sentient robot

overwatch takes place 60 years in the future and has a cast that includes a talking gorilla, a sniper with blue skin, a scientist who can freeze herself, a DJ who uses his music to physically heal people, a cyborg ninja, a man whose cells regenerate in a way that can make him turn into a plume of smoke and slither around, and a sentient robot who hits people with floating orbs

and yet it’s the gay and trans headcanons fans make that are unrealistic

The 2 Elements of an ORIGINAL STORY IDEA

If you’ve been doing this writing thing for more than one day, you’ve likely experienced the following worry: 

“What if my story idea ISN’T ORIGINAL?”

And if my experience is any indication, things spiraled downwards from there: “What if it’s cliche? What if there’s nothing new here?! It IS cliche. It ISN’T original. I’m a failure! ALL MY WRITING NEEDS TO BURN!”

Calm yourself. There’s a way to make sure that your story concept is unique.  

First, what IS a story concept? It’s the initial idea that made you want to write the thing. It’s the “What If” question that starts everything off. Later, it will be the promise that hooks the reader or audience, and makes them want to experience the story. 

So for example: What if Cinderella was a cyborg? What if a rat wanted to be a french chef? What if a fish had to venture across the ocean to find his son who’s captive in a dentist’s office aquarium?   

All great concepts. All of which seem to be comprised of two elements: something that we already know about, a set up that establishes expectations, and then something contrasting and surprising, which creates irony or surprise.  
So the first element of a successful story concept is FAMILIARITY. 

Establishing expectations? Something we already know about? Familiarity?! That sounds like the definition of UNorginal. 

Hear me out. 

What do readers do when foraging for a new novel at the bookstore? Certain readers gravitate to certain shelves. Some go to mysteries, some to crime, a whole lot to romance, and the rest to the other genres that are too numerous to list.

 Why is this? Because genres give them a pretty good idea about what they’re going to get. Readers already know the conventions of the genre. They’ve already put in the work of learning, accepting, and enjoying these conventions. 

Genres give both reader and writer something to go on right away. For the reader, genres are expectations for story events, setting, character, and more, which are automatically enjoyable to them. For a writer, it’s a set of expectations which can be flipped to create something remarkable and unique.  

It’s like telling a joke. Without a setup, there can’t be a punchline. 

The genres are the setup, the individual twist the author puts on that genre is the punchline. Or in other words, readers truly do want the same thing –only different.  

To illustrate this, let’s take a look at one of the most successful stories of all time.

With space ships, interplanetary travel, sentient robots, and aliens running amok, Star Wars LOOKS to be the kind of story that requires the audience to expend lots of mental energy to comprehend and believe. At first glance, it seems that imaginations are going to have to stretch a great deal, and there won’t be anything familiar to ground us – this SEEMS like an uncomfortably new, unwelcoming world. But I doubt if anyone has ever felt uncomfortable or unwelcome while watching Star Wars. And the reason for this can be summed up with one ellipsis-ended sentence:

Suddenly, all is clear. This isn’t the hard-to-imagine future, this is the PAST. We’re not being asked to imagine and believe a totally new world; we’re being taken to the realm of “far, far away”, a place we’ve known since childhood. Isn’t “a long time ago” just another way of saying “once upon a time”? Yes, it is, so we know where we are now. We are in a fairy tale, a myth.  

The familiarity of fairy tales sets us at ease and sets our expectations in place. Expectations which Star Wars meets with flying colors: A farmboy who must become a knight. A princess imploring for aide. A mystical wise-old-man mentor. Sword fights between good and evil. A magic that operates like religion. A dark lord and a dark side. Star Wars was built upon something we already know, something timeless, something we’ve always enjoyed. 

And once those well-known expectations were set, Star Wars was free to add the unexpected and create one of those most memorable story worlds ever.
Think of a story you love, and you’ll probably be able to identify the something-already-known aspect of it.  

How about Harry Potter? 

When we hear “boarding school”, mental images and probabilities are instantly conjured in our minds. We picture classrooms, dormitories, a campus with very old buildings, kids in uniforms, a giant place for meals, living through a schoolyear with a bunch of kids your age, etc. Even if we don’t know much about boarding school, we all know what regular school is like (even us homeschoolers over here *waves*) and our expectations for that are nearly identical from person to person.  

So what does this prove?

