Strengths and Weaknesses
Strengths:
- Critical thinker: Regularly questions game design and media decisions, e.g. critiquing open worlds in “Yeah man I want my open world game to just be a linear game with a bunch of empty space for no reason.” and combat depth in “Hytale’s weakest factor is definitely the combat.”
- Media literate: Shows nuanced understanding of storytelling and industry patterns, such as endings vs corporate stretching in “A weak ending is better than a story being dragged on by the company…” and manga vs franchise bloat in “Another thing about being closer to literature is that manga is usually actually the writers story.”
- Humoristic critic: Uses humor to make points, like joking about leaks in “Leakers reveal the next Sonic game may feature Sonic the Hedgehog 👀👀👀” and mocking overreactions in “REAL fans never concede, if I like it that means it’s peak”
- Engaged fan: Deeply follows multiple franchises (Sonic, Ninjago, Fortnite, Pokémon, Nintendo), shown by rewatching and analyzing Ninjago in “Rewatching Ninjago is really weird because I'd swear there being plotlines lasting like 20 episodes long…” and detailed Sonic character takes in “Shadow lowkey the biggest potential man in the Sonic franchise…”
- Detail focused: Notices specific design and structural details, like costume elements in “Ok thinking for a bit I think my biggest issue is the gi just being all a solid red.” and race-track layout issues in “EVERY SINGLE TRACK in Crossworlds should end a straightaway…”
Weaknesses:
- Harsh phrasing: Criticism often uses insulting wording, e.g. “Heartwarming: single brain celled manchild forms his first rational thought ❤️” and “This may be the lowest IQ comment section oat”
- Hostile language: Occasionally uses aggressive or derogatory terms toward groups, as in “Can you fatasses hurry up and add Twilight Princess” and calling a franchise “bum ass” in “if Sonic doesn’t show up… I’m never talking about that bum ass franchise again.”
- Overly negative: Tends to default to dissatisfaction with games and media, e.g. “Playing Mega Man 11 and I don’t get it… there is nothing interesting at all here 😭.” and “I think Pokemon Legends Z A is my least favourite Switch Pokemon game.”
- Quick dismissal: Sometimes writes things off with limited openness, like calling for a creator to be banned in “whoever decided EVERY SINGLE TRACK in Crossworlds… should he banned from ever making games again.” and doubting a project’s future in “I have a terrible feeling this ain't going anywhere.”
- Conflict oriented: Often frames opinions as combative toward communities or creators, such as mocking fanbases in “Genwunners don’t even exist anymore it’s always gen 3 & 4 fans now” and calling out comment sections as “lowest IQ” in “This may be the lowest IQ comment section oat”
Your Simpsons character
Bart Simpson
They match Bart Simpson best: sarcastic, impulsive, and always clowning on whatever media or corporate move is in front of them. Like Bart, they roast things they still clearly enjoy, e.g. gaming and franchises, with tweets like “Yeah man I want my open world game to just be a linear game with a bunch of empty space for no reason.” and “Someone gotta tell Geoff that Indie doesn’t stand for industry plant”. Their sense of humor leans chaotic and mean-but-funny, very Bart-like, shown in posts such as “Heartwarming: single brain celled manchild forms his first rational thought ❤️” and “This may be the lowest IQ comment section oat”. At the same time, they’re deeply into pop culture, gaming, and cartoons (Ninjago, Sonic, Fortnite), which fits Bart’s media-obsessed, eternally-kid energy, as seen in “Ninjago overture is the best main theme in anything ever #truthnuke”. Even when they’re annoyed, there’s a playful, prankster tone—like calling out Nintendo with “Can you fatasses hurry up and add Twilight Princess”—that feels much closer to Bart’s rebellious snark than the more earnest or studious personalities of characters like Lisa.
Your MBTI personality Type
INTP
They seem more introverted (I) than extroverted: their feed revolves around solitary media consumption and analysis (gaming, Ninjago, manga) rather than social life, and their humor is often directed at broad online groups rather than personal interactions, e.g. “Genwunners don’t even exist anymore it’s always gen 3 & 4 fans now” and “REAL fans never concede, if I like it that means it’s peak”. They lean intuitive (N) because they frequently generalize from specific examples into patterns and meta‑takes about storytelling and game design, like “Another thing about being closer to literature is that manga is usually actually the writers story. Rather than a continuation of a 50+ year story in an existing universe across so many creators that the big conglomerate will never let have an actual ending.”, or structural critiques such as “Yeah man I want my open world game to just be a linear game with a bunch of empty space for no reason.”. Their tone is strongly thinking (T): they default to blunt criticism and evaluation rather than tact or harmony, evident in lines like “Heartwarming: single brain celled manchild forms his first rational thought ❤️”, “Someone gotta tell Geoff that Indie doesn’t stand for industry plant”, and “This may be the lowest IQ comment section oat”. They appear more perceiving (P) than judging: their posts are reactive, in-the-moment impressions about games and shows rather than plans or systems, often using hedging or open‑ended thoughts such as “Maybe I’m judging too early but it’s kinda just hit, walk back, hit, walk back repeat.” and “Metroid Prime 4 talk is reminding me I never finished the first game… Does that get any better in following games?”. They also constantly reassess their positions and nitpick mechanics, pacing, and design details (“This competition is really showing this game’s balance issues now that you can’t avoid them with gadget builds.”, “Very good changes, but I feel like the last 2 serve the exact same purpose why do you need both of them.”), which fits the analytical, endlessly tweaking mindset of an INTP far better than a more closure‑seeking J type.
