#so much potential in this concept

[quibbs126]

Is there a fic out there that maybe explores Cyberverse Megatron's multiverse adventure, specifically his time in the Other One's dimension? Because I feel like there's a lot to explore there

Like I think the main thing to explore is how after his travels and coming back to his universe, he chooses to end the war. Like on some level, he was doing it for self-preservation, but he did decide to actually help Optimus and stop the fighting, which he mostly sticks to, even if it's only for him and his Decepticons. And the fact that he includes his Decepticons in his protection; yes, they're more security against his counterpart but he went back to them and made an effort to keep them safe, when he could have just abandoned his original universe and conquered a new one

And you could make a very easy argument that spending time in that other dimension and seeing that other version of him is what made him decide to be at least marginally better. I've read a couple fics where Megatron meeting SG Optimus is what sort of leads him to declaring some form of truce, and I think a similar principle could apply here. I think Megatron rethinking his outlook and trying to change for the better being the result of him experiencing a worse version of himself and what they bring is a very interesting idea, and with Cyberverse, the concept's right there on a silver platter because it actually happened

Have a story where we see CV Megatron be stuck in the X dimension or whatever it's called for a bit, along with Dead End, and his reactions to this other dimension. Like first it's good because he won in this dimension, there's no Autobots, but then he quickly sees that the bots here live in straight up tyranny, worse than any he likely experienced before the war, and not only that but his loyal Decepticons are all gone to be replaced with "perfect Decepticons". Like maybe he didn't value them as much as Optimus values his troops, and they're not the most competent and rather annoying at times, but he realizes that despite their imperfections, he doesn't actually want them all dead and replaced with soulless, perfect machines, and he slowly realizes that he actually cared about them. And then there's meeting his other counterpart, and realizing he is just a monster. Which maybe causes him to re-evaluate his own choices because at one point, they were the same person, but he hates this other self, and maybe he starts to see why Optimus split off from his cause in the first place

Like it's a slow-burn redemption story for this Megatron, and how he got to the point of wanting to return to his home dimension and end their war

I just think it'd be a really good premise for a fic, and I would read the hell out of that. I mean I'm not a Cyberverse expert, nor am I a particularly good writer, so I don't think I could do it, but I want to either see someone do it, or be directed to a fic with this premise

[flwrkid14]

Eternal Bonds: Tim and Danny’s Infinite Realms Marriage

In the Infinite Realms, marriage is an unparalleled commitment. Unlike the mortal world, where love can be fleeting and easily undone, marriage in the Realms is something far more sacred. It’s not just about vows or ceremonies—it’s about merging souls, creating a bond that not even the vast stretches of time can sever. The very idea of marriage in the Realms is rare, almost mythical, because it requires two beings to love each other so profoundly that they’re willing to bind their very existence to one another.

For the ghosts and entities that reside in this realm, eternity isn’t just a poetic idea—it’s a reality. Time is meaningless when you’re no longer alive, when your very essence is bound to the afterlife. And because of this, relationships are viewed through a different lens. There’s no such thing as divorce, no “time apart.” Once a couple is bound, their souls are intertwined forever. To dedicate your entire being—past, present, and future—to another means accepting that their joys, sorrows, triumphs, and failures will be yours too. It’s a partnership where breaking the bond is simply impossible.

It’s why marriage is such a rare occurrence in the Realms. The ghosts, who have already lived one life and often seen the frailty of mortal promises, don’t enter into this kind of bond lightly. It’s only for the strongest of loves, for the most steadfast of commitments. Because once you marry in the Infinite Realms, that bond holds through eternity itself.

And yet, despite the gravity of it all, Tim and Danny find themselves willing to make that very commitment. Tim, a mortal tied to a world where things end, where nothing lasts forever, steps into the unknown. His love for Danny is so deep, so unshakable, that he agrees to a traditional Infinite Realms marriage. He knows full well the weight of it—he’s not just vowing to love Danny in this life, but in every life after. In swearing to this bond, Tim is offering his entire being to Danny, for now and all of eternity.

