#is neurodivergent i will not take criticism

[barnbridges]

some people wonder who tf thought calling a grown man bunny was normal, and i can only answer with this video.

[deadtiredghost]

SO I just wrote a massive post about Raph and what I think of his character across the various itterations, and I mentioned that I see myself in Raph - especially 12!Raph. But also 18!Leo. So I made these.

[the-sleepless-writer]

Orpheus is honestly so real like I thought he was a little too desperate at first, but now I’m realizing that he’s so valid for taking every damn opportunity at love because OH MY GOD when I tell you how bad the guy I like has me rn like guys if he doesn’t fall in love with me I’m not going to be ok

(Ignore how badly I’m rambling in the tags I have way too much going on in my head and so I’m throwing at tumblr)

[edge-oftheworld]

‘I don’t see nobody taking action’ well shit

[underwhelmingalchemist]

Starting pride month with the pharmacy denying me my testosterone prescription until mid-June and my doctor saying she can't do anything about it because it's a controlled substance 🙃✌️

[maxellminidisc]

Silly but the DūnM3sh nonsense around the last episode has me thinking about how like idk mostly white autistic folks (of the vairety who are not in need of higher assistance) online act like ALL autistic folks exhibit the exact same symptoms and behaviors in social settings when like I find mostly other poc and a lot of women regardless of race have very different experiences with the sort of "stereotypical" reaction and behavior that's most often associated with autism. Which leads to a lot of you assuming we are neurotypical and then this line of thinking extends into your reading of autistic characters, be they headcanons or canon characters. Rest of this is going under a read more

Like idk for a poc, theres already very little grace given to us in social situations, especially when around white people. You guys dont realize but we are consistently aware that no matter what, when we enter a space with y'all there will always be an internal bias present in white people that will deem any behavior of confrontation as inherently aggressive or mean.

So we learn to navigate social situations with an already high level of need to analyze so many of the behaviors and cues of the people around us out of complete necessity. Neurodivergency or not, this becomes a matter of survival. And for some people, like me, the need to do this and possibly avoid and save yourself the pain of having people who's racism is a potential harm to you becomes a priority in your brain more than anything else you have going on. You cant completely shut everything else out about your neurodivergency but you learn enough to keep yourself safe. It's what I was forced to learn when I was like 5-13 because I was relentlessly bullied for my race and ethnicity, and later for my incapacity to not understand certain social cues or even break rules until I was about 12/13.

I'm not completely without symptoms and if anything some of them have gotten worse. I struggle now with knowing when to stop talking until I notice people start looking bored or annoyed and I sometimes dont talk enough for fear of being annoying to people I'm close to. Not to mention I'm ALWAYS double checking what I say in a way that's almost like a compulsion. Like constantly, to the point where before I say something with say like factual information, I like quadruple plus plus check everything on Google before I say it (and even then I might get shit wrong and my reaction to that is....oh boy). And even then I sometimes end up not saying anything because I'm too scared I said something wrong and mislead or upset someone. Or worse, this information is unwarranted and annoying.

If anything I'm someone who's neurodivergency made them OVER COMPENSATE the need to pick up on social cues, eye contact, sociability, etc because it was a way to defend myself (by making it harder to pick on me without push back) or keep myself safe.

But at the end of the day the constant need to keep up with ALL of this burnt me out by the time I was in college and it made me incapable of masking very many noticeable things anymore, especially my over sensory and stimming when I'm stressed (which isnt helped by the fact that I have synesthesia), the anxiety it produces, and ultimately that it leads me to having a panic attack and has me in the place I am now where that shame of freaking out in loud spaces gave me agoraphobia. Now my threshold for "neurotypical behavior" is like SIGNIFICANTLY shorter when I leave my house.

And I constantly apologize for sharing information when I do. Like I have it instilled in me now to say sorry for information I share because I think I'm bothering people. And my capacity to understand jokes is flawed if the person I'm talking to isnt someone I'm consistently around because I haven't completely been able to process the way they speak or their sense of humor. I sometimes take jokes that are lies, unreality, or sarcasm as literal and people have to say "oh no I was joking I made that up".