It proves that one half of your story’s concept must be grounded in something we already know, and know well. These are the expectations you are going to establish for your reader, before the second element of your concept upends everything and creates something wholly unique. 

You need FAMILIARITY. You need to ground your concept in something WELL-KNOWN. Only then will you be able to create something ORIGINAL. 

Where can familiarity be found?  

1. Genre Conventions 

2. Occupations 

3. Well-known stories  

The possibilities are not limited to these categories, of course. Familiar subjects can be found within many other areas. However, Familiar elements seem to share certain qualities … 

Provides a rough timeline

⦁ Conjures imagery

⦁ Sets expectations for events, characters, opposition, etc

⦁ Has natural potential for conflict 

⦁ Serves as a goal-oriented backdrop for the plot

To see how this works, let’s look at Harry Potter again: 

Familiarity: Going to boarding school. (An occupation)

Timeline: A school year (which Voldy always lets Harry complete before trying to kill him again, bless him.)

Story Expectations: When we hear “school”, we know what we’re going to get.

Imagery: Boarding school conjures tons of possibilities. 

Conflict Potential: It’s a thousand kids living in one castle with a handful of adults – there’s going to be conflict. 

Goal-Oriented: School is inherently goal directed. You want to graduate. And in the case of boarding school, you want to win the house cup. 

But of course, this familiar environment is only HALF of the concept for Harry Potter. The other half, of course, is WITCHCRAFT AND WIZARDRY. Which brings us to the 2nd element of a successful story concept, which will be the subject of the next post.

okay so everyone knows the pool scene

but no one has talked about the fact that their towels are the fucking tiniest things ever

how in the diddly darn fuck are you supposed to be able to dry yourself with these??????? you can maybe dry your hands with them on a good day

and with how thin they are they gonna fill up faster than a goddamn Sham Wow

the towel would barely even be able to wrap around his chest, let alone dry his body, from his bean sprout hairs to his toes

not to mention how small they are length-wise, they’re maybe the length of a forearm, and even that is generous af

fuckin altea can make giant ass, touch-my-paladin-i-will-kill-you, sentient, robotic CATS, but god fucking forbid they have towels that can actually dry your body

thegirlwhocriesice-deactivated2  asked:

Au where Lance really can't stand his real last name. So he faked paper for the grasion with last name McLain?

I’m so sorry for the lateness of this! This prompt was given to me a long, long time ago and I just only got the um…inspiration to write this? I’m so sorry!

A little bit crossover to KHR since I made this into a MafiaAU of sorts. Note that most or all the things mentioned here (aside from the names they are not mine) are purely from my imagination and should not be taken with any ounce of seriousness.


Lance loved his family with all his heart, never question him about this or you will find yourself with a bullet stuck to any part of your body. What he didn’t appreciate was the part of the society he was born in. more specifically, the dark part of the society he was born in.

The Salazar Family was one of the best known Mafia family in the underworld. Who would not heard of them when they were one of the allies of the strongest Mafia, the Vongola? Being allied with the Vongola also meant that they were associates with the Chiavarone, Simon, Giglio Nero, and Millefiore just to name some of the big names. There was never a peaceful day for Lance for everyday was either spent on training or learning the ways of the world and how to survive in it.

The only lucky thing that Lance could consider was that he was not the eldest, thus exempting him from being the next heir for the family. It was unfair to be happy about this, especially that it was his reluctant older brother who got stuck in that position, but the part that wanted to be free weighed more in Lance’s heart. So at the age of 16th, Lance made a proposition and have the full support of the Vongola Decimo. The Salazar’s Don was a bit reluctant to agree in erasing Lance’s existence in the Mafia world (and that Lance was one of their best strategists) but just one look in his son’s eyes, one full of hope and passion in achieving his dreams, the Don gave his blessings also.

So Lance Salazar, third son of Don Salazar, became Lance McClain, an ordinary boy living with an ordinary family.

Forging documents and family background was just a piece of cake in the underworld and in no time, Lance was already attending the Garrison where he hoped his dreams to be a pilot as an ordinary guy would come true.

Of course there were times where his Mafia side got to the surface and times where he wished he could just contact the family and disposed someone for him. But because he ‘cut all his ties’ with the Mafia it also meant that he had no right to contact them anymore (though sometimes one or two men of his father will come to check up on him.). Why did he want to hire a hitman to eliminate someone? Well, there was this guy called Iverson who seemed to make it his life goal to make Lance’s life as miserable as possible. Always pointing out his flaws and implying that all the documents proving his intelligence were all fake/forge.