For Danny, this choice means even more. As a halfa, he exists between two worlds, knowing both the mortality of the living and the permanence of the ghostly afterlife. His love for Tim is powerful enough that he’s willing to make this eternal commitment, knowing that there’s no one else in any world—mortal, ghostly, or beyond—he would rather be tied to. For Danny, the bond is as natural as breathing. It’s a connection that deepens their relationship in a way that transcends the limitations of their two worlds.

Their marriage isn’t just a declaration of love—it’s a merging of souls, a binding that makes them two parts of the same whole. It overwhelms them with the sense of safety and belonging that they’ve both craved in their lives. In each other, they find the kind of love that doesn’t just endure life’s difficulties but thrives beyond them. Their bond ties them together forever in a way that no one else could understand, but to Tim and Danny, it’s everything.

They are each other’s home. And in the Infinite Realms, there is no greater honor, no stronger connection, than to be bound by love for all of eternity.

[poke-poke-poke]

hear me out - i think leon and nihilego would be a fun combo

their designs compliment each other well lol

(i like villain au ideas though, so i may be biased, aesthetic wise)

[ohitslen]

*Vampirizes your Vashwood*

keep reading for more :)

If there needs to be much closer close-up please let me know!

[thegloriouspapernapkin]

please ignore any mistakes i am eepy

(also, the templates are by @awfulalignmentcharts )

[stochastiz]

seeing the concept art Tommy Arnold did for Murderbot has made me so disappointed in the SecUnit we see in the show. i already had feelings about it's organic appearance from the start of the season, but seeing what we could've had just makes me sad

look at these examples of ways they could've created mechanical joints and 'blended' them with nearby organic materials:

imagine how much cooler it'd be to see those overlapping plates of organic material whenever Murderbot isn't in it's armor! to get to see bits of the inorganic machinery it's built from when it isn't grievously injured!

but also, think about how much of a difference it would make to the audience if the construct the PresAux team was trying to personify and befriend looked more like this:

i get that it's much easier to produce a nearly-human form on film than to reapply prosthetics every day of shooting and render graphical edits for every frame, but i feel like minimizing the inhuman elements of SecUnit's form has diminished such an important part of the story of The Murderbot Diaries

Murderbot isn't human. it doesn't want to be human, nor does it want to be treated like a human by those around it. but i feel like some viewers could entirely miss that aspect of it's personality because it's so much easier to just see it as a guy

[blastlight]

something that gives me joy is the fact that some people still haven't played Minecraft. they can pick up Minecraft for the first time! and play it! and I can still share Minecraft knowledge with people who need it! the world is full of wonder

[arsenicflame]

It's a time-honoured tradition- every time Sam comes across Izzy (and Ed) in their travels, he asks Izzy to marry him. And every time, Izzy turns him down.

At this point, Sam is asking more for the sake of it than any belief Izzy will ever say yes, a remnant of childhood dedication touched with 30 years of heartbreak and regret- though even now, a small part of him still holds out hope. Sam's promises have only got more extravagant over the years, from a job as his first mate, to a captaincy, a fleet at his command, a whole fucking island if that's what Izzy wants- but he knows it isn't though, not really. If Izzy was ever going to agree to marry him, to leave his life and go with Sam, it wouldn't be for anything Sam could offer him. Izzy never did care for flashy shows of wealth, for a ship or to be captain. The only thing that ever mattered to him was loyalty given, and loyalty shown in return. 

It all comes to a head after Stede left and came back, after Izzy lost a toe, lost his leg. Sam hasn't seen him since before things with Ed started to really slide off the rails, before stress permanently set into the lines of Izzy’s face. So, when he sees a dishevelled man with a hoof for a leg in a no-name port, he doesn't even consider the idea that he might know him. It's only when he turns towards him, and Sam catches a glance at those oh too familiar tattoos, he realises this is Izzy, his Izzy, that stands before him.

Knowing Izzy's discomfort with pity, he doesn't treat him any differently than he would in years gone by, positioning himself in Izzy's line of sight before approaching and sweeping him up into a bone crushing hug. 

