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Were James, Sirius, Remus, and Lily even there? ...No.
You read that correctly.
I just came to a very grim realization that makes a ton of sense. (Note: This might have been realized by others as well.)
We know that in the Tale of the Three Brothers, Deathâs main goal was to kill the brothers right? He was pissed because they had cheated him and he wanted to take their lives once and for all.
And so he gives the eldest brother the wand, knowing that someone would end up killing him for it. The youngest brother knows what Death is up to and takes his Invisibility Cloak, much to Deathâs reluctance, so that he can hide from Death until heâs ready to face him. And the middle brother? The middle brother was given the Resurrection Stone.
And what did the stone do?
It brought back his wife (sort of) and gave the brother such a huge desire to be with her that he ended up taking his own life.
Pfft. Can you imagine? The sort-of-kind-of appearance of your dead loved one convincing you to go die.
HahahahaâŠhaâŠyeahâŠ
And hereâs where it gets dark.
We know that Harry was willing to die for his friends because heâs a noble git whose face pops up in the dictionary next to the word:Â âself-sacrificeâ.
The only thing he was missing was the stigmata. (In fact, Iâm surprised Jo didnât put something like that in; she wasnât exactly subtle about it.)
Anyway, we know that Harry begins walking to the forest and though he is determined, he also begins to have second thoughts:
And then he activates the Resurrection Stone - the stone that Death intentionally used to kill the second brother.
And what happens?
Harryâs loved ones appear to him, though they look odd (and thatâs important; weâll come back to that later) and theyâre totally fine with him dying and even convince him that theyâre proud of him for what doing what heâs doing, that it doesnât hurt at all, and that itâll be quick.
So in conclusion, the four people who have gone above and beyond multiple times to protect this child are completely fine with him dying.
I mean Lily, the woman who leapt in front of her child and demanded to be killed in his place, only tells him that heâs been brave and doesnât say anything else. The woman who repeatedly pleaded for Harryâs life supposedly stands there and just lets him go die.
Yeah, thatâs in character (//sarcasm).
But of course, thatâs not Lily, is it?
Itâs not James.
Itâs not Sirius.
Itâs not Remus.
I donât even think it was the middle brotherâs wife.
I donât think that the Resurrection Stone brings back your loved ones at all. I think it shows you whatever it can to convince you to die.
Thatâs why James, Lily, Remus, and Sirius were all described as looking different than how they had died. (As opposed to say Nearly Headless Nick who looked exactly how he looked when he died, semi-detached head and all). And why the wife of the brother was described as looking/acting odd as well.
They werenât really there. They were basically magical holograms who said what they needed to say so that Harry wouldnât have any second thoughts as he marched towards death. And Death.Â
Because who greets him?
Thatâs right, Death himself.
I mean Dumbledore.
I meanâŠno actually thereâs been this really amazing theory going around for a while now that Dumbledore = Death and it actually makes a lot of sense.
Especially if you add my theory that Dumbledore intentionally gave Harry the Resurrection Stone so that when he was about to die, he would see magical holograms of his loved ones who would convince him that he was making the right choice, that it wouldnât hurt, that they were proud of him, etc.
Because we know that Dumbledore wanted Harry to die. Harry was raised like a pig for slaughter. Note: He didnât want Harry to be dead. He just wanted Harry to go through the action of dying so that Voldemort would be destroyed.
And so Dumbledore added this little detail to make sure that, well, the job would get done.Â
So in conclusion:
Centuries ago, Death wanted someone to die. He gave the person a stone that made an image (just an image) of his loved one, which convinced said person that he needed to die.
Centuries later, Death wanted someone to die. He gave the person a stone that made images (just images) of his loved ones, which convinced said person that he needed to die.
Iâm gonna be honest at first I thought this theory made no sense bUt like read it all it actually is something to think about. holy hell..
Thereâs a thing: weâve seen ghostly James and Lily before. They emerged from Voldemortâs wand during the duel in Goblet of Fire and their shades then, the echoes of their dead selves, are there to help Harry and clear a path for him.
This makes so much sense, because this resurrectio-stoned James and Lily are smiling and placid and too amenable to Harryâs plans. These are not the ghosts who gave him a way out when he would have died in that graveyard. These are not the people who leapt in front of him when he was a baby.
The faces called up by the resurrection stone are Deathâs own ghostly sirens. Heâs luring people to their end and they say what you need to hear to encourage you to join them. Itâs tempting and itâs peaceful and itâs not frightening. You only need to step out and die.
© Cali Ynoviel 2017
© Cali Ynoviel 2017
âSome women fear the fire Some women simply... become it.â - r.h. Sin © Cali Ynoviel 2017
âHannahâ
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âGoing Homeâ
© Cali Ynoviel Photography 2017
âšâš #LolitaUpdate: Neverland Lolita [-â-Light and Dark Team-â-] Lolita JSK âšâš [-â-Custom Size Available-â-] âšâš Learn More: http://www.my-lolita-dress.com/light-and-dark-team-gothic-lolita-normal-waist-jsk-dress-with-front-open-design
Regimental uniforms of the three elder daughters of Emperor Nicholas II of Russia: Grand Duchesses Olga, Tatiana, and Maria Nikolaevna.