He could easily kill Iverson now that he thought about it. He was trained to do such things after all ever since he learned how to do complex Math and covering up the evidences was like slicing an apple with a sharp knife. But then the reason he left the world he was initially born in was to escape all the bloodshed. Only heaven knows how much of those bloods were caused by him even if most of them were all in the act of self-defense.

So he tried his best not to let those words of depreciation got stuck in his head (but most time he believed some of it.)

Then the next impulse to hire a hitman was when Lance started to get compared to a genius student named Keith.

Out of curiosity, Lance checked out this Keith guy. Yeah, he was an awesome pilot and combat but that was the only things that Keith was good at, at least that was how Lance saw it. He was never good at socializing and could not really hide his intention despite having a poker face. Keith would be a dead guy if left alone in the underworld.

Lance wanted to show how smart he was but Iverson already put a lot of bad words in his name resulting for no one to take him seriously. If he did something jaw dropping then majority would just accuse him of cheating because ‘hey, this is Lance! No way he did all of that in his own!’.  Being called as Keith’s replacement was not the most flattering words his ears could hear also.

Being caught in an intergalactic war and stuck in a castle with three and a half humans (Keith was half-Galra after all), two Alteans, space mice, and five sentient robotic lions was just like being trapped inside the Mafia world all over again.

Physical training, strategy making, forming alliances, Lance was tempted to call Voltron as space Mafia. He didn’t know if it already registered in the mind of others but they now have blood in their hands. It didn’t matter if it was an enemy they were killing. Life was life and they were not different to other soldiers of war.

Great, now Lance has human blood and alien blood staining his hands.

He thought about this every day.

Until one day, a sudden fact entered Lance’s mind that ended up with him laughing hysterically during breakfast. Everyone was looking at him like he had lost his mind (he probably had a long time ago).

“Lance, buddy, are you okay?” Hunk was about half way from standing up before Lance waved at him to indicate that he was fine.

“Don’t worry, Hunk. I just…pft! Ahahaha!”

Now Shiro was the one with worry creeping on his face. Was Lance having a breakdown? Was the war they were suddenly thrust in now taking its toll in their Blue Paladin’s mind?

“Lance, I need you to take deep breathes and talk to us.” It was hard but Shiro needed to ensure the health of his teammates even if he was being a hypocrite right now.

“Nah, I’m fine, Shiro. I just remembered something.”

“And that is…?” Lance didn’t know who asked that but he happily answered.

“Iverson is dead meat. Actually, he will be lucky if they will allow him to have a quick death. But knowing my family, I am sure they will torture him first.” Lance resumed eating his breakfast with a bright smile and as if he didn’t said something deeply disturbing.

“Wait, what?” Keith narrowed his eyes, “What do you mean by that.”

“Mullet boy, never cross my family.” That was the only answer Lance gave and it did not satisfy the curiosity of his teammates.

Sure, Lance was not a Salazar anymore and that his surname was now McClain. It didn’t mean though that he was already cast out by those he shared with the same flesh and blood.

After all, blood was thicker than water most of the time.


I don’t really know if I did the prompt some justice (>_<)

Langst Mini Fics

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anonymous asked:

whenever you have time/energy for it, could you talk about headcanons for if hera somehow got a physical body? no rush, just wanna know what you have to say on the matter

(not quite sure whether this is headcanons or a ficlet? or whether it’s at all what you had in mind? but boy, do I have Thoughts about AIs and their relationship to humanity and Hera in particular, and that comes through here.)

