brianna keingatti winning las vegas bd is the good news i needed to hear today
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I did a little something for @hd-fan-fair 😊😊 I hope you all like pet sitter Harry and wildlife illustrator Draco!!!
Special thanks to @bubble-gumhead, @orange-peony and @avenueofesc for encouraging me to participate, you guys are the best 💕💕💕
Based on this prompt:
Draco has received news of a rare magical creature sighting and has been called in to illustrate the animal and it’s natural habitat/den. Only problem is: he can’t find anyone to pet sit his beloved animals and seeks outsider help by hiring a pet sitter through a wizarding company.
Enter: Harry James Potter, pet sitter extraordinaire and living his best life hanging out with animals all over Britain, enjoying the vast and interesting towns and houses he finds himself in.
Draco, loves his animals so much and asks to have regular contact through letters.
Letter's text after the cut
Dear Potter, I am writing to ask for your help again to take care of my pets. Unfortunately for me, they seem to have grown on you and they have been misbehaving with any other pet sitter. I have no idea why they speak fondly of you and find you so charming. Nevertheless, I was pleased to see that they were in good hands last time.
I hope you have a good rest and enough energy since the next seventy-two hours you will be dealing with their curious, mischievous, and overly friendly nature.
Until next time,
D. M.
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Today I've got binderary book #3 to share! It's a lighthouse (burning) by books-and-omens. This is a really excellent canonverse (sort of) historical setting liminal ghost story-esque fic that I read practically in one sitting sometime last summer. It's fantastic, well-characterized, angsty and fluffy and fairly plotty and with some really unique worldbuilding. I honestly can't sing its praises enough; it's one of the only times since taking up this hobby that I've known I wanted to bind something before I actually finished reading it.
Have a look at the rest of the photos under the cut; this one came out really well and I'm in love with it.
For this cover we have lineco book cloth on the spine, a strip of chiyogami paper that I got in one one ChibiJay's random paper packs, and blue-gray sketch paper for the primary gray space. It's a little hard to tell in the photos but the HTV for the titles is in two different colors, silver for "a lighthouse" and pewter for "(burning)". The effect is more pronounced in person and I love it. The pewter came in a multi-pack of cricut foil HTV and I can't seem to find it on its own anywhere, which is a shame because it's beautiful. The sort of streaky effect on the cover was unintentional but I'm kinda liking it? It's a more porous paper for drawing or painting or something, and I tried to wax it for waterproofing, but when I used the heat press to get the title on the wax darkened in the spots where the glue was applied to the cover board. At first I was disappointed, but the fic features a really massive unnatural storm, and it sort of looks like water running down a windowpane, so I'm leaning into that and calling it an aesthetic. The back didn't get this heat treatment, so it doesn't have the pattern.
Top view, showing the bookmark and handmade end bands. The bookmark is a navy blue ribbon cut from the inside of a shirt, and I chose red and white because there are so many picturesque lighthouses that have red and white stripes. It's the only color in the book that's not blue or gray. The endpapers are a navy blue silk moire, and I had better luck with them than I did with the platinum ones on my Persuasion bind even though they are the same brand. Maybe it's practice or maybe navy just hides more sins than platinum.
For the title page I went fairly simple (for me anyway) with just a frame I pulled from rawpixel. It suits the story, though, being set sometime around or before the early 20th century. I also played with text colors on the title page, with some words being grayed out to mimic the effect on the cover. The section break is me getting clever with a feature of my printer. I often use a gray line to denote section breaks, but for whatever reason my printer doesn't like them and often makes them blurry. It is only these lines that come out blurry; larger images don't do this even if they are complex. So for this one, where a major feature of the story is trying to figure out what's real and what's a supernatural occurrence, I made one that was deliberately heavier in the center so it would come out sort of smoky or fuzzy, like it wasn't quite real and couldn't be clearly seen. It doesn't look this fuzzy in the unprinted file but I love the effect and I feel very clever for manipulating the printer like this.
