the ravages of age

On the Ravages of Aging

This little ficlet came about because I was disturbed by some of the OUaT Fandom’s reaction to Old!Hook in 6x11, Tougher Than the Rest.  So like a good little dork, I wrote out my feelings.

Beta’d by the admirable @icecubelotr44.  Rated G.


A few weeks after returning from the twisted Wish-reality, Emma begins to notice that something is a little off concerning her favorite pirate.

She doesn’t know, at first, what is bothering her.  There is nothing overtly obvious that makes her think ‘this is wrong’; it’s just a feeling, in the back of her mind, insisting that something is off.

So she starts watching Killian a little closer.  Her eyes follow him around the kitchen as he makes dinner and she watches him out of the corner of her eyes as they dress in the mornings.  And for the first few days, everything seems normal and she starts to tell herself that she was wrong, that everything is all right.

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anonymous asked:

When do you think is the best place to stop worldbuilding and start writing? How do you fit a new plot into a world that's already (mostly) made? Anything helps, thanks

This similar question was answered a couple of days ago [HERE] which deals with the matter of working on the beginning of a plot and developing conflict.

World building is important, it’s the foundation of the story that you’re going to tell, and it’s a major source of information on how your characters are going to behave and what will happen. Strong world building leads to immersive experiences in fiction, and enables you to take the reader along on a journey that feels real even when it’s utterly fantastical.

However, during the writing process, it can be tempting to be waylaid by world building as a form of procrastination: I have to finish world building before I write, but the world is so big and wonderful and complex that I can’t just stop until I’ve written down everything about it! Right?

The thing is, the amount of world building that you need to do depends on how much of it you’re going to use. It’s a good idea to know more than you’re going to put on the page, because having a deeper understanding of your setting and world than what is explicitly put on the page will inform the way that you write about things, and it enables you to work with suggestion and implicit details to entice the reader into digging for more clues about the world.

But if your story is set, for example, in a single remote mountain village, then you don’t really need to have to hand the history of all the surrounding nations and their conflicts and interests, except as it pertains to the understanding of the people in your remote mountain village.

Your villagers, of course, will know of the rest of the world, and you as the writer need to know what they know, and a little more than that, but if the story never leaves the remote mountain village, and the characters are caught up in their own affairs rather than being interested in what’s going on outside the village, then there’s not much use in you writing up an encyclopaedia of stuff that’s happening elsewhere but won’t make it into the actual story.

I’d suggest that there are a couple of different levels of information that you’ll want to have sorted out when you start your writing, exactly the amount of detail you’ll need is going to depend on your personal preferences and writing style and the focus of the story, but I conceptualise it in the following way:

Primary world building:

  • The sensory life of your protagonist. What do they see, feel, taste, touch, hear every day? What is their personal experience of the world they live in?
  • The intellectual life of your protagonist. What do they think about the world they live in? What are their assumptions and superstitions? How do they believe the world works and where do they think they fit in it?
  • The functional reality of the protagonist’s locale (where they are). What is this place like, who lives here and what do they do? What kind of a place is this setting, and how does it fit into the scheme of the rest of the world?
  • Primary elements are the things that you’re going to be dealing with in detail, and which are going to be the material facts as you present them to the reader.

Secondary world building:

  • The wider setting, outside of what the reader will be seeing directly.
  • What is the reality of the wider world? Consider politics, religion, tradition, history, war, geography … All the things that sit in the back of a nation’s collective mind, not really at the forefront of many people’s thoughts, but the general knowledge, and the general concepts that people accept as given.
  • What is the true reality of the wider world? Are there any ways in which the ‘actual’ history of the world differs to that which is accepted as true by the people living there? Was there a great deception at some point? Have they simply yet to make a discovery about their world? Are they working on incorrect assumptions about their world in some way?
  • Secondary elements act as the background process of the world, these are things that may or may not emerge through the interactions of characters and world, and things that readers may be able to glean from the way that the character processes the primary elements/ the way that the narrative positions those elements.

These two levels of world building provide you the basis of what is happening and being experienced within the narrative, and also the basis of why it is happening (or why the characters believe it is happening).