“Israel-goddamn-Hands!” he exclaims, as Izzy grumbles back a begrudging “Samuel-fucking-Bellamy”, a tradition almost as old as their friendship itself. Izzy might not hug him back, but he can’t keep the corner of his mouth from twitching, just for a second.

(If Sam holds Izzy a little tighter and a little longer than usual, well. That's his business)

By the time Sam lets go, most of the crew has appeared in the town square, drawn in by the commotion. They may have given Izzy his leg and welcomed him as one of them, but still there’s an underlying tension, with nobody quite ready to set aside everything that happened before the Kraken. Seeing him cosying up to an unknown man sets everyone on edge, unsure whether to come to their first mate’s aid, or to assume that they've been betrayed once again.

When Ed sees that the yelling was Sam, his hand goes tense where it's held in Stede's. He knows the routine, has seen it more times than he can count, but as he watches them part he realises that this is the first time in a long time he's unsure of what Izzy's response will be.

Knowing that something’s different, knowing that Izzy's feeling vulnerable already, Sam doesn't go for the same flashy proposal he’s been giving for years. He doesn't promise Izzy the world, he doesn't cause a scene (or, any more of a scene than he already has, anyway). He looks at the fractured man in front of him, takes his face in his hands, and says the exact same thing to him he said when they were little more than boys. “Israel, I have to ask you. I know what you'll say, but I have to try. Come with me. Marry me and sail away with me. I'll keep you safe”

And Izzy… hesitates. He glances over at Ed, at Stede, and says to Sam “...We’re staying in port for a week. Ask me again then”

That's the moment Sam knows there is something deeply, horribly, wrong. He's not just looking at an Izzy who got seriously injured in a fight and is struggling to cope, this is something so much bigger than that- and that Ed has something to do with it. Izzy wouldn't even be considering leaving if he didn't. Whether it was negligence or something more sinister, Sam doesn't yet know, but he intends to find out.

[travelingtothefarlands]

Was going to redraw more scenes, but motivation is AWFUL right now. Anyway, silly sketch of Harper as Ford in an amazing awful AU/crossover of mine. I have mostly everyone figured out, I just want to wait to share them once I have drawn renditions

(bonus: concept thing i made literal months ago. huge credit to mellon_soup on most socials for the base, their bases help me SO MUCH during art block)

[cashmoneyyysstuff]

honestly i don’t see as much childhood friends to lovers with katsuki as i would like to and i feel like that’s criminal. like that is a criminal offense.

[thepunkmuppet]

the reason why transfem elias is my favourite theory for gwendolyn is because think about the implications.

so let’s say this alternate universe reveals that elias is actually transgender, and would present/identify as female if they had the opportunity to figure themself out and transition (elias was reportedly very young when jonah possessed them)

then the idea that in the tma universe they not only didn’t live long enough to do that, but THEIR BODY WAS TAKEN OVER BY SOMEONE ELSE WHO THEN PRESENTED IN A MASCULINE WAY AND LIVED AS A MAN USING THEIR FACE AND BODY FOR OVER TWENTY YEARS?!? FUCKING TERRIFYING

as a trans person myself, even though the real elias was dead the dysphoria that idea gives me is absolutely unreal, and really creeps into serious body/existential horror territory which i think would be really interesting and very in-character for a writer like jonny to explore.

[flwrkid14]

You Don't Get to Call Yourself Family (Tim Drake is a Fenton)

part 1 , part 2

It starts with another of Dick’s attempts to be Tim’s Big Brother™.

It’s well-meaning, of course. They’re mid-patrol, crouched on a rooftop, when Dick gently brings it up.

“You know, Tim, we could be family if you’d just let us.”

Tim freezes for a moment, his grip tightening on his grappling gun. But then he exhales, forces himself to focus, and mutters: “I told you. You’re coworkers. That’s it.”

But Dick doesn’t drop it. And when they return to the Cave, the rest of the Batfamily piles on—each in their own way.

Jason: “C’mon, Replacement. Admit it. We’re at least kinda family.”

