I basically just farmed the old fashioned way cuz it was less annoying. Fly makes the game easier too. Or what about roller skates? Bikes? Imagine someone being like I don’t like the bikes in game cuz they make the game go by SO MUCH quicker. That just sounds dumb!

And besides, I’ve realized why it’s so much different from other games.

It’s more story based

It’s less about the gameplay and more about the struggles. It’s trying to humanize its characters and make them more lovable, with wants and flaws and insecurities! Hop is literally one of the best rivals in the whole franchise because he feels so HUMAN. He gets discouraged and sad, angry, WAY too serious, and hates himself for being awful. And bede? Hes an asshole, but he does change a bit for the better. He Mellows out A LOT. And he has depth, and a BACKSTORY. And even the “bad guy” wasn’t actually evil. He was just a sweet guy with good intentions, but he did bad things. Unlike in X and Y with Lysandar, who was supposed to be a twist villain or something. Rose WAS a twist, but a good one. Tbh, I thought Oleana was the villian. Lysandar was a bad twist villian cuz he looked stereotypically evil and even resembled team Flare. It’s was kind of obvs with him

Now the game isn’t perfect, but all of you Gen Oners out there are hating on it for no good reason. Y’all need to give up that 151 is where it should have stopped, mewtwo is the best legendary, and that all new games SUCK. Cuz THEY DONT. You guys suck. Y’all just need to be more accepting.

Thanks for coming to my ted talk, it’s 3:45 am for me and I can’t sleep 🫠

On Trauma, Alienation, and Yuri Petrov

After the anon I recieved yesterday got me thinking about Yuri's lack of support system as well as had me coming back to this one scene in the Rising where Kotetsu tells Yuri that he could never understand what Barnaby went through. This will be a bit of a ramble so bear with me!

As he's meant to be a foil for Barnaby I feel like most of the attention goes to Barnaby and his trauma when making a comparison between the two (which is fair, he's a main character after all). Because of this some people don't really see the depth behind Yuri and the realism to his trauma. Some have written him off as part of the "abused people become abusers" stereotype or outright dismissed him as some egotistical man child of a villain. I think it's important to take a look at him and how his multiple traumas, and the alienation he faced thereafter, lead him down the path he's on by focusing on his side of the comparison.

To start with, one notable point is that Barnaby is able to reveal his trauma on live television and have the entire city rally around him. His support system and the people who have his back extends further than just the people he knows. 

Yuri, on the other hand, can't reliably even talk to his own mother (the only person he's shown to have any type of connection to) about what he's been through as her responses seem unpredictable. We can make the reasonable assumption that he doesn't have any friends because it states in the translated hero schedules that nobody has his phone number.

As a judge he can't admit to murder, as the son of the most highly regarded and beloved hero he can't speak ill of him (he likely wouldn't be believed anyway), and as someone who is seemingly still full of guilt and questioning his own behavior (no doubt aided by the fact that even his mother, who he was trying to save, doesn't always support him) he can't easily admit to the aftermath either. 

Continuing with the focus on his portrayal in the Rising, I'll point out again (as I did in my response yesterday) that there is a particularly interesting scenario where we get to see the aftermath of the effects of trauma relating to loss of a parent in three people at once. One desperate for revenge and one who has technically gotten his revenge yet didn't feel any better because of it.

"Now wait a moment." You may be saying "Yuri killed his own father so isn't that different than the other two?" and to that I would like to posit that Yuri did have his father taken from him before he ever killed him.

Aside from his hatred of "evil", Yuri also seems to view heroes as immoral, fame driven, and unable to help those in need. I think a lot of this can be tied back to the fact that Yuri lost his father as he knew him the moment the abuse started. 

Child Yuri seemed amazed by his father, right down to the Legend themed outfit. It can be assumed he was a great dad and a great hero at this point. However, that image was shattered when Legend began to drink and abuse his family (as an aside, one of the artbooks confirmed that Yuri was beaten as well). The man he looked up to, the hero, the man who taught him to never let evil go unpunished, was hurting him. It's not difficult to image what that sort of effect dissonance could have on a child.