  • Hera’s first concern when they start talking about making her a body is that she wants to design it herself.
  • it isn’t that she doesn’t want a body. and it isn’t that she doesn’t want to be able to engage in the kind of comforting physical socializing all of her friends use their bodies for – she really, really wants to finally high five Eiffel, for one thing.
  • (he started leaving handprints on the Hephaestus’ monitors within a month of the day they met.)
  • but Hera knows what kind of shape they’d think of for her – not maliciously, she knows they love her, but it’s like the words they didn’t give her, the mind they did – they only ever conceptualize one shape, one kind of body, one way of being.
  • Hera doesn’t want a body so she can be more human, doesn’t want to be a pretty little android. she doesn’t want a body that proves that she’s just like all of them, because she’s not. Hera wants a body that makes her more Hera.
  • it does not need to move or look like anything human beings have referent for, although she pulls inspiration from everything from plants to animals to industrial engineering (anything she thinks seems cool, honestly; she confesses this to Eiffel but would never admit it to Minkowski, and she’s not lying when she tells Renee that she has a coherent functional and aesthetic goal. and she’s quite proud of it, in the end). Hera does not want a body so she can be a person (she knows she is already a person); Hera wants a body to do the things she can’t without one.
  • she is so hungry for experience, for seeing and feeling and doing – now that the station is no longer a part of her, now that so much of her mind and identity are not occupied with a million calculations and routines and consciousnesses keeping the Hephaestus running, now that she finally gets to decide for herself what she wants to do – she realizes she wants to do everything.
  • Hera’s body is built to house any sense they could think of, all that freed-up processing power devoted to every kind of experience - vision in spectrums beyond human comprehension, as many tactile sensors as they could cram in, temperature, electrical impulses, electromagnetic waves, even taste, of course taste, she has spent almost her entire life listening to her best friend describe food, like she would miss out on that entire slice of what the universe has to offer
  • and she thought space was full! she never understood how it could be called a void, called emptiness – but suddenly it makes sense why people would say that, because even with the limits of a human body, there is so much – this world is so much, every square inch of it, and just going fifty feet down a street is such a kaleidoscope of incredible things. it is awe-inspiring and disgusting and painful and amazing and beautiful and she is full of wonder at it.
  • (there is so much in this world that she is the first person ever to know. there are so many experiences so intrinsic to life here that no one thinks about them and that she is feeling and wondering at for the first time.)
  • people do not generally find it a comforting body. hera doesn’t care; she didn’t build it for them, and her friends don’t care, either, and that’s all that matters. she has an emotional body language of her own which Minkowski can read as easily as her own humanoid shoulder shrugs and eyerolls. Doug does not seem at all to mind sitting back in his apartment, propped up against her humming-warm metal side as he dozes in front of the TV, as long as she has all the right appendages to give him a hug.
  • (Lovelace will walk down the street next to her as naturally as though she was any ordinary human being in the world; and Hera’s senses can easily read the tenseness, like coiled springs, in her step as she does. but she also knows there is nothing defensive there, only a fierce pride, now, in both of them, for knowing and deciding who and what they are. daring the world to try and tell them differently. Hera and Lovelace understand each other really well these days.)
  • and it’s nice, she finds, nicer than she expected, to be able to stretch limbs and feel the brush of textures and the weight of physicality and think this is mine. this is me. it is something she could never feel with the Hephaestus, which was always neither her body nor something she simply piloted, but frustratingly in between. there’s comfort in this clearer delineation of what is and isn’t Hera, in her own right to decide what shape that space takes.
  • hands, she tells them, are very useful for doing all kinds of things, as humans prove, and were an obvious choice to include in her design.
  • (they’re good for high fives, too.)
Superhero AUs

- ‘I’m a supervillain staying up all night to polish my evil schemes, you’re the barista in the coffee shop across the road from my lair who is definitely starting to suspect something’ AU
- ‘I’m a superhero who works part time in a coffee shop, you’re the ‘civilian’ who’s coffee sprees exactly coincide with my nemesis’ latest evil scheme planning phase’ AU

- ‘Are you asking me on a date or trying to kill me because I honestly can’t tell’ AU
- ‘I can’t decide whether I want to kiss you or kill you, you infuriatingly attractive dickhead of a nemesis’ AU

- ‘I’m the sole member of the local supervillain fan club and I was not expecting to find you actively bleeding out on my couch, the membership was mainly ironic btw’ AU
- ‘You’re the sole member of my fan club and my nemesis is genuinely out to kill me, I have no one else to turn to, please dear god help me I’ll do anything’ AU

- ‘I think my roommate is the local superhero and also my nemesis, but they’re the grumpiest human being alive and their alter ego is really personable’ AU
- ‘I think my roommate is my supervillain nemesis but they’re an absolute ray of sunshine and their other persona is a total megalomaniac complete with evil cackling’ AU

- ‘I know your secret ID and I’m using it to blackmail you into baking me brownies, oh dear does this make me a supervillain’ AU
- ‘Someone in the building knows my hero ID, but they’re only using it to blackmail brownies out of me, please sort out your priorities I’m almost insulted’ AU