When I first meet people I'm actually told I'm way too quiet and kind of intimidating because I guess people can sense that I'm analyzing them like a lil computer and I look them in the eyes TOO much. Funnily enough one of my close friends in high school didnt like me very much at firsy because she asked me if I liked her after very little time of being introduced and I straight up said no without much thought as to why that would offend her alskdkdmkfkd but after a while of getting to know her more, we got close, and like most people, after a while they say I seem pretty "normal" and "nice".

And this isnt even touching on my emotional responses and my horrible rejection sensitivity. That would make this even longer. But the one thing I'll say is it's made my relationship with my family VERY bumpy, and especially tumultuous when young, and it's something they struggle to understand still A LOT.

And outside of situations where I cant mask anymore from exhaustion, I get why it's sort if unsurprising to me when I've met white autistic folks who mistakenly assume I'm neurotypical because I can just navigate conversations with a sheen of "normalcy" (and lol racism), until we talk and they're like oh shit I get it now (usually white people with ADHD can pick up on my neurodivergency much faster which is funny lol) where as other people of color with adhd/autism dont ever make that assumption, they just get it. They pick up on ME analyzing them and we just look at each other like 🧍‍♂️🧍‍♀️

[angsty-aliens]

If you’re not dragging a tiny comfy baby blanket to snuggle when traveling away from home, what are you even doing?

I refuse to alienate myself from the comfy just because I’m in a hotel room.

[wettestwraith]

Glenn Close may be the worst dad but he's the best character for deez nutting Willy Stampler

[yay-depression]

anyways quick reminder to always critically think about anything you see. including things that sound “normal” or “correct”

sometimes fear mongering is in fact just fear mongering, even if it’s against something that should be kind of feared.

always be aware of the tendency on the internet to be hyperbolic and extreme.

very few things are 100% good or 100% bad

[boyczar]

The phrase “If you can’t say something nice, don’t say nothing at all” has done irreparable damage to the human race. We have not learned how to acceptably criticize others and we have not learned how to gracefully accept it from others. It reeks of codependency. We need to make maximal effort to undo the damage that may have been inflicted upon us in childhood. If we equate a criticism of our BEHAVIOR as an attack on OURSELVES, then we have some work to do. If this notion that we are separate from our actions makes you uncomfortable, you need to do some reflecting, and that’s not me “coming for you”! We also need to stop just throwing around criticism when we are heated or feeling resentful. Criticism is a tool that we all NEED. Desperately. In order to change for the better. But we need to know how to wield it. If you have a genuine criticism of someone’s choices (someone you care about) learn how to tell them calmly, so that they might be able to take your concern to heart and use it for the better. The goal should never be to cause pain. Learn this before it’s too late.

[lovecolibri]

Hey! If you get this, answer with your top 5 music artists and send it to the last 7 people in your notifications 💜

Hey! For once I am home to do this instead of forgetting and it sitting in my notifications for ages! I go through phases depending on the time of year and my mental state so in no particular order, these are the current top faves

1. Ed Sheeran is high up there thanks to the tour concert I just attended, and the variety of songs and styles so something fits for every season. Also he's just such a doll and I have MAD respect for how he does what he does with the looping system and the precision timing that requires and being able to commmand a whole stage and a stadium with 85k people alone. No dancers no backup vocalists or musicians, just a dude and a guitar and a loop station. Baller.

2. Taylor Swift because I'm an emotional girlie and the lyrics speak to my soul from the petty/bitchy to the sad to the longing to the in love ones.

3. Sleeping at Last also because Emotions and Lyrics That Will Haunt You, but also Lyrics That Will Heal Your Soul. Eternal fave and absolutely fascinating person to listen to when he goes over how he creates songs.

4. It's almost time for my fall playlist which means some Graveyard Club so yay for 80's/emo vibes, I'm excited to pull them back into rotation!