Legend was staging his arrests and trying desperately to hold on to what he had, putting the anger he felt at losing his position over his duty as a husband and father to be there for his family (I could contrast this with how Kotetsu, in the same situation, uses this time to get closer to his family but that's for another time). He was loved and admired by all with no one any wiser to what happened behind closed doors. 

I think it's because of this that Yuri seems to live his life in opposition to the hero lifestyle. In a way this could almost be seen as a form of revenge seeking against heroes themselves. He's seen what a "hero" can be like and he can no longer trust them to make the right choices or have a genuine desire to help anyone so he takes it into his own hands and has no qualms about airing his spiteful opinions while doing so.

As a side note, in a way I also believe that his decision to kill those that are evil is, in part, a form of reassurance to himself that he's not wrong for what he did to his own father. We kind of get a hint of that in the scene where he's hallucinating and yells at his father's apparition after having his actions questioned by him.

To return to the main point, Yuri isn't really given the opportunities the others had to change their ways and heal. There was no one there to stop him from going down the wrong path. Barnaby tells Virgil that he's not out to save Schneider, he's out to save Virgil himself. Barnaby also says how Kotetsu was able to be there for him and that, had it not been for him, he wouldn't even have been standing there today and would have gone down the wrong path himself. 

I often see people discuss what Yuri might have been like had he never been abused or killed his father but I think a more interesting thing to consider is what he could have been like had he had someone on his side when he really needed it, if he didn't live in a world that would likely turn on him if he spoke against the most well-known celebrity hero (I would imagine that, much like in our real world, if an abuse victim spoke out against a celebrity they'd be shamed and called a liar), if there had been someone there to set him straight before his pain and twisted morals consumed him.

Even as we see him in the show I don't think he's a bad man. He does terrible things, yes, but he does them out of a desire to save people, to help others, to prevent more suffering. It annoys me to see him portrayed as some childish villain just stupidly killing for the sake of it. He's misguided, yes, but there's a method to his madness.

I guess the main point is that, regardless of how Kotetsu meant it, I feel sad thinking about Yuri stating his views on how to heal from the past only to be told that he "Doesn't know the first thing about what [Barnaby's] been through". Yuri does know pain, loss, and betrayal quite well which is how he came to those conclusions in the first place, he just hasn't been in a situation that's allowed him to admit and process that.

REVIEW: Astrid & Lilly Episode Four 'One Rib'

With the fourth episode of Astrid & Lilly Save the World--created by Noelle Stehman and Betsy Van Stone-- 'One Rib' Astrid (Jana Morrison) and Lilly (Samantha Aucoin) must work without the help of their mentor and guide Brutus. This episode offers a nice shift of the monster-of-the-week formula through providing moments of growth for Astrid and Lilly. One Rib is directed by J Stevens and written by Veronika Paz.

With each episode, I fall deeper in love with Astrid & Lilly and its wonderfully written characters. This is one of the most charming and well-written shows on television, and I am always looking forward to how the next episode will offer a unique twist to familiar aspects of the monster-canon.

Without Brutus (Olivier Renaud) telling Astrid and Lilly the details of their newest monster-hunting mission, they must use their powers and skills of observation to solve this one before it's too late.

I love how this episode shows Astrid and Lilly learning from their previous experiences and having the courage and confidence to trust their own judgements. Having an episode where the monster is not clearly defined at the beginning offers new chances to explore the mystery of the series.

This episode also gives Olivier Renaud time to shine as Brutus when we see him away from his job as monster-hunting guide. The montage of Brutus going to the mall and trying to explore all that Earth has to offer are delightful. The moment where he lists things he wants to do and asks if Astrid and Lilly want to join is hilarious.

Astrid & Lilly continues to amaze with its focus on building up the world and the vastly unique collection of characters. Even though the show is mainly about Astrid and Lilly coming to terms with their new lives as monster hunters, every character is fully explored and given moments to shine.

In this episode, I especially loved the auditions for the school play. Michael McCreary is wonderful as Eggs, and I am overjoyed that we are getting to see more of his character as the show progresses.