Now, another note, but this ask and the previous world building ask have had a similar tone to them that I want to address. The plot isn’t something that fits neatly into the world, generally. The plot happens to the world, in the world, the nature of plots is that they change things. This can feel very difficult and painful when you’ve spent a long time crafting the world, but it is one of, if not the key element of story.

No matter the world you’ve built, no matter how beautiful and real seeming it is, it will not be a static artefact, in fact, if you want your story to have any sort of traction, resonance, and depth, the plot will mean that things change a lot. The real world is ever-changing and developing, for better or for worse, and sometimes for both. The fictional world cannot be static, or it is lifeless.

Consider some big stories; A Song of Ice and Fire is driven hugely by change, the balance of power shifts wildly from one book to the next. The Lord of the Rings ends with the end of an age, the Shire has been ravaged and much of Middle Earth will never be the same again. In Harry Potter, a whole culture is swept up into a war, even Hogwarts itself is damaged by the conflict.

It’s a mistake to think of the world as ‘complete’. That’s the danger and the lure of world building, it can continue forever if you let it, because the world is infinitely complex. Don’t be afraid of changing the world, don’t be afraid of consequences of the plot happening. Those things are the fuel for the story.

a totally not-comprehensive list of shit i loved from gotg2 (vague spoilers)

  • gamora and nebula!! dealing with their abuse!! HUGGING!! saving each other’s lives multiple times!!
  • seriously the resolution of gamora’s emotional arc was her realizing that she had been inconsiderate of her sister’s pain during their childhood (without it seeming like the narrative was punishing her for not knowing the extent of nebula’s abuse while she herself was being horrifyingly abused)!! 
  • mantis is completely unique to the mcu in personality, every female character is the Strong Woman Shoot Em Up Badass and she’s a goofy, awkward, lonely girl who wants friends but is still powerful and helpful 
  • and she totally averts the ‘born sexy yesterday’ trope which i was concerned about
  • sean gunn is too cute
  • a villain who is actually well-developed and frightening instead of a faceless mook who exists as a catalyst for the heroes?? 
  • there is an all female ravager crew!!! led by a middle aged asian woman!! WHAT THE FORK I WANT A MOVIE ABOUT /THAT/
On Jack and the Daughters of Aku

Originally posted by juanfelixdlp

I know a few folks complain about how easily Jack took out the DoA in episode 3 -  and how almost incidental his tussles with Ashi appeared in the last one.  But if you think about it rationally, the end result makes perfect sense. 

Yes, these girls have been training to face the samurai for the entirety of their…what?  Sixteen years?  Twenty-one?   Impressive, but the thing is, Jack went through the exact same deal - except around the world, in a diversity of fighting styles, and through training designed to foster his spirit, not murder his soul.  There’s also the fact that he has fifty years of battle-hardened combat experience over those girls, with neither the ravages of age nor the dulling of his senses and reflexes to offset that.

Taking a look over the balance sheets, and it’s really no surprise that they ultimately proved no match for him.  Their only advantages were numbers, clarity of focus, and the element of surprise.  They had a chance when they caught him muddled and unawares, but once he steeled his heart and knew what was coming, their fate was sealed.  Even their superior numbers proved ineffective, as a combination of their callous disregard for one another and Jack’s pragmatic use of stealth and other combat strategies shaved down their one remaining edge.  He kills two before the others could react; he forces some to lodge their weapons in a tree trunk while dispatching with the remainder; and lastly, he leads them to a narrow branch where they have no choice but to face him one-on-one.

Ashi was the last woman standing, facing an adversary stronger, more skilled, and far more experienced than her.  The math, from that point on, is pretty easy.


And in the mirror she sees
Her face of age
Ravaged by wars raged
How can it be
This me
The mirror tells no lies
It she despises
Still mind of youth
Behind those sad eyes

But the mirror does lie
Seeking to deny
The beauty held within
Aged skin
Each line crafted
By tears & laughter
Mirror’s shallow reflection
Of only skin’s complexion

But I can see
What the mirror denies
I see the ever lasting beauty
Of the soul
Beneath those eyes
I can see the heart
Where my love lies

——- for JH

Legacy of World War II on the Philippines

In early 1946 Japan’s General Tomoyuki Yamashita was tried as a war criminal and hanged by order of MacArthur. In 1986, a salvage group located the wreck of a Japanese ship containing $500 million worth of treasure in Filipino waters. The ship was sunk in World War II.