Damian, sneering: “He’s too much of a coward to acknowledge it.”

Bruce, quiet but insistent: “Tim, this is your home. We are your family.”

And Tim—who’s been holding this in for years—finally snaps.

“Family?!” Tim’s voice echoes through the Cave, sharp and brittle like glass about to shatter. “You think you’re my family?!”

Everyone goes still.

Tim takes a step forward, fury radiating off him in waves. “Let me ask you something—what kind of family depends on a thirteen-year-old to pull their grieving father out of the abyss because no one else could be bothered? What kind of family calls him Replacement and then beats him bloody because he’s not good enough?!”

Jason flinches, but Tim doesn’t stop.

“What kind of family tries to kill him multiple times and laughs it off like it’s a fucking joke?” His eyes land on Damian, who looks like he wants to argue but doesn’t. “And what kind of family stands by and watches it happen and does nothing?!”

The silence is deafening.

Tim’s breath hitches, and he rakes a hand through his hair. “If you’re family, then why—why the hell did you all hurt me so much?”

No one can look him in the eye. Not even Bruce.

Tim’s voice drops, tired and cracked. “I can’t call you family. Because if I did, I’d have to accept that my family treated me like shit. And I already have one family, that loves me—I don’t need another one that makes me feel like I’m nothing.”

He turns on his heel, heading for the exit. “You’re my coworkers. That’s all you’ll ever be, and honestly? It's more than you deserve.”

And then he’s gone.

————

Later, Jazz calls him.

“You okay, Timmers?” she asks gently, voice soft in that way only Jazz can manage.

Tim sighs, rubbing his eyes. “Yeah. I just… lost it at them. Finally told them off.”

Jazz hums thoughtfully. “Good. They needed to hear it.”

Tim doesn’t respond right away, staring at the faint glow of the Batcomputer across the Cave. “Do you think I was too harsh?”

Jazz doesn’t hesitate. “No. You set a boundary. They’ve been pushing it for years. Let them sit with it for a while.”

Tim doesn’t know if he believes her, but he nods anyway. “Thanks, Jazz.”

“Always,” she replies. “Now come home for dinner. Mom’s trying a new ectoplasm casserole recipe, and Danny is threatening to ‘accidentally’ destroy the kitchen again.”

He laughs, already grabbing his things. “Be there in ten.”

[giddlygoat]

if you’re able to stylize sportaflop,i wonder how you’d stylize my boy stingy ✨✨

also what do you think of stingy?

stingy is REALLY fun to draw. but, i’m not surprised that i enjoy it, because i’ve always loved drawing dapper dressed characters lol. in fact, he was one of the most fascinating characters to me when i was a kid just for that reason. i also remember being put off by his inability to share, but i don’t think that stopped little me from having the tiniest crush on him. nowadays i would simply like to have a talk with his parents because he needs some serious attitude adjustments 😭

[artunderwraps]

oh my god guys i need more relativity falls art and fics i love this au so much jkrsbkhkhsdvbihsdfbs

reblogs are always appreciated :D

[fantasyinallforms]

Man...I'm getting really sick of seeing AI in places it dosent belong. Go detect cancer cells and leave my damn art and literature alone. I need an AI fly swatter at this point.

[smartzelda]

Sorry guys I gotta speak my truth on this one

I'm not kidding when I say that I think that blaming shit media literacy from fans on shipping/shippers avoids the actual root of the problem to throw people you can easily throw under the bus (simply because it's not unpopular to consider people who post about ships or ship characters in media as having lesser or derivative tastes by default)

And here's why.

I think when you blame people who are "shippers" or "consume media through shipping lenses", the true root of it all is a mindset problem.