His audition--and Val's (Christina Orjalo) reaction to it--were especially memorable moments. I loved the dynamic between Eggs and Val in this episode and it made me excited to see more exploration into these well-written and complex characters.

Having Astrid and Lilly solve the mystery without any help from Brutus was a wonderful choice, and allowed the episode to explore their changing powers and the increasing confidence in themselves.

I especially loved the simplicity of the revelation in this episode mixed with the intensity and tension of this 'dance craze'. The comedy that comes from assuming people in a zombified state are participating in a dance craze is wonderfully modern yet with a retro zany charm.

The series never feels heavy-handed in one direction, instead creating a wonderful amalgamation of funny, scary, and relatable. I love how the scariest moments happen with Christine (Geri Hall) and her trips down to the dark church basement.

Astrid & Lilly is also a wonderful example of the teen subgenre, making characters that feel like real teenagers rather than stereotypes focused on one specific trait. Everyone has depth and every performance captures the essence of their characters. Astrid & Lilly perfectly balances its science-fiction, horror aspects with staples of teen television, such as budding relationships, crushes, and the bond of best friends.

Astrid & Lilly is a perfect version of the monster-of-the-week genre, which always captures a wonderful blend of tense moments with more light-hearted and sometimes absurd moments of humor.

[tastebreaker review] Law School (no spoilers)

Sometimes, I wish I could have a shrine for all the cerebral media that I consumed, because it definitely is my favourite archetype. Death Note was a masterpiece that I hungrily binged in one day - similarly with Psycho Pass (though I haven't watched the second season due to most of the reviews I have read). This extend well into non-anime media for me - State of Play (with Russell Crowe, Ben Affleck and Rachel McAdams) remains one of my favourite movies, Inception and, well, honestly anything by Christopher Nolan, and I have recently began watching The Matrix as well.

And so, the thirst for real mystery and brain games was quenched when I started watching Law School, with Kim Myung-min, Kim Beom and Ryu Hye-young, directed by Kim Suk-yoon. Needless to say, throughout the whole trip, I was hooked, counting down days until the next episode came... but towards the end - an unpopular opinion - I was actually quite disappointed.

And so, before you start your cross-examination, allow me to present my findings first.

- How did I start watching this?

My friend and I were looking around for something to binge on Netflix and forget about COVID-19. This series popped up, and the moment I read the title, my sapiosexual senses were tingled.

- And how was it?

Very good!... until the ending came. ;w;

- Genres & overarching themes?

Genres: Mystery, Thriller, Psychological

Overarching themes: murder mystery, law vs justice, intelligence (as in, the characters are all really smart hahah)

- Plot: 4/5

It could have been a high four, near five if it wasn't for the ending, frankly. The first episode started out with Professor Seo Byung-ju of Hankuk Law School dead, and the spotlight shines on Professor Yang Jong-hoon (the man in the poster above), the first suspect. But was it really him? From then, the mystery unfolds as our favourite study group (who shall be very well elaborated on later in this review) launches itself into investigation for true justice.

The series started out extremely strong in my opinion, with its first few episodes filled with twists and sub-plots that were waiting to get wrapped up. Every episode just leaves you gripping on the sides of your seat in suspense. It really makes you doubt every single person that appeared on-screen and watch out for anything that happens - the show uses the Chekhov's Gun trope really well. As the knots become unravelled, we gain more depth into the characters. However, as we near the end - about two-three episodes for me - the show started to lose its thrust, falling into a comfortable stereotype that made things rather frustrating.

One of the major advantages of Law School, in my opinion, is its ability to twist and turn everything. It prompts the viewers to realize that when the case is really examined in a whole different angle, with more and more evidence coming to light, everything changes. The use of different suspects' stories being told in each episode is a pleasure to watch - the viewers feel like an omniscient judge, overseeing the motives and evidence to draw out a conclusion for themselves on who might be the murderer. The series prompts the viewers to think, which is a trend I really like. It's also interesting to question why characters do certain things they do. Professor Yang Jong-hoon (my favourite character!), for example, is a very... chaotic (haha) character, who keeps on surprising people with his actions - yet, his actions are all elaborate executions of his strategy, a whole plan that he has concocted which accounted for multiple steps ahead, thanks to his extremely sharp vision of what could happen. Thus, it is extremely satisfying when everything falls into place as Yangcrates (a nickname he earned due to his Socratic teaching) explains everything that led up to a particular tense moment where the truth was unveiled.