5. Picking only 5 is hard when my tastes range from Josh Groban to I Am Ghost depending on the weather/season/my mood, and aside from a few select artists I don't follow a lot of musicians beyond a song or two that I heard on a commercial one time or in the background of an episode of a show (special shout out to Jeremy Messersmith having a song on Chuck that did actually get me to download the whole album). But to pull something Different, I'm gonna end with Two Steps From Hell because sometimes you just need some epic soundtrack music that makes you feel like you could bench press a Hummer.

[dinodogs]

I hope yall realize what an incredible loss RWBY will be if it doesn't get picked up.

Two of the main female characters are sapphic and in a relationship. Blake is canonically bisexual and a survivor of abuse. Yang is disabled and went through an entire arc about her ptsd and dealing with her trauma. Its also worth mentioning Blake is voiced by an openly bisexual woman.

the main character of the entire shows VA (lindsay jones) is gender queer and Ruby canonically neurodivergent, as well as aroace coded (she is not canonically confirmed to be aroace but she's widely considered to be at least ace)

It has one of the best written trans characters I've ever seen, voiced and written with the assistance of a trans woman.

The show openly shows other queer romances, with at one point a pair of married women being shown on screen with their baby, and yes the two characters had a real role in the plot.

While they haven't been amazing about poc rep before they are actively taking criticism and in recent years have learned how to write good poc rep.

RWBY, at its core, was an indie animation project. It was created by a small team of people on an incredibly small budget. Its gotten bigger and bigger over the years with a larger budget, RWBY is proof that an indie series can get massive, it is a massive win for indie animation all together.

[alexanderwales]

Turning Off Your Brain and the Critical Lens

Alright, let's start with this: there is a thing called a critical lens. It is a way of looking at a piece of art, examining what it's saying to us about itself or its subject or themes or whatever.

There are many critical lenses. Because this is something that's mostly only taught at the college level, most of them are (in my opinion) mired in academic language and not actually all that interesting in and of themselves: I think if you read a dozen stories through a feminist lens, you really start to think "okay, yeah, I get it". Different readings of different texts through different lenses can be great fun though, and it's one of my favorite parts of media criticism, and something that I wish people were more explicit about.

I'm going to talk about the Barbie movie, because it's easy. The feminist lens is obvious and in my opinion intended: it's the thing that the movie is most trying to be about, and as a consequence, it's something that probably has the most critical meat. But you can also read the movie through other lenses, and ask what it has to say about capitalism, about race, about neurodivergence and queer theory and game theory and a bunch of other things.

Some of these readings are Unintended. The author (in this case, hundreds of people working together on the film) did not intend for you to look at the movie to see what it's saying about, say, American Imperialism. Probably.

I personally enjoy unintended readings. I like teasing apart a book to see what it's saying about different things, and how it's saying it, and what the assumptions it's operating under, and whether this creates anything interesting when I bring a different set of assumptions. I think the writers and actors of Winter Soldier were not trying to say anything in particular about masculinity, but fuck it, let's watch the movie and think about it.

Sometimes people will watch something and recommend that you turn your brain off. Sometimes they'll say this to you just as you're about to start in on some critical analysis of something that definitely was not made with that critical analysis in mind.

Here's how I think of "turning off your brain": it's a critical lens. It's not a critical lens in the sense that academics might use it, but you're looking at this piece of media from a specific viewpoint, and that viewpoint is "omg they're in love" or "fuck yeah" or "no, don't go into the basement!". There are certain pop genres that greatly benefit from being viewed this way, at least in terms of pure enjoyment.

When I sit down to watch a romcom, I can do it with male/female social dynamics in mind, or I can do it with "aw, I hope these kids get together" in mind. One is the intended reading, and I don't think that it should get all that much privilege for it, but I do think generally it can result in better enjoyment. I love media criticism and consider it to be one of my main hobbies, but if you fall in love with one particular way of viewing media and only use that single one, you're going to have a bad time.