In actually, putting on shipping lenses can be helpful when trying to analyze a piece of media. When analyzing media you're supposed to approach it through a number of mindsets and put on different lenses (both to deepen your personal understanding of the media, and to pick it apart and see what you can find there (whether intentional or not on the author's part)), and different ships can be some of those lenses

When it comes to ships between main characters (for those who are genuinely willing to see what the narrative is showing with their relationship and what it's doing), there are times when analyzing it from a shipping lens may be helpful. As someone from KH fandom, I have seen people come to deeper understandings and pick canon apart in the process of analyzing a relationship that is genuinely integral to the story (platonic or not). I've also seen people get into rarepairs of characters who barely interact or who just suffer little screen time, and I've seen them come to better understandings of those side characters and how they potentially fit into the world of the media simply because people are now focusing on these characters and how they fit into the narrative.

Frankly, I resent the idea that the only way to truly objectively analyze a piece of media is by turning off the part of your brain that gets excited over relationships and individual characters. Don't get me wrong, that is a way to approach a piece of media and a valid one at that, but the truth is that we cannot be free of bias.

For instance, I was watching House MD with my parents circa last year. At some point I started heavily tuning into what was going on with House and Wilson's relationship. My parents, on the other hand, were largely watching casually. They're not thinking of character relationships or getting heavily invested in most characters, they're watching because they like watching. One of them in particular did try to analyze things that were happening in the show as they happened. However, when it came to the scene late in the series where House threw out Dominika's letter approving her American citizenship, my parents could understand that he was doing that because he didn't want her to leave, but not much beyond that. I ended up explaining to them that House's fake marriage for Dominika was an explicit parallel to when Wilson was living with House in the early seasons. Both situations started with House being none too happy about it but ultimately letting them stay, spending a considerable amount of effort getting them to leave/getting this situation to be finally over so he didn't have to deal with it anymore, and then by the time a piece of news comes through that would mean the person in question actually leaves, House hides this news as long as he can. Because he doesn't actually want them to leave and has grown attached. And by doing this he became a self fulfilling prophecy. By reacting to the truth of Wilson and Dominika leaving him the way he does, he seals his fate and they ultimately leave anyways. Maybe I ship Hilson, but becoming open to how their relationship was handled allowed me to transition to doing character studies and recognizing patterns/parallels that I wouldn't have noticed if I didn't particularly care about the characters or their relationship.

Likewise, I've seen mutuals complain about how people who don't like or don't care about certain characters often overlook these characters (what they're actually like and their place in the narrative), while the mutuals in question (by default) are able to come to deeper understanding of what the writers/story is trying to do because they care about this funky guy

You can't eradicate bias when you're engaging in media analysis, but you can consciously put on a range of lenses and observe the media through different povs with the goal of understanding the media better or bolstering your reading of it. And those lenses/povs can include focusing on specific relationships or the perpective of certain characters

And this is why I say it's actually a mindset problem. Shippers and people who have this one blorbo they like a lot aren't inherently terrible "fandom brained individuals" who are the root of media analysis problems. The problem only arises when people's readings/analysis of a piece of media are inherently restrictive/narrow and self centered. Your problem is with people who view a piece of media through a ship they like but don't keep an open mind about it, and whose "media analysis"/views on canon cannot be split from fanon and their comfortability levels. These are the people whose "media analysis" starts and ends with justifying their fanon as canon, whose views on media revolve around sorting characters and relationships into categories they personally enjoy rather than trying to understand what's going on.

Here's another example.

Here we have a fictional ship we'll call uhhhh...Blanebin. this fictional ship I made up on the spot for characters that don't exist named Blane and Corbin

Person A is super into Blanebin. They're part of the main cast of characters and canonically childhood best friends, so person A (as much as they enjoy fanart and fic) is also enjoying analyzing how narratively important to each other they are. Recently, Corbin started dating another character in canon, but Person A is enjoying watching how Blane is reacting to this. "Is this potentially a tell that Blane is jealous or is having complicated feelings about this? What if he was, how would that contextualize his behavior this season? Here's what I think based on how Blane dealt with explicit jealousy last season in a different situation". It's not impossible that person A is still missing further understanding due to their obsession with Blanebin, but at the end of the day this obsession has allowed them to start picking through the characters both in and outside this relationship. It has allowed them to see potential subtext and theorize on what might happen next with these characters' relationship. Not to mention that with addition of Corbin dating someone else, instead of trying to erase this fact or state that Corbin canonically isn't into that person, Person A is trying to factor in how Corbin's current dating life affects his relationship with Blane (irregardless on personal views on the nature of Corbin's relationship with the person he's dating).