Afternoon dress, c 1902. House of Paquin.
The Rockefeller family member who wore this dress would have made a striking figure among the muted pastel tones of Belle Ăpoque fashion. Jeanne Paquin layered black fabrics and trims of varying weights and finishes to achieve nuanced variations in pattern, shade, and texture. At first glance, the detailed embellishment appears subtle and restrained, adding to the refined understatement of this fashionable black dress.
This should be my motivation in life really.
Michele CaragherÂ
Embroidered details in Game of ThronesÂ
âMichele Carragher is a London-based Hand Embroiderer and Illustrator who has been working in costume on film and television productions for over 15 years. She studied Fashion Design at The London College of Fashion, where the course incorporated design, pattern cutting, garment construction, embroidery, millinery and illustration. At the same time she attended a three year evening course in Saddlery at Cordwainers College learning skills in leatherwork.
After leaving college Michele worked in Textile Conservation, repairing and restoring historical textiles for private collectors and museums, specialising in hand embroidery. She then moved into a career in costume for film and television, initially working as a Costume Assistant/Maker on productions such as the BBCâs Our Mutual Friend, ITVâs David Copperfield and Mansfield Park. She soon gravitated towards the decoration and embellishment of costumes, using skills in hand embroidery and surface decoration, taking inspiration from the many historical textiles she had encountered working as a Textile Conservator.Â
The first production that saw her undertake the role of a Principal Costume Embroiderer was for HBOâs 2005 Emmy Costume award-winning production of Elizabeth 1. Her most recent work has been on HBOâs 2012 Costume award-winning television series Game of Thrones, working on all three seasons.
As a Costume Embroiderer Michele specialises in hand embroidery and surface embellishment, using traditional hand embroidery techniques, smocking, beading and surface decoration. She works directly onto the completed garment or starts with motifs and textures on silk crepeline/organza, which are applied to the costume and then worked into once on the actual garment. She also works on existing machine embroidery designs that are not too dense, adding some hand stitching and beading to give a more authentic, hand-finished look.
Michele finds hand embroidery has more flexibility and diversity than that of embroidery created by machine, as there is a greater variety of thread choice and colours to use. It is also possible to work more easily on garments that are already constructed. However, machine embroidery in combination with hand work can be very useful when completing many repeats by creating light outlines or a less dense machine stitch, work can then be completed by hand and again can be carried out on a finished garment.
Michele is a highly creative Costume Embroiderer, producing original designs as well as working closely to a costume designerâs brief to create their desired look.â
Text and images from  http://www.michelecarragherembroidery.com
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from Avengers Assemble by DeConnick ( @kellysue ) and Caselli
need refs/inspo for period clothing?
here you go:
Medieval (9th-15th century):
10th century and earlier
Romance (1000-1250)
11th century
12th century
13th century
more 13th century
14th century
more 14th
15th century
and more 15th century
Gothic (1150-1550)
Renaissance (1520-1650)
16th & 17th century
16th century
more 16th
Tudors (1500-1550)
more Tudors
Elizabethan Period (1558-1603)
Jacobean Era (1603-1625)
17th century
more 17th century
and again
and even more
this wonât stop
Baroque (1600-1750)
Georgian Period (1714-1830):
18th century
more 18th century
18th century womenâs fashion
18th century menâs fashion
Rococo (1720-1770)
Classicism (1770-1790)
children 18th-19th century
Regency Preiod (1811-1820)/ Empire (1800-1820s):
1790-1820s
more stuff on regency and georgian era
even more
thatâs not enough regency
and more
how is there so much
early 19th century menâs wear
early 19th century womenâs wear
Victorian Period (1837-1901):
Romantic Era (1820-1840s)
Civil War Era/1850-1860s
1870-1890s
more victorian
Edwardian Period (1901-1910):
1900-1910s
Belle Epoque (1880-1910s)
more edwardian/belle époque
Modern:
1910s-1920s [Fashion between the World Wars]
1920s
more roaring 20s
so much 20s
1920s hairstyles
1930s
1930-1940s
1930-1950s
1950s
more 50s
1960s
1960-1970s
1980s
lots of periods in one spot/fashion through centuries:
here, here, and here is almost everything (and properly ordered)
also here with lots of historic fashion magazines
historic fashion
costumes of antiquity
more historical clothing
history of fashion
more history of fashion
âvintageâ clothing
historic costumes
childrenâs historical fashion/toys
details
historic wedding dresses
historic assecoires (hats, shoesâŠ)
hats
masks
parasols
lots of embroidery/jewlery
it indeed is western/european centric, Iâm sorry for that, but for other cultures I simply donât have so many references
Received our copies of The Gazetteâs Dogma. Such an incredible feeling to see Motherland Chronicles on the cover! Art by Tobias Kwan. Motherland Chronicles project by Zhang Jingna & Tobias Kwan.