I write and generally enjoy rational fiction, which comes with its own lens, which I guess we can call the rational lens. If you sit and view a work through the rational lens, sometimes you can have fun with it: you try to work through the systems as presented and the actions of the characters and think about how you could make everything make sense. The way to do this that's not very fun is to look at a work through the rational lens and conclude that the author is dumb, the characters are dumb, and the worldbuilding is shit. I guess this can be fun if you have a sense of smug superiority, but I personally do not.

One of the things that I love about media criticism is that you can sometimes extract weird and new things out of a work. One of the things that I love about fanfic is that you can take a deliberately strange reading of a work and then write as though that reading was true. You can look at Batman and say "what does this say about income inequality" and then start writing and say "this is about income inequality now". You can look at Winter Solider and find a reading where Cap and Bucky are gay and then write it out.

Where I think people fail in a way that's personally annoying to me is that they take their preferred reading and then loudly claim ("ironically" or not) that this is the One True Reading against which no other readings can stand. Sometimes "that is not The Point of [thing]". I think you get that a lot from the "shut off your brain" crowd, but I've seen it from other places too, and I would attribute it to people talking past each other, sometimes not even realizing what critical lens they're using.

If you're talking to me, you can just say "non-preferred lens" and I'll understand, or maybe I'll say "wat" because I might forget this blog post moments after I write it.

[moonferry]

stardew valley should be renamed neurodivergent valley because Everyone in that game has some sort of neurodivergent spice going on

and i will not be taking criticism (<- is neurodivergent and heavily relates to far too many characters for it to be a coincidence)

[isalisewrites]

A Deep Dive into JKR's Terrible, Amateur Writing - Part Two

Welcome to my ballsy series where I will prove to you, dear reader, that J.K. Rowling, author of the Harry Potter series and resident Twitter TERF, is actually a very, very poor writer.

And when I say ‘poor writer,’ I’m talking about her prose, her sentence structure, and her scenes. I am not going to discuss anything about the HP world nor the overall plot of the books. 

This is all about the nitty gritty in the craft of writing itself.

Part One Link.

Disclaimer for all readers of this series: 

I’m going to sound very confident in my posts where I work under the assumption I’m a better writer than JKR; because I am. My apologies if this rubs you the wrong way. You’re simply witnessing the culmination of over two and half decades of experience with the intensity from a neurodivergent who is hyperfocused on her special interest. I didn’t just learn how to create stories; I learned the craft of writing to a minutia of details.

I’m not a perfect writer. No one is. I’m not a talented writer either. I’m experienced and skilled through years of study and practice.

I don’t care about J.K. Rowling. At all.

If you’re triggered by the concept and fact that JKR is a terrible crafter of writing, then you might want to take a step back and self reflect on that personal issue.

I still very much love and adore Harry Potter; you’re still allowed to love Harry Potter.

This is not a series to bitch or bash. This isn’t a shitpost. This isn’t an attack on JKR, no matter the disgusting bullshit she spews forth on Twitter. However, my hope is people awaken to the fact that JKR isn’t the goddess of writing we’ve all been led to believe.

This is a place of study and learning, where the purpose is to help students gain critical thinking skills and writing analysis tools to become better in their craft.

And, sorry, one more disclaimer for this specific post: 

Fanfiction is written for fun and is posted for free. I put most of my effort into my main fanfic, Terrible, But Great. (Yes, I intend to update Moon Rite soon, too) However, I also have two fanfics that are cowritten with another author; thus, the style of Shall I Stay and Badger Prey are understandably different. I spend three to four times the hours to edit a chapter versus drafting it. My process for fanfiction: I draft. I do one expansion edit. I do one proofread edit. I post.

However, if I were to publish a novel where people are expected to drop money on said book, my work flow would be vastly more extensive. To be clear, I’d do all of the following myself. I would not outsource. My process for published novels: I would draft. I would do three to four expansion edits. I would do two to three cutting edits. I would do three proofread edits. 

See the difference?

Because I don’t go through a cutting edit for my fanfiction, I’ll often come back later and see things I think are weak. I’m constantly seeing where I can tighten my work. There’s always room for improvement.

