To Homura, I suspect Madoka is a symbol of ordinary life — a life she's prohibited from by her heart condition, her stunted social skills, and intrusive suicidal ideation (which calls/conjures a witch). Madoka's life in Timeline 1 was distinctly a Sailor Moon-style dynamic, balancing the ordinary (and she's still a very regular girl in Timeline 1, plus or minus profound kindness and magic powers) with the extraordinary. She gives Homura access to an ordinary social world, to friendships only partly defined by the camaraderie of magical girls. To eating with other people.

The fantasy of regaining that dynamic of being allowed into the ordinary, having been excluded from it again by her wish (which puts her on the fringes of the world, socially stunted and incapable of building relationships, fighting desperately for an ordinary life again) is why Homura frames her warning to Madoka as "stay just as you are" — because that's what Madoka is, to her, a symbol of full existence as a person in a real, ordinary world denied to her for her entire life. What pollutes that is Madoka becoming extraordinary, because Homura already occupied an extraordinary world, but one of precarity and hopelessness — it's Madoka wanting to die, in the way that Homura once almost gave in to, that spurs her ultimate transformation from glasses-braids Moemura into the person she becomes.

Whereas Madoka imagines the world of magical girls as something extraordinary. Madoka admires competence — her capable mother; fantastical, performative (and deeply traumatized, but shh) Mami and hypercompetent (and deeply traumatized, but shh) Homura — and her most profound aspiration is to be special (and useful); her relationships with magical girls are primarily about her desire (or failure) to support them and whether she's capable of doing so as an ordinary girl with nothing but love and friendship on her side. She conceives her relationship with magical girls less as one where she joins their number and becomes one of those magnificent, showy personalities and more as one where she provides emotional support. The contract would let her understand the feelings of magical girls properly, enough to cross that divide — but beneath that there's a suppressed longing to be good at something, to be capable, to have something special about her. It's about entering the world of the abnormal, even if it's awful, because it would give her a purpose.

So in a world where Homura was Madoka's introduction to magical girls, which ended in the deaths of her entire team, I suspect Madoka wouldn't focus on entering the fold, but on her idea of herself as too ordinary to contribute, and that they might've lived if provided with competent, understanding support from someone special. Homura thought of herself as especially weak and wished to become strong; Madoka thought of herself as especially normal, so her wish might very well be something like...

"I wish Homura could have met someone else, back then, instead of me. Someone who could actually help her."

Magic, being fucked-up, decides that this means Time Traveler!Madoka should be physically shunted into each new timeline, as a separate person from its original resident Madoka — a separate person, a different girl, someone who could help Homura — disrupting the original relationship between her past counterpart and her best friend/all-consuming crush. (In this AU, Homura's typical wish is to cure her heart condition, and she took her hair down not as a trauma response, but as a self-conscious attempt to change her image. Time Traveler!Madoka's original Homura was a chuuni loser playing up being Cool and Capable for the cutest girl in her class.)

But, given that there's another Madoka running around, the future-version is increasingly traumatized, and her life is full of friends and family who are close enough to her to notice her acting strangely, Time Traveler!Madoka has to get the original out of the way and/or imitate her closely enough that other people don't notice a difference, or else risk the traumatic breakdown of her friend group under the weight of the revelation, including a variety of contracts that might wreck everything for the girl she's trying to save.

Canon!Homura is stuck in a funhouse-nightmare version of her life as it was, a world of precarity and hopelessness and existing on the fringes of the ordinary. Time Traveler!Madoka is stuck in a funhouse-nightmare version of her life as it was, a world of enforced ordinariness and helplessness, where she can't ever change or demonstrate competence without being accused of being a different person, and where she's constantly confronted with the version of herself people expect her to be, i.e. weak, frightened and incapable (at least, that's her increasingly trauma-informed read).

