An ADHDers room may seem messy, but this habitat is its own very sensitive eco system.
It should under no circumstances be tampered with.
If you move one thing just the slightest bit, they'll never find anything ever again...
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well, guess who lost control of my hands again and was compelled to scribble down designs for ANOTHER Deltarune AU? yeah. me. it doesn't really have a proper name yet so I've just been calling it Changeling AU for now, I'll figure that out later.
these would be the cast's dark world designs; they parallel early Deltarune concepts in which the lightners would turn into monsters in the dark world-- with a few medieval fantasy fae-flavored twists this time around. mortals become a variety of magical beasts in the fae's dark realm, with only 'Kris' strangely unaffected... aside from the hue shift and conspicuously pointed ears, that is.
the main 'Kris' of this AU isn't the only human in town. instead, they're ironically the only one in town who ISN'T human, though not even they know it yet. in reality they're a Changeling, a fae creature that was left as a 'gift' to replace a taken human child. they can do things, strange things. animals come to them in the night, and the cool touch of iron burns their skin. they're afraid of what they see in the mirror; human eyes don't gleam in the dark, and their teeth shouldn't be so sharp. so they hide their features, and they ignore the whispers of the townsfolk, and they keep their head down.
they made a mistake, a terrible one... and they need to set it right.
meanwhile, the human they replaced is still out there somewhere in the fae world, twisted by its curse into a cornered, desperate beast seeking any escape from the realm that has held them prisoner all their life. it's said that when the full moon casts deep shadows over the woods, you can still hear their anguished howls in the dark begging for the name that once was theirs. they can never leave the dark world without it. they'd do anything to get it back.
all they've ever really wanted was to find their way home.
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I don't wanna wait till the sunshine fades
And bury our love in a shallow grave
'Cause the world could be cruel to us or
We could live for the dangerous so
Let's start, let's start a riot
Hard to sit still when your head's on fire
Oh yeah
'Cause I'm a supernova
And you're my four leaf clover
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There is no such thing as too much or too little you can do for Iran right now. Talk to your friends, tell your family - mainstream news is barely covering this, and people without social media are unlikely to know much. Sign and share petitions, create and promote content, do not stop talking. Write to your local parliament, and attend protests in your area. If you don't have any, see how you can get involved in organizing them. From what I understand US sanctions make it impossible to donate money, though.
This is overwhelming for everyone, but we owe it to the people of Iran to not close are eyes now. They don't have the luxury of ignorance. We must be their voices while they're being silenced. We can't let the world forget them.
If all you can do is share, do that! Do that! Don't underestimate how much the smallest things help, and remember that anything is better than silence.
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After very little research into the other writings of Laura Ingalls Wilder and Rose Wilder Lane, my hypothesis about the Little House authorship question is that the writing is mostly Rose's, but the heart is Laura's.
In Laura's newspaper columns, the parts that sound most like Little House mostly come from the extracts she shares from Rose's letters (incidentally, it's kind of adorable how proud she is of Rose: "My daughter's in France!", "My daughter's in Albania!", etc.) The prose of Old Home Town, Rose's inspired-by-my-childhood-home novel, has some of the same concise descriptive prose that I've come to associate with the Little House style (I could hear passages in the voice of the Little House audiobook narrator).
Yet the Little House soul is all over Laura's columns. She's fascinated by the simple tasks of life, believes in home and family and hard work, believes in holding onto the goodness of childhood and looking forward with hope toward the future. There's an optimism, almost a romanticism, about life. The children's series that bears her name clearly comes from the same woman.
Rose, by contrast, is much more pessimistic. When writing about childhood, she's almost cynical about the life of a small town. She highlights the dark stories underlying the wholesome exterior, is extremely sensitive to the pitfalls of the social scene around her. Part of the difference is that Rose is writing for adults, but there does seem to be an essential difference in the personality behind the pen, despite the stylistic similarities to Little House.
(At the risk of pop psychoanalyzing people long dead, Rose seems much more neurotic and introverted and sensitive than her mother. In her writings and in the books about her childhood in Missouri, she comes across as child of a fairly comfortable modern life, with all the modern anxieties, in contrast to a woman who grew up starving on the prairie and knows that there are much worse things to endure than small-town gossip).
It's not much of a thesis, but I'm just fascinated by the fact that the Little House series can share so many stylistic similarities with Rose's writings, yet feel so much more like Laura.
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