Remember: Harry Potter and the Order of the Phoenix is a paperback book that costs $10. My fanfics are free. If I, someone who writes for free and puts what she considers the bare minimum of effort into them, have a higher standard in the quality of my writing than a paid traditionally published novelist, there’s a problem here. 

All right, with that nonsense out of the way, buckle up, my writing friends. Grab a snack. Hydrate. Remember to take what resonates and leave what doesn’t. Let’s begin.

Class is in session.

In this post, we’re going to discuss these five pages from HP5 and dissect one paragraph and a line from page 731. All dialogue is highlighted in blue.

(My favorite book in the series, btw. I fucking love fifth year the most. JKR did a damn good job with Umbridge.)

Since a certain anon lacked the skill to comprehend the difference between too much dialogue and stories driven by a high saturation of dialogue, let's go into further depth about dialogue.

What did I mean last week when I said: "Too much fucking dialogue!"

Today’s lesson will focus on the overall issue in JKR’s dialogue and in the prose surrounding those dialogue lines.

And since, apparently, I “lack the self awareness” to know most of my fics are “oversaturated with dialogue,” I’m going to use weaker examples of my own writing. Chapter 24 of TBG is heavily driven by dialogue with twenty-one named characters to juggle, something that's very difficult for me to manage. Though the chapter is lovely, I do feel it's some of my weaker work. In the end, I just didn’t have the energy to edit it a second time nor go through cutting edit.

Here are three different pages (some connected, some not) from Chapter 24 of Terrible, But Great. All dialogue is highlighted in blue.

You can already see the difference, I'm sure.

So, what’s the difference between a scene that has 'too much fucking dialogue' versus a scene that is highly saturated with dialogue?

Because there is one.

Let's set the scene for HP5. In the middle of an OWL exam, Harry received a vision from Voldemort, showing him that Sirius has been captured. He's being tortured to get something from a shelf, but Sirius refuses. Harry believes the vision is real. He tells Ron and Hermione, then asks for their advice on how to rescue Sirius. Ron and Hermione are both like, pardon, wtf, sir? (As they should be.)

We have five pages of this fight between them. These five pages are mostly dialogue with very little else surrounding it.

Also, note the final page where it has the worst sins of adverb usage. That page is what triggered me to begin writing this series in the first place, btw.

There's too much dialogue here. There's no description. I'm being told stuff, but I'm not being shown anything. There are no emotional anchors to Harry either. The more I reread this scene, the more I realized what was wrong.

There’s an emotional disconnect from Harry in the prose.

Do not misunderstand me: it is NOT to say that Harry isn’t emotional here. It's that the prose doesn’t grip me, the reader, by the chest and twist my heart with his overwhelming emotions. The prose doesn't prove anything, doesn't show me anything. This is an intense, terrifying moment for Harry. It should feel visceral. It should feel tangible. I should be able to taste his fear.

We also don’t get too much information about the emotional states of Ron and Hermione. We have hints, of course. But we can’t feel them. The emotions of the scene are dampened, muffled, dull even.

With an untrained eye, you might disagree. It's okay. You'll see what I mean soon.

Page 731 exact quote:

"I dunno how," said Harry. "But I know exactly where. There's a room in the Department of Mysteries full of shelves covered in these little glass balls, and they're at the end of row ninety-seven...He's trying to use Sirius to get whatever it is he wants from in there....He's torturing him....Says he'll end by killing him..." Harry found his voice shaking, as were his knees. He moved over to a desk and sat down on it, trying to master himself.

(Btw, punctuation issue: you do not use an ellipsis and a period together and there should be a space after the ellipsis.)

This is the only instance in the five pages where we get any information about Harry's physical state.

And it's written in such a weak 'telling' instead of 'showing' way, too.

How and where was his voice shaking? How are his knees shaking? Are they knocking together in a weird way that's kind of physically improbable? Or was it actually his legs were shaking? Isn't he leaning against the door? If his weight was resting against the door, then there'd be less shaking in his knees or legs because his knees would be locked to brace his body against the door. His arms and hands would be shaking, though.