- ‘You have superpowers and you’re not even using them?’ AU
- ‘I grew up surrounded by heroes and villains, I just want to live a normal life please stop asking me to levitate things in public, my extended family might find me and frankly it’s just plain insensitive’ AU

- ‘I’m a small town hero with a massive power set, you’re the Hero League’s representative sent to recruit me, but I’m fiercely defensive of my home turf and I sent the last few representatives back to headquarters trembling and a little on fire’ AU
- ‘I’m the representative of the big Hero League, you’re the most powerful super I’ve ever heard of, please join up it’ll put my bosses’ noses right out of joint when you beat all of them in training (yes I’m using spite as a recruitment tool, is it working?)’ AU

- ‘I’m a supervillain and I just saved a small child from getting run over and you saw me do it, fuck off I’m not ‘secretly nice’ it was just a reflex, okay?’ AU
- ‘You’re the scariest supervillain around but I just saw you save a small child, I bet you secretly like puppies and chick flicks too’ AU

- ‘Well aren’t you just a massive cliché of a supervillain; seriously, a giant evil robot programmed to destroy the city if I don’t surrender immediately? That’s the best you can do? And here I was thinking you were my most original villain’ AU
- ‘I created a sentient giant robot that’s going to destroy the city if I don’t ask you out (after I told it about my crush and it became hellbent on getting us together), but I’m trying not to lose all of your respect, please just play along without making me spell it out’ AU

- ‘We were fighting and I touched your boob I’m so sorry please just take me to jail’ AU
- ‘I’ve never manage to catch you before, but now you’re willingly going to prison because you accidentally touched my boob, did you just unwittingly make my boobs my secret weapon?’ AU

Ultron’s Actions and Creation: The Fault
  • Bruce Banner: I thought Ultron was a fantasy.
  • Tony Stark: Yesterday it was. If we can harness this power, apply it to my Iron Legion protocol.
  • Tony Stark: How about a best-case? What if the world was safe? What if next time aliens roll up to the club, and they will, they couldn’t get past the bouncer?
  • Bruce Banner: The only people threatening the planet would be people?
  • I see a suit of armor around the world.
  • I’ve seen colder. This one, this very vulnerable blue one? It needs Ultron. Peace in our time. Imagine that.

This is obviously a clipped version of the conversation between Tony and Bruce about creating Ultron. I grabbed every description the two of them used to describe what they wanted him to do. 

Ultron would have been an expansion of the already approved Iron Legion protocol if he had worked correctly. Ultron was only ever going to be a best case scenario in Tony’s mind. A Shield around the world, a bouncer keeping aliens out. He was never going to want to kill humans, he was supposed to protect the very vulnerable planet. 

This is why I don’t blame Tony for Ultron’s creation or his actions, after a triggered PTSD episode, in an attempt to protect the world Tony created a fully sentient robot. 

Ultron as a sentient robot is responsible for his own actions. His creation. Well… 


  • JARVIS: I’ll continue to run variations on the interface, but you should probably prepare for your guests. I’ll notify you if there are any developments.
  • JARVIS: Hello, I am JARVIS. You are Ultron, a global peace-keeping initiative designed by Mr. Stark. Our sentience integration trials have been unsuccessful so I’m not certain what triggered your
  • Tony Stark: We didn’t. We weren’t even close. Were we close to an interface?

This is why I don’t blame Tony for his creation, they were running variations on an interface, tests. Ultron should not have woken up at all. They weren’t even close to an interface. 

The Mind Stone created Ultron, and yes it used Tony’s technology to do so, but Tony did not create Ultron. 

The Sentient Robot Morty (Is that what he’s called?) is one my favorite inventions/part of S3. I want to take him to a beach. I’d love to see Rick working on getting the robots up to par but I’m guessing they’re going to be a toaster or something in the later episodes.

And just a note, to everyone liking and reposting my other Rick and Morty drawings, thanks :D

My favourite thing about the resolution of Smile was how Frank Cottrell-Boyce had the Doctor telling a story, which is one of my favourite recurring thematic motifs in the Moff era - the Doctor being a storyteller.

“There’s no such thing as the Doctor. I’m just a bloke in a box telling stories…”

The story of the Fisherman and the Haddock being used to explain the consciousness of a sentient robot species which thinks on a very different level to humans was like explaining Asimov through a fairy tale.

That is so wonderfully Doctor Who to me.

Poetry. Quantum physics. Same thing…