Yet... this very trope had its downfall near the end. The murderer was so heavily shadowed on in the beginning that the viewers would have expected the murderer to be someone else completely unexpected, a mastermind that pulled the strings behind all the proceedings. Yet, the murderer and the mastermind behind the murder were someone so... I dare say, unimpressive. I mean, this particular 'mastermind' behind the murder fell into so many traps! The murderer was definitely my major disappointment - the villain was a weak character, an unsatisfying antagonist that the intelligent heroes, once having figured who he/she is, didn't even break a sweat to bring to light. The last, final twist that was supposed to be the most glamorous of them all, completely knocking the viewers off their feet, fell completely flat.

Secondly, whilst having a lot of sub-plots still remains a favourite trope of mine as I'd expect everything to wrap up nicely near the end... well, it didn't. Whilst most sub-plots were hastily answered, there was one particular sub-plot which was just left completely unaddressed (for those who have watched it, it's about J****s), and unless they're hinting at a second season where this would be further elaborated on, this was a dead-end sub-plot, a plot with no elaboration or continuation whatsoever.

Overall, the plot was breathtaking in the beginning. It lost momentum very near the end, and wrapped everything up with an anticlimactic last episode.

- Characters: 4.7/5

Definitely the strongest set of characters I've seen in a Korean drama, frankly. All characters were so well utilised, each having their own quirks and flaws which were delightful to watch. Everyone was so, so intelligent, that they honestly were the main fuel to the series, our main stars.

Allow me to first start off with my favourite character, Professor Yang Jong-hoon. Stoic, yet with an extremely savage side that he does not hesitate to show to anyone of any ranks or social standings, Yangcrates carefully plots everything, always thinks, questions, and then thinks even more. Intelligence-wise, this man is most definitely the smartest on-screen persona I've seen in the Korean drama franchise - able to see miles ahead and figure out all the answers down to their root, he is someone that definitely earns all the respect he has, from both his students and viewers alike. Personality-wise, this man is equally interesting as he is smart. With a cold exterior, Yangcrates does not take any bullshit (cue a particularly funny water spitting scene), and does not hold back harsh words to point it out. Yet, underneath this cold exterior is a burning desire to find the absolute truth, which would in turn bring justice to ones who have been wronged (refer to a particular lecture-like speech he made in episode 10), and a passion for teaching his students. He secretly cares for his students a lot, and expresses it in his own way.

Next, our favourite study group - a group of capable, enticing individuals. Firstly, we have Han Joon-hwi, a complex character that always pursues justice and fairness. His intelligence shines through with the way he, firstly, is able to take advantage of his sharp understanding of law into the case, and his careful processing of the evidence he gathers during investigation. Whilst he always keeps a cold head when needed, he has an equally warm heart, genuinely caring for wronged and innocent people. His expressions were all extremely raw and did not feel fake at all - really, props to his actor. More on this later.

Then, we have the two girls - Kang Sol A and Kang Sol B. Don't be fooled by their names - they are very much polar opposites. Whilst Kang Sol A is excitable and wears her heart on her sleeve (sometimes a bit too much), Kang Sol B always keeps a cool head, sometimes taking it to the extreme. I do admit that if I had to pick out of the two, though I love both of them very, very much, I'd probably lean a bit more towards Kang Sol A - even though she definitely gets on my nerves sometimes because of her overload of emotions that could be disruptive, she has her frequent bouts of creativity and "a-ha!" moments that display her underrated intelligence (I'm always soft for underdogs that are underestimated by everyone, only to turn the table on them later). She is also an extremely loyal friend and a very generous individual that isn't afraid to place herself in danger just to help others - overall, a very warm person. Kang Sol B, on the other hand - perhaps due to her family environment - does not really taking other people's emotions into consideration, though I really, really admire her for her intelligence, her ability to always keep a calm head (making her the blue counterpart to Kang Sol A's red), as well as her straightforwardness which has proven many times to be necessary to push the case forward. She does have a soft spot, though - a very adorable one at that. These two make an extremely adorable pair of friends.