How does Harry master himself? What does that look like? Slow breaths? Running a hand through his hair? Rubbing his face and eyes? How is Harry mastering himself? Is it mentally? Then, where are those mastering thoughts? What are they and why do those thoughts in particular help Harry 'master' himself?

What's Harry's tone as he talking about Voldemort threatening to kill Sirius? How is Harry feeling about this? Give me MORE!

The dialogue is presented to the reader in a bland, empty fashion. Harry is relating something to Ron and Hermione. I could switch the dialogue out with anything and it'd still make sense.

There is little surrounding the dialogue to anchor it.

So, let's rewrite this, shall we?

"I dunno how," said Harry, letting out a shaky breath. His hands clenched into fists against the door of the classroom. "But I know where—they're in a room in the Department of Mysteries that's filled with rows of shelves holding these... weird little glass balls. They're in row ninety-seven. Voldemort, he's—" Harry's voice broke. His breath caught in his throat. The memory of the vision returned full force into his mind, the image of Sirius on the floor at Voldemort's feet stark in his mind. He ducked his chin; his chest inhaled in a desperate breath and the edges of his eyes burned. He's torturing Sirius—I can't just wait around. I can't lose him. Harry looked up at Ron, whose face had grown pale, while Hermione stared at him with wide, terrified eyes. The strength in Harry's legs weakened. "He needs Sirius to get whatever it is he wants and he's—" Harry sucked in a gasp, his voice trembling like an autumn leaf in a thunderstorm. "—he's torturing Sirius... says he'll kill him in the end." His knees buckled. Harry stumbled to the nearest desk; Ron reached out with a steadying hand on Harry's upper arm and silent gratitude filled Harry's heart. With shaky arms, Harry lifted himself onto the desk to sit and twisted around to face Ron and Hermione. He licked his dry lips, rubbed his eyes with a hand, and took slow, deep breaths to master his fraying emotions.

The original canon text has 57 words of dialogue with a total of 83 words.

My rewritten version uses 56 words of dialogue with a total of 247 words.

I'm going to drill this concept into your heads, my lovely students: this is what I mean when I keep saying JKR's writing is both bloated and underwritten.

I only rewrote a single paragraph and its following line. The five pages I've provided are filled with this kind of empty dialogue.

So, what have I done here? Can you see the difference? Can you feel the difference?

Let's analyze what I focused on in this scene to show Harry's body language and his thoughts. I upped the physical effects on Harry's body. His fear causes his voice to break in the middle of explaining what's going on. He's terrified of losing Sirius, the only father figure he's ever known. Voldemort might take another parental figure from him. 

And now the prose reflects these feelings, not just in his thoughts, but also in how he speaks and reacts to what is around him. He is not just speaking at the reader.

Harry exists in his world. 

And you can feel it.

When he stumbles to the desk, Ron is there for him. Hermione reacting could also be added here. There is a lot that can be added to this scene, if one wanted to expand this further. 

Yes, what I've done has increased the word count, yet it strengthens this short moment—and I'd do this for the entire scene.

What I did to the scene is merely one version of its potential. It could be rewritten in a multitude of ways and go in various directions. I spent 10mins to 20mins on it. I haven't edited it or refined it.

Can you finally see what I mean now?

If you compare the highlighted pages of HP5 to the highlighted pages of Chp 24 of TBG, you can visually see the difference in the density of the dialogue. JKR is the one whose writing is oversaturated with dialogue. My writing will always be highly saturated with dialogue because my stories are character driven. I prefer stories like that. But I also need the dialogue to be interesting and engaging, where the character feels alive in their world.

When I say there's too much dialogue, this scene is such a good example of this because Harry, Ron, and Hermione are all over the place in their interactions with each other. Yes, you want your characters to sound realistic, but you're also the author curating an experience for the reader.

There's a balancing tightrope act between having realistic dialogue and unnecessary dialogue.

There's a thin line between showing too much and telling too little.