In 1994, President Fidel Ramos had hoped to turn the 50th anniversary of the Battle of Leyte into a sort of an Asian version of the D-Day commemoration at Normandy. President Clinton and MacArthur’s 92-year-old widow were invited to event but neither were able to attend. In their place came the U.S. Secretary of State William Perry and the Chairman of the Joint Chiefs of Staff Gen. John Shalikashvili.

After World War II and independence, the United States Congress reneged on promised to give benefits to Filipino soldiers who fought on the Allied side against Japan. In 2009 Associated Press reported: “Men and women from the Philippines were promised recognition and benefits when they enlisted to fight alongside US troops during World War II. Many of those honors are only arriving now, 64 years after the war ended. The Fil-Am veterans are also set to receive long-awaited benefits that the United States pledged during the war. [Source: Associated Press, June 7, 2009]

“Some 250,000 Filipinos enlisted in 1941 to help defend the Philippines, a US commonwealth at the time. They were promised that they could become US citizens if they chose, and receive benefits under the G.I. Bill. The US Congress took away that offer in 1946 when the Philippines became an independent nation. Congress passed legislation in 2009 rewarding the soldiers for their service with $9,000 payments for non-US citizens and $15,000 for those with citizenship. In 2009, about 18,000 Filipino veterans, many in their 80s and 90s, were still alive. Ravaged by old age and disease, they were dying at the rate of 10 a day, officials said. “ [Ibid]

Carlos H. Conde wrote in the New York Times, “Unlike in other countries where the war’s end brought renewal and hope, there is a strong sense in this country that the war victimized Filipinos twice over, that its horrifying toll went beyond the destruction of its cities. If the war destroyed 80 percent of the Philippine economy, its consequences - the reparations, the ensuing relationship between Manila and Tokyo, the Cold War, the rise of Ferdinand Marcos, who exploited Japan’s postwar penitence and benevolence and almost single-handedly repaired relations with the Japanese - damaged Filipinos even further, diminishing their sense of pride and their ability to appreciate their past and learn from it. [Source: Carlos H. Conde, New York Times, August 13, 2005 +=+]

“In short, World War II left the Philippines devastated long after it ended, historians and sociologists say. This damage, they say, defines the modern Filipino: poor and lost, perpetually wandering the globe for economic survival, bereft of national pride, and - like the women of Mapanique - forced to suffer, to this day, the indignities of their violation. “Filipinos have a very short historical memory,” said Ricardo Trota Jose, the country’s foremost scholar on Philippine-Japan relations, who teaches history at the University of the Philippines.“ +=+

“Hey Gabe, come here,” Jack said.

Gabriel had been sitting underneath his heating blanket, letting the blunt and bone deep heat seep into his age worn and injury ravaged legs and unwork the pains that almost bit bone deep. While the blanket worked its magic, the former Talon agent <i>had</i> been sewing a hole shut in Jesse’s serape, but choose to put aside his project to look to his boyfriend.

“What?” He asked, not wanting to move away from the wonderful heat of his blanket.

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So in honor of @asiansofthedas launching (Or at least apearing on my dash) I thought I thought I would make a little post on my thoughts on the idea of East Asians in Thedas.

Basically East Asians are not actually native to Thedas, But if we are being honest lore wise neither are any humans or the Qunari

This is the city of laysh and it is in my opinion key to understanding east asians in the world of Dragon Age

(My scanner murdered the rest but basically the vints never returned but the Voshai have returned in recent years with tales of a Mysterious cataclysm that has ravaged their land.

All this follows the Dragon Age tradition of seeming to invert seemingly geography (Warmer in the north for example) (I say seemingly because those in the south of South America and the south of Africa could tell you direction does not matter only distance from the equator)

But as a history freak this SCREAMS the spice trade and the very wise xenophobia of many asian dynasties when encountering europeans.