My favourite student of the study group must be Seo Ji-ho. I'd say he's a less intimidating version of Kang Sol B hahah - cool and composed, Ji-ho is a reliable member who always pursues logic and reason first. He is also driven to achieve his goal and, like Joon-hwi, utilizes his deep understanding about law very well to solve his own case, his sub-plot. Though his sub-plot eventually was wrapped up as an open ending, it was a nice sub-plot to watch. Not to mention his dynamic with Joon-hwi is very adorable as well - the two really balance each other out.

Other students also have their own quirks and flaws, but for the sake of this review's length, I won't elaborate them as much - but I will say they are all a delight to watch, adding their own personal elements to the overall study group. I will definitely miss this set of characters so, so much. ;-;

- Acting: 4.4/5

Frankly, perhaps because of some K-drama series I have watched, I had a problem with acting in some K-drama series - the actors and actresses did not feel genuine, and they either overacted, pushing their expressions to the extreme, or underacted, simply being way too... stiff (some of my personal favourite actors and actresses so far are Kim Seon-ho, whose theatrical experiences probably really helped with his very natural acting, Jo Jung-seok, and Kim Hye-yoon, an actress who impressed me with both of her most popular series - hope to see her versatility shine through with more diverse roles though). This series, however, is a definite favourite of mine in terms of acting. Firstly, Kim Myung-min is a veteran actor that deserves so much respect - he basically morphed into Yangcrates. I absolutely loved the way he delivered his dialogues - very long ones! - without even so much as taking a breath in between - it was smooth and the flow was excellent.

Kim Beom also became one of my favourite actors after this series - the way he handled his role was so good, his expressions, actions, everything. I noticed that he's very good with his eyes, if that's the right way to put it - he is very good at displaying emotions with them, all emotions ranging from sadness to adoration (towards a particular someone *wink*). It's a top-notch skill, really, and I'm glad to have seen him on-screen. Similarly, Ryu Hye-young impressed me so, so much that I shall add her to my list of favourite actresses as well - I can't spoil, but she is really able at... altering her vibes, yes. She seems to have studied her character really carefully too, being able to bring all Sol A's quirks to real life. Other actors and actresses were amazing, but for me, these three definitely shone.

- Doki moments?

Ah. Definitely some between Sol A and Joon-hwi, as a lot of other people have commented. From the way they tease each other to the way he cares about her every little thing, the way he stares at her, the way his whole demeanor just changes around her and the way she unknowingly influences him so much - they do balance each other out really well, Joonhwi being the cool to Sol A's warm. I do find myself thinking Sol B and Ji-ho would be rather compatible as well (also, them being study rivals in high school? My rivals-to-lovers side is ready).

- Enjoyment: 4/5

Again, could have been higher if it wasn't for the ending! But yes, overall, a whole trip worth embarking on.

- Overall: 4.2/5

Really, could have been higher... but yes, still an excellent show. I just hope they could have had more episodes to really wrap everything up nicely and maybe throw us one final, absolutely ground-breaking twist.

- Watch it or neh?

Yes, please do watch it! And let me know how it goes, too. ;3

my big reference post of tritype 145 - The Researcher Archetype. everything copy/pasted as-is. some deletion; none correction.