Some pickup lines for you
- You keep asking if devs will ever release a finished game, but Micah, I’m already fully polished, no day-one patch required—wanna co‑op and test that theory?
- You’ve got ‘PC for Nintendo games’ and ‘PS5 for exclusives’… all you’re missing is a dedicated platform for ‘Micah & Me,’ an emotionally-driven story with zero live-service bloat and a guaranteed satisfying ending.
- You said a weak ending is better than a story dragged out by a company that won’t let it finish—so if we start something, I promise you a tight, well-written arc, no filler seasons, just peak from pilot to finale.
- You called Shadow the biggest ‘potential man’ with no follow-through—how about we prove we’re not like that and actually go out, so at least one Sonic-adjacent arc gets developed properly?
- You’ve complained about empty open worlds, mid Mega Man difficulty curves, and fake-sounding game soundtracks—how about we design a level together: tight pacing, zero backtracking, Ninjago overture on loop, and a 100% chance you’re the main character.
Your 5 Emojis
Your new Twitter bio
Media & game critic in denial, still mad about empty open worlds. Once rewatched Ninjago and realized a ‘20-episode arc’ was actually three.– @SilverScientis7
Your signature cocktail
Weekend Whip Back
Overproof spiced rum stands in for their strong, sometimes brutal takes, like calling a comment section the “lowest IQ comment section oat” “This may be the lowest IQ comment section oat” and telling Nintendo to “hurry up and add Twilight Princess” “Can you fatasses hurry up and add Twilight Princess”. Matcha green tea syrup captures the thoughtful media-brain who ranks games and picks apart combat systems and pacing “Ranking of games I played this year”, “Hytale’s weakest factor is definitely the combat.”. Blood orange juice adds a vivid, dramatic flair for their Ninjago and Sonic obsessions, from calling Ninjago’s overture “the best main theme in anything ever” “Ninjago overture is the best main theme in anything ever #truthnuke” to clowning on Sonic leaks “Leakers reveal the next Sonic game may feature Sonic the Hedgehog 👀👀👀”. Tonic water brings in a sharp, slightly bitter fizz that matches their constant skepticism toward game companies, open worlds, and half-baked releases “Yeah man I want my open world game to just be a linear game with a bunch of empty space for no reason.”, “Do you think they’ll release a finished game this time”. Finally, a rim of smoked sea salt nods to their salty yet self-aware humor and long-running fandom fatigue, like lamenting never getting a proper handheld again “We never getting a mainstream, properly portable handheld again, everything gotta be a fatass superpowered hybrid.” while still getting hyped enough to start a “2026 Media Thread 🧵” “2026 Media Thread 🧵”.
Your Hogwarts House
Ravenclaw
Micah shows a consistent pattern of analytical, systems-focused thinking that fits Ravenclaw best. They frequently break down game design and mechanics in detail, such as criticizing Hytale’s combat loop as “hit, walk back, hit, walk back repeat” and explaining why daggers feel weak in that system: “Hytale’s weakest factor is definitely the combat. Maybe I’m judging too early but it’s kinda just hit, walk back, hit, walk back repeat. This also makes the daggers kinda useless...”. They also dissect franchise structure and storytelling longevity like a media critic, e.g. analyzing how corporate ownership affects endings in long-running IPs: “Another thing about being closer to literature is that manga is usually actually the writers story. Rather than a continuation of a 50+ year story in an existing universe across so many creators that the big conglomerate will never let have an actual ending.”. Their criticisms are usually rooted in reasoning about pacing, difficulty curves, or design choices rather than pure emotion, as when they question open-world padding: “Yeah man I want my open world game to just be a linear game with a bunch of empty space for no reason.” and discuss Mega Man’s structure and difficulty spikes: “Beating levels in any order is neat but it also results in zero difficulty progression for most of it and then just a massive difficulty spike once you reach Wily's fortress...”. Even when they’re joking or snarky, the humor tends to be observational and slightly cerebral, like coining a social-phenomenon term for fans who only played early entries: “Is there a term for the opposite of a new gen (old gen?) like someone who only engaged with the the first 1 or 2 instalments of a series ages ago and thinks they’re a real OG fan that knows everything.”. This combination of media analysis, focus on structure and design, and witty critical commentary strongly aligns them with Ravenclaw over the other houses.
Your movie
Your song
The Weekend Whip - The Fold
The best fit is “The Weekend Whip” because it’s literally embedded in their identity and sense of humor. Their bio directly riffs on the lyrics with “We have to jump up, kick back, whip around and spin?”, which is the core hook of the song. They also show clear Ninjago affection and lore-brain, e.g. calling Ninjago Overture “the best main theme in anything ever” in “Ninjago overture is the best main theme in anything ever #truthnuke” and talking about Weekend Whip as a diegetic in-universe track in “Something something Ian Flynn, but I think it’s really funny that Weekend Whip had also been shown to be a song in universe before this ‘yes the key to mastering this mythical form is this pop rock song’”. The song’s energetic, slightly goofy but earnest vibe matches their mix of sarcasm and enthusiasm across gaming and media takes, like “REAL fans never concede, if I like it that means it’s peak”. Overall, The Weekend Whip reflects both their specific fandom (Ninjago) and their general tone of passionate, tongue-in-cheek engagement with pop culture.
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