Lastly, if I were to improve the overall scene, I would center the focus on Harry's desperation to rescue Sirius. As Ron and Hermione try to talk him out of it, where Hermione delivers that iconic line of 'you have a people saving thing,' I'd have Harry explode with something like this:

"You don't know what's it like! You both have your parents—I-I don't... You'd feel the same as me if it were either of your parents being tortured by Voldemort, yeah? I can't lose him—I can't lose Sirius."

I'm not bothering with description around it right now. I just wanted to give the baseline dialogue to show you the theme I'd carry through this scene. It's all about Sirius. It's all about the fear of losing him. It's about showing the emotion of the character and making the reader feel that deeply.

And that's what matters the most.

All right then.

We have come to an end of Part Two in this series. We have discussed fives pages in JKR's Harry Potter and the Order of the Phoenix. The pages in question are 731 - 735 should you wish to look it up and study the scene yourself.

And so, please do the world the greatest of favors and write better than J.K. Rowling. I promise, it's not that hard once you see the differences.

Until next time.

Isa

[jaidenk-nox]

Elizabeth midford

Shitty 2AM rant on the Misogyny that Lizzy has faced since the very start but it's the perspective of someone who has witnessed the horrors of Misogyny in Spanish speaking fandom

I should mention that English is not my first language and I'm not very good with it either, so most of this was done with Google Translate and I tried to correct what I could, I hope it's at least readable

I've never seen enough people point out the fact that Elizabeth midford character also defies the "Girlboss" archetype, she is definitely physically strong and can protect herself, but she is A 15 YEAR OLD GIRL, who manages her emotions like someone her age would and also exhibits many neurodivergent traits. I have always been bothered by the way physical strength is misunderstood as a "girlboss" trait, the simplest example I can think of is Ran Mao, she possesses brutal and superhuman strength. but it doesn't make her a girlboss, in case anyone forgets Ran is a girl who barely reaches 18 years old and is exploited by an opium trader who also seems to be involved in human trafficking (implied in the manga). Is she really a girlboss? girlboss when her physical strength is more of a requirement to SURVIVE while working as an assassin and sometimes seductress (which u can tell she doesn't enjoy much)? Obviously Ranmao's social reality is very different as she is a woman of color from the underworld, unlike Elizabeth, who is a white woman from the nobility. However, her physical strength has always been a double-edged sword for herself. Lizzy longs to get married, like any other girl her age, she longs to be protected but says goodbye to it the moment Ociel returns.

I may seem a bit exaggerated, but the way your sociocultural background affects the way you perceive and treat a character has me slightly traumatized, I wish I could give proof of the horrible and degrading treatment that Lizzy has received from the Spanish-speaking fandom.

I am a trans boy of color who grew up watching my female relatives being encouraged to rip their hearts out of their chest from the moment they turned 8yo for the simple goal of caring for and protecting my cis male relatives. household chores, cooking for them, washing their clothes, taking accountability for their actions. Their freedom and childhood as little girls were taken away from them. but none of that was ever valued, I never saw anyone recognize it as sacrifice.

Elizabeth is not a woman of color, nor does she have those demands as a woman of nobility, but she SACRIFICED stuff to try to protect Ciel on her own way, I have seen many people underestimate her backstory in book of Atlantic because "High heeled shoes aren't reason to cry." Everything Lizzy has done for Ciel is devalued, all her suffering has been minimized. losing so many family members in such a short time, losing the boy you were raised to marry your entire life. People truly forget that lizzy is still just a child, that she has the right to mourn everything she lost that day. She had to mourn publicly as a noble girl,she probably heard that she would never be able to get married or would never achieve happiness, I've never seen any adult to stop and think about how heartbreaking and soul shattering that must have been as a 11yo

I have seen how EVERY thing Lizzy does is judged. how her behavior, personality and temperament are criticized. but other characters like Soma just get a pass while doing the same stuff, but this does not just stop at gender, but also at age. people HATE girls and afabs who act like children when they are literally CHILDREN.

How is it possible that Lizzy has faced such harsh judgment from the fandom when there are other characters like Maam red, Lau, Grell, Undertaker who are universally ADORED or atleast respected in the fandom.

I love u Elizabeth midford but ur character makes me violently ill omfg