145 Overview [source]

If you are a 145, you are diligent, intuitive, and knowledgeable. You want to be ethical, original and wise. Highly intellectual, you are focused on what you perceive is correct and above reproach. Research oriented, you seek and quote the opinions of experts to avoid being seen as ignorant. Your life mission is to study and learn as much as you can and then teach the wisdom of what you have learned to others. A true researcher, you are happiest using your investigative skills. You can be so identified with the information that you have gathered and the correct way of doing things that you feel exhausted and can appear to be a persnickety know it all. 478 and 451 are very different types of 4. The 478 is intensely individualistic and more assertive whereas the 451 is individualistic but much more introspective and reserved. The 478 is somewhat optimistic and focuses more on the need for inspiration than the 451. The 451 is more particular and is more motivated by gathering meaningful information that is useful. (4)-5-1 - The Competent 4 4-(5)-1 - The Idealistic 5 4-5-(1) - The Withdrawn 1 Intellectual. May be involved in philosophy. They enjoy coming to understand themselves and their world. Calling all 145s... You have reported a strong need to be above criticism and to avoid the glare of judgment and scrutiny. You have also reported how difficult it is for you to express yourself especially if you feel emotional. As a 415, you would need to carve a distinct image of being unique, appropriate and wise. The 3 together create a defense strategy that focuses on getting the information needed 'to be correct' to feel safe... No one wants to be wrong, but this Tritype tends to easily feel self-conscious and can be shy. So, the 145 researches to have something interesting to say and to be above criticism. The 415's I know are most capable of intellectual circumspection with a twist of the romantic and mysterious. They seem to balance out the emotional realm with the intellectual, but sometimes my 415 friends can be overly critical and defiant of any thing that is stereotypical or oppressive that could impact their search for an ideal mate...Another thing about the 415s I know is they are very perfectionist, overly sensitive to any perceived stereotyping, and an academically-minded four, but they never quite feel self-satisfied or finished, sometimes falling into long states of procrastination...They have an amazing ability to dissect their own emotions rationally... Think Frustration (1-4) meets Competence (1-5) meets Withdrawing (4-5)and you get a rather persnickety perfectionist who needs plenty of downtime. On the high side what they produce can be of unparalleled depth and beauty. out of 458/459/451 I'd guess that both 459 and 451 would seem more 5-like (or, more accurately, be more likely to be mis-typed as 5) than 458. 451 is the most 5ish 4. Rational and scientific. 451 - knowledgeable and discerning 4. Most intellectual 4, especially if social subtyle of with a 5 wing. Likes to teach.

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Comparing 1 + 4 Archetypes (145, 146 and 147) [source]

The 3 tritypes concerned with having ONE and FOUR fixes (145, 146 and 147) display those behavioral and psychological patterns :

Anger and Envy combine into a peculiar, reflective personality whose goals entail being able to comprehend and coerce their emotional life into a suitable structure in which they can further refine it into something greater;

Double frustration stance ; the need to feel that life isn't going to fulfill and satisfy its own wishes and wants is enhanced;

Sullen, complex and refined energy;

The structure-building, conscience-driven ONE is at odds with the self-expressing, moody FOUR;

There is a real conflict between the ONE's need to be removed from it instinctive nature and the FOUR need to keep in touch with its original nature;

Most likely combination to be seen as original, critical and seeking refinement;

Differences Between Archetypes

Expressing Creativity

• 145s aren't known for being truly creative tritypes, but they can show it by exploring new areas of knowledge that haven't been discovered or touched upon. They are excellent at finding the missing link between two theories or simply by researching enough on something;

Intellectual Curiosity

• 145s in often considered to be one of the most intellectual and cerebral archetypes. This is because they tend to dive deep into a subject and look for what's missing in order to make the exploration throrough and complete. Because of their capacity to amass large quantity of data, they can be known as a know-it-all;

Dealing with External Structure • 145s prefer to work within their own boundaries and strucutural approaches as they color and personalize external ones in order to work with them (most of the time);

Potential Problems • 145s can be so identified in pursuing additional knowledge and getting accurate information that this dauting task can become exhausting and leave you irritating and intolerant of outside advices. This tritype is also very critical and prone to correct others in their observations, making it frequently unliked and annoying if this attitude is persistent in time. Given that this archetype also tend to be very withdrawn and value their alone time, they should try giving others the benefit of the doubt and allow themselves to be educated freely and not only by verifiable sources;

Patterns & Structure • 145s are triple analytical and studying. This means that this archetype has all the three enneatypes in each center of intelligence that need to search a subject in depth, both intellectually and emotionally in order to come to an accurate and detailled conclusion. They can't be satisfied with normal or readily-found data, as they want to be as precise as possible in order to develop their compency and find new info that might have been overlooked. [...] Sexual subtypes are very intense and passionate and often feel compelled to research about taboo or bizarre subjects that make them feel connected to the human body in some way. They have a combination of prickly and passionate attitude that make them quite magnetic even though they want privacy too like the self-preservation subtype. They love to have deep and detailed conversations with their loved ones. 