I'm going to show off some interior shots but this bit contains spoilers for the story, so if you don't want to see that then maybe skip the rest of the post.
I wanted to get creative with my title placement since a lot of my binds look very similar inside, and this concept really let me try that out. The plot of the story is that the reason there are so many supernatural phenomena at this lighthouse is that someone in the future ran an experiment to harvest energy and accidentally cracked spacetime with it, and bits of the future and the past and the might-have-been are seeping through the cracks, and the longer the cracks exist the more seeps through them and the worse the ghostly stuff gets. At first it's not clear whether there's anything weird happening at all, and it becomes clearer that something is wrong the further in you get because the cracks are worse. So I had this idea for a vintage lighthouse illustration with an overlay of cracks in glass, that become more defined as the story progresses until something is done and they're sealed up in the end. I am not a visual artist and even this straightforward concept was too much for my skills, so I chose the lighthouse and the crack overlay and my amazing husband did the actual image manipulation. There are five different images, with the cracks invisible in the first and final chapter and most visible in chapter 10 and 11, when the characters are trying hardest to fix the problem. I'm really really proud of how well this turned out.
And that's it! I have several more binderary books to post but they are all still waiting for titles before I do the photos, so I don't know when I'll have them up.
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Sudden thought, I wonder if Erik is actually not aware of Charles’ limitations. Erik meets Charles as the latter jumps into the ocean to save him. Charles is calm all through out. Seemingly not afraid to sacrifice OR knows he will not need to sacrifice anything to meet Erik down below.
Charles tells Erik he knows everything about him. To some extent maybe, but not really. Charles gets the gist of people around him. Goes in enough to know who’s a threat, who can be trusted, but he asks Erik’s permission in finding that sweet memory of Erik and his mom. Charles didn’t know about it beforehand.
Erik didn’t even think Charles would feel Shaw’s death, nor the people on the boats. He assumes Charles has the option to not feel it, presumably. Or doesn’t know how bad it could be.
Erik leaves Charles on the beach before Charles learns he can’t feel his legs, he doesn’t see Charles’ breakdown and Charles keeps himself together admirably beforehand. Reigning in what must be extreme amounts of pain.
When Erik sees Charles again, Erik presumes that Charles could and would use his powers on Erik, stop him whenever he wants, because they’re enemies now. When he realizes Charles can’t do that, it is still unfathomable to him. And on the plane it all suddenly makes sense. Charles valued his ability to walk more than his powers, Charles chose to remove his powers. Charles abandoned them all to pretend at being normal.
Not for a second does Erik believe Charles is anything but all put together, all knowing. Presumably naive, Erik knows better how cruel the world is. Has experienced real hardship while Charles, as much as Erik loves him, lived a pampered one. It makes sense to Erik that Charles would pick being human.
Not once does Erik think Charles may have been abused by a step father and a step brother. Suffered an alcoholic mother who possibly drank herself to death long before 1962. Charles simply doesn’t say anything and quite honestly prefers to move on from them, because they don’t matter. Raven and Erik matter tho. His little team of mutants mattered, and every single one he’s met at first year of school and through cerebro matter.
Charles is strong enough to help the mutants in need, guide them, and if he were just willing to see Erik’s point of view, fight the good fight against the humans. Because Charles doesn’t make mistakes, Charles doesn’t have failures, but he fails the rest of them.
Charles, unfortunately, isn’t seen as a fallible person to even Erik. More akin to a god, that Erik needs to protect his mind from, because otherwise, his god will exact judgment and punishment. Take his free will away from him because Erik has disobeyed him. To Erik, while Charles and him are equals, both god figures in their own right, with his helmet he levels out a playing field Charles doesn’t even see.
Of course, this is not unlike everyone else in Charles’ life, though where Erik sees a godly figure, everyone else sees Charles as a parent figure, placing him on a similar high pedestal. Seemingly everyone will tend to ignore Charles’ possible emotional instability or fallibility, the way a child might expect their parent to be all knowing. Charles’ wrongs become grander because surely he knows better. So why did Charles’ let this, whatever this is, happen?
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