To Homura, I suspect Madoka is a symbol of ordinary life — a life she's prohibited from by her heart condition, her stunted social skills, and intrusive suicidal ideation (which calls/conjures a witch). Madoka's life in Timeline 1 was distinctly a Sailor Moon-style dynamic, balancing the ordinary (and she's still a very regular girl in Timeline 1, plus or minus profound kindness and magic powers) with the extraordinary. She gives Homura access to an ordinary social world, to friendships only partly defined by the camaraderie of magical girls. To eating with other people.

The fantasy of regaining that dynamic of being allowed into the ordinary, having been excluded from it again by her wish (which puts her on the fringes of the world, socially stunted and incapable of building relationships, fighting desperately for an ordinary life again) is why Homura frames her warning to Madoka as "stay just as you are" — because that's what Madoka is, to her, a symbol of full existence as a person in a real, ordinary world denied to her for her entire life. What pollutes that is Madoka becoming extraordinary, because Homura already occupied an extraordinary world, but one of precarity and hopelessness — it's Madoka wanting to die, in the way that Homura once almost gave in to, that spurs her ultimate transformation from glasses-braids Moemura into the person she becomes.

Whereas Madoka imagines the world of magical girls as something extraordinary. Madoka admires competence — her capable mother; fantastical, performative (and deeply traumatized, but shh) Mami and hypercompetent (and deeply traumatized, but shh) Homura — and her most profound aspiration is to be special (and useful); her relationships with magical girls are primarily about her desire (or failure) to support them and whether she's capable of doing so as an ordinary girl with nothing but love and friendship on her side. She conceives her relationship with magical girls less as one where she joins their number and becomes one of those magnificent, showy personalities and more as one where she provides emotional support. The contract would let her understand the feelings of magical girls properly, enough to cross that divide — but beneath that there's a suppressed longing to be good at something, to be capable, to have something special about her. It's about entering the world of the abnormal, even if it's awful, because it would give her a purpose.

So in a world where Homura was Madoka's introduction to magical girls, which ended in the deaths of her entire team, I suspect Madoka wouldn't focus on entering the fold, but on her idea of herself as too ordinary to contribute, and that they might've lived if provided with competent, understanding support from someone special. Homura thought of herself as especially weak and wished to become strong; Madoka thought of herself as especially normal, so her wish might very well be something like...

"I wish Homura could have met someone else, back then, instead of me. Someone who could actually help her."

Magic, being fucked-up, decides that this means Time Traveler!Madoka should be physically shunted into each new timeline, as a separate person from its original resident Madoka — a separate person, a different girl, someone who could help Homura — disrupting the original relationship between her past counterpart and her best friend/all-consuming crush. (In this AU, Homura's typical wish is to cure her heart condition, and she took her hair down not as a trauma response, but as a self-conscious attempt to change her image. Time Traveler!Madoka's original Homura was a chuuni loser playing up being Cool and Capable for the cutest girl in her class.)

But, given that there's another Madoka running around, the future-version is increasingly traumatized, and her life is full of friends and family who are close enough to her to notice her acting strangely, Time Traveler!Madoka has to get the original out of the way and/or imitate her closely enough that other people don't notice a difference, or else risk the traumatic breakdown of her friend group under the weight of the revelation, including a variety of contracts that might wreck everything for the girl she's trying to save.

Canon!Homura is stuck in a funhouse-nightmare version of her life as it was, a world of precarity and hopelessness and existing on the fringes of the ordinary. Time Traveler!Madoka is stuck in a funhouse-nightmare version of her life as it was, a world of enforced ordinariness and helplessness, where she can't ever change or demonstrate competence without being accused of being a different person, and where she's constantly confronted with the version of herself people expect her to be, i.e. weak, frightened and incapable (at least, that's her increasingly trauma-informed read).

Madoka’s final wish was one of ultimate support: to rescue magical girls from their fate of becoming witches, and end the Law of Cycles. In this AU, Homura’s final wish could be one of ultimate power, and self-sacrifice: become the Incubators’ power/negentropy source instead of the magical girls.

Perhaps magical girls would no longer accumulate darkness in their Soul Gems, or they could perform some ritual to clear them instead of depending on Grief Seed, because Homura would take on their suffering instead.

And I believe in shifting.