• 145s' most common MBTI types are : INFJ (451) [#GPOY], INTJ (514), INTP (541) and sometimes INFP (451). This tritype is most commonly found within introverted intuitives and are more rarely found elsewhere. 

• 146s are more doubtful of what they know to be true than 145s, who in turn are more confident in their capacity to understand and accumulate information;

• 145s are prickly and hard to know personally

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Comparing 4 + 5 Archetypes (458, 459 and 145) [source]

The 3 tritypes concerned with having FOUR and FIVE fixes (458, 459 and 145) display those behavioral and psychological patterns :

Envy and Avarice merge into a very private, introspective and sensitive personality. People with this combination prefer to live through their imagination and have a hard time getting through action in the real world;

Double Withdrawn stance : the need for saving up personal energy and straying away from overwhelming stimulation is increased;

Quiet, meditative, emotional and cerebral energy;

Sensitivity and attachment to emotional states of FOUR is at odds with the detached, aloof stance of FIVE;

There is a conflict between the FOUR’s need to explore their emotional self and the FIVE’s need to maintain a neutral, unbiased stance;

Most likely combination to be seen as introverted, solitary and removed from its environment;

Differences between Archetypes

Relation to Anger

• 145s don’t like it when people don’t follow the same rigorous steps of information gathering and analyzing as they do. They can become frustrated and nitpicky with unmotivated and sloppy people;

Personal Strengths

• 145s are the best at further refining concepts and theories in their respective framework and mapping out uncharted territories thanks to their razor-sharp intellect;

Control from the Environment • 145s are more likely to quietly exert control over their own beliefs and what they perceive as adequate and may try to coerce people into using the same methodology as them;

Possible Mistypes • Sexual FOURS with a 145 tritype may mistype as a 458 because of their passionate nature and their easier access to anger than the other subtypes; [can confirm; cf this post!]

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Comparing 1 + 5 Archetypes (125, 135 and 145) [source]

The 3 tritypes concerned with having ONE and FIVE fixes (125, 135 and 145) display those behavioral and psychological patterns :

Anger and Avarice combine into a meticulous, stern and cerebral character. People with this combination are true intellectual who often chose to sacrifice efficiency by focusing more on establishing accurate standards and methods in order to ponder and look at things in a detach manner;

Double competency stance ; the need to detach from emotions and keep an objective eye to solve a problem is enhanced;

Very precise, laser-focused and deep thinker energy;

The conscience-driven, moralisitic ONE is at odds with the detached, system-building FIVE;

There is a conflict between the ONE's need to be right according to internal standards and the FIVE's need to be competend according to objective metrics and pure data;

Most likely combination to be considered intellectual, rational and detached;

Differences Between Archetypes :

Communications skills

• 145s are not prone to be quite social, but are more sensitive to their internal life, making their conversation a bit more heartfelt at times;

Fields of Interests • 145s love to learn about less practical subjects like science, philosophy, the occult, etc;

Social Roles • 145s like to dig deeper into untouched waters and make seemless links between disciplines. They are good at finding out what's missing and what's been overlooked;

Miscellaneous Differences • 145s are less preoccupied by performance and has a harder time to shapeshift than 125s and 135s;

• 145s can be a bit more poetic and mystical in their choice of words.

• 135s are better at making their work look attractive and convincing than 145s, who will prefer the actual content only then showcasing what they've worked on; • 145s are moodier and can have periods of melancholy while 135s are more removed from their emotional states; • 125s care deeply about what people think of them, even though they don't show it often. They are also able to ''mirror smile'' more often than 145s; • 135s can work on projects faster than 145s who will take their time more to fully grasp the actual subject; • 145s are more dependent of their internal state than 125s, who in turn are more affected by their emotional environment.

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[source]

Both the 451 and 459 are reserved and introspective and self conscious. The 451 is very critical of themselves and others. They are very particular and have a lot of shoulds. They can be strident. Dissatisfaction is visible as their energy can be prickly.