(A revision of