I went to mass today (the only time I go all year. I'm disconnected from religion, and I don't even know if I'm still a believer), and I realized something, and I want to see if anyone else feels the same way.

When someone is VERY religious, they are usually a believer because good things happen to them when they ask God for something: health, well-being, money…

And well, those good things happen to them, and they justify it with God and their prayers. With a "God bless you."

Now, I won't say, "They are actually asking an entity, a universe that they call God," because that's too... obvious?

What if prayers are actually manifestations? By saying them so much, believing so much, and trusting that God will give it to you, they end up happening.

Maybe I've come to realize this very late, but I'm new to this whole manifestation thing.

But won't I look a bit heartless if someone in my life dies and I don't react or seem fine rather fast?

Anon, why are we creating problems out of thin air? Script 1. You won't get traumatised, 2. Can't get hurt, and 3. Are emotionally involved to a healthy degree or maybe simply 4. You always react appropriately

14 free pfps for whoever wishes to use them! yay! just, y'know, try not to erase the watermark, it's already somewhere where it won't bother (and I would appreciate it if you give proper credits when using it) :P also, if you guys want a specific one that I haven't done, feel free to request it! ^^

If you can think it, you can achieve it.

What works for someone else may not work for you.

A journey is never linear.

And of course,

If you can dream it, it can become reality.

Ink Sans:

The "Creator". His role is to maintain order across the Multiverse. He helps encourage Creators to continue their work on their AU's, along with making sure the AU's are running smoothly.

He makes sure each AU is maintained by having Creators finish out their ideas, having them create a fleshed out AU to prevent the likelihood of it getting corrupted or forgotten, as that can taint other AU's if left alone for to long.

Contrary to popular belief, he himself cannot create AU's. The title of "Creator" mainly comes from his job of promoting creativity within Creators, and oftentimes helps with their creations by writing out parts of an AU's story or drawing rough concept art.

He's apart of the Star Sans's to help spread creativity across the Multiverse. Oftentimes, AU's overrun by negative emotions are like that because of their Creator's feelings, such as thinking their work isn't good enough or is just bad. By having Dream stimulate positivity in these AU's, the Creator's begin to feel it as well, which makes them more motivated to keep working.

Ink doesn't actually care for "ridding" the Multiverse of negativity, as he knows it needs a balance of both sides of emotions to function properly. However, due to how his role is perceived by others, he pretends to be with and help the Star Sans's to help maintain a proper amount of positivity, whilst Error does the opposite with the Bad Sans's.

Ink and Error are not enemies, nor rivals. They both operate under a mutual understanding of their respective roles, and don't try and stop the other from doing their job. However, in order to keep up appearances, they oftentimes stage fights to appear at odds with each other in order to keep both Nightmare and Dream unaware of their true roles.

Error:

The "Destroyer". Unlike what many believe, Error does not just destroy AU's without reason. His job is to keep the Multiverse clean and without corruption.

When an AU is left alone for to long, is left abandoned and unfinished, or otherwise messed with in such a way that it can no longer function, it can become corrupted.

Corruption can mean many things for an AU. Sometimes, it means that the inhabitants of an AU become "lifeless" in a sense, stuck wondering mindlessly throughout what's there of their world, and only having enough will to not dust on the spot.

Other times, it means that the AU itself is breaking apart. Characters glitch out and become distorted, the story jumps from spot to spot and messes with the intended plot, and slowly starts to hurt itself more, tearing away at the edges and ruining it more.

Corrupted AU's are especially dangerous due to their code. When an AU is made, it contains code from the AU it's based off of. And when the AU it's based off of disappears, it does to.

And if to many AU's get corrupted, it can leach into other AU's or Undertale's code. If Undertale's code is ever tampered with or messed with, the entire Multiverse would collapse, as any AU based off it would cease to exist without that part of it's code.

Error's job is to check up on AU's and see how their code is holding up, checking for bugs or glitches that would otherwise corrupt the AU if left alone. And when he encounters an already corrupted or forgotten AU, he destroys it to prevent more glitches.