Person B is also super into Blanebin. They really enjoy fanart and fic of the characters, love obsessing over their moments together, and just feel like there's really something between the characters. To person B, every moment between them is just further proof that the writers are ship teasing them. But Corbin getting together with someone else this season? Oh that pissed person B off. They cannot believe that even though Corbin and Blane are CLEARLY gay for each other the writers had Corbin get with someone else this season. Perhaps, they think, it was even a decision specifically made to spite fans. How evil of the writers to tease a perfectly good ship and then have them not get together first? They must have been just doing those teases to get views from Blanebin shippers those scoundrels. To Person B, since Corbin started dating someone when he obviously has some chemistry with Blane (even though the series is far from over) means that Blanebin can never get together now and Corbin x person he's dating is ruining Blanebin by existing. In fact, they think, this is terrible writing for Corbin to be dating someone else because they don't like that relationship and don't see the point. Obviously if the writers were good then Corbin would have started dating Blane instead because this was supposed to be the Blanebin show.

Person C despises Blanebin. Don't get them wrong, they've always enjoyed the character's childhood friendship, but they actually have always thought Blane would have been better off with Victoria. They have a lot of moments too! But they're tired of seeing people ship Blanebin. Corbin just got together with someone else, so obviously that's not gonna work out. Plus Corbin and Blane totally has always given person C bro vibes. In fact, person C thinks, sure Corbin and Blane have a close friendship, but people shouldn't be shipping them. Person C likes Blanetoria and Blanetoria can't be canon if Corbin is in the way of it. So Person C likes to read Blanebin as siblings anyways. Sure they're canonically friends, but obviously their friendship turned into brotherhood. This means that nothing can be in the way of Blanetoria and Corbin can keep dating the person he's already canonically dating. Actually, now Blanebin just straight up makes Person C uncomfortable. Don't the pesky shippers understand that Blanebin are sibling coded because they're childhood best friends and that they're important to each other because they're brothers? It's obvious to anyone with eyes.

Sure, ships are involved here, but is the root of this problem shipping? Character A isn't as knowledgeable of other characters in the plot due to this lens they're using, but at the end of the day they're dedicated to analysis. Their love of the characters is pushing them beyond what they like or dislike to try to understand what might be happening through their lens. Not perfect, but they are slowly broadening their horizons. But Person B and C's problems here are their restrictiveness. What is or should be canon to them is tantamount to what they personally like or find comfortable. Is person C actually analyzing the this fake show when they decide to "read" Blanebin as basically canonically siblings (and this all of their moments are totally a bro thing) just because they don't like Blanebin and the idea of them getting together over Blanetoria makes them uncomfortable? Is person B actually analyzing this fake show when their "analysis" of Blanebin goes only as far as asserting it's being ship teased and deciding anything short of canonizing Blanebin is a targeted attack or "bad writing" because it's not what they wanted personally to happen?

This is what I'm talking about. This is the mindset. Shipping isn't the problem. The problem is when people marry fanon and canon to the point where they have a vested interest in superimposing their fanon over canon as "a reading" and trying to make "collective decisions" on what is canon (or what canon is trying to say) based on what does or doesn't make them uncomfortable. The problem is people being restrictive and centering their own likes and dislikes in the conversation, so they can only interact with canon "analysis" wise by deciding what is canon or should be canon "as obviously agreed on by everyone". You can't simply claim you like media analysis. To be able to analyze media and bolster your views on any given canon, you must be open to looking at it through multiple povs, to studying characters without trying to pretend things you don't like don't exist or do like do exist. There is a balance that must be kept between trying to keep objectivity and putting on specific focus/bias based upon the lenses you're putting on. You have to be willing to try to figure out what a media is doing or saying, not saying you're trying to figure out what it's saying while in actuality trying to define the narrative around what people believe it's saying in ways that suit you.

Thank you for coming to my ted talk.