BUT what this fails to talk about is this.

When two cultures encounter each otehr there is ALMOST ALWAYS cross breeding.

And Asian traits can last a HELLA of a long time.

I’m a key example of this. I still have a hint of an elliptical fold from ONE central asian ancestor several generations back.

So there are people like Liselle

Who the fourth image of in google search is a modded version looking like this

Dear Dragon age fandom… THIS SHIT is racism.

Anyhow Liselle is an orlesian commoner who had to move because her brother hit a chevelier over the head with a pot when the man to an unwelcome interest in her

(Something that is considered his right because she is a commoner in orlais)

It might also be worthwhile noting that Leliana ALSO has the skintone used for “asian” characters. 

This did not come from her mother according to toolset so her father might have been.

When it comes to elves judging by those in the Ferelden Alienage and by Zevran it’s common for elves  to develop the racial characteristics of the humans they live near.  

So elves near Laysh might have developed these type of characteristics.

Anymore than this would be my own personal headcannon so I’ll add that latter.

This is not me saying you can’t make Asiatic OCS wherever the hell you want.

This is me addressing the misconception that they are not actually in the game.


Romanian architect Vlad Rusu has resurrected a “cultural palace” that was originally built in the 1930s but has sat in ruin for 20 years after being ravaged by fire. Rusu won a competition to overhaul the ageing structure in Blaj, a small city in central Romania. The aim was to create a multipurpose space suitable for a wide variety of events, from theatre performances to exhibitions and conferences.

[SPOILER] in front of the crystal

English localization vs German localization translated into English


Ardyn: “Unharmed by the Light. The Chosen King indeed. Allow me to regale you with a tale. In an age long past, an incurable scourge ravaged mankind. A tiny menace that twisted men into monsters, the likes of which you’ve seen. In Lucis lived a savior that could cure the afflicted. His body would come to host myriad deamons, that countless lives be spared. But a jealous king, one not yet chosen by the Crystal, ostracized and demonized this healer of the people. Making a true monster of him. I gave you my name earlier, but you should know that it was not the name given to me at birth. Ardyn Lucis Caelum is my proper name. You’ll never guess whose name Izunia was. Noct, killing you as a mortal will bring me scant satisfaction. Claim the Crystal’s power. Arise as it’s champion. Only once the Crystal and King are no more.. can I know redemption. Come back soon. I shall keep your friends company until you are ready.”


Ardyn: “The king of light .. you can touch it (note: the crystal) indeed. Once upon a time in a world haunted by an incurable scourge - a small gift from the meteor. Dark parasites infested Eos and turned their hosts into soulless monsters. In Lucis lived a savior that could cure the afflicted. He saved them from their destiny by absorbing countless parasites into his own body. But an envious king, not chosen yet, feard the mans altruism and let him get executed. He denounced him a monster. My name is Ardyn indeed. Yet only in short. I didn’t tell you my surname. Ardyn Lucis Caelum - my name! Hm.. but where did I get the name Izunia from? Noct, killing you as a mortal gives me nothing. Be one with the crystal. Become the king of light! Then I’ll destroy you, the crystal and it’s power to finally get my long-desired revenge. Don’t take too much time. I’ll enjoy myself until you are back.”


Adventures of Shiral

Couldn’t sleep well at all, and had no motivation to draw - so sitting over PS for half hour I just pulled out some of my favourite screenshots and this happened. v_v

I tried more thought edits not just colour/contrast change but also playing with focus sharpening/blurring and additionally adding effects and change some light sources. 

Good ol’ memories of homepage layout jobs from given photo materials :v


get to know me meme [1/5] films ✧  The Age of Adaline (2015)

At 8:55 a bolt of lightning struck the vehicle, discharging half a billion voltes of electricity and producing 60, 000 amperes of current. It’s effect was three-fold. First, the charge defibrillated Adaline Bowman’s heart. Second, she was jolted out of her anoxic state, causing her to draw her first breath in two minutes. Third, based on Bon Layman’s principle of electron compression in deoxyribonucleic acid, which will be discovered in the year 2035, Adaline Bowman will henceforth be immune to the ravages of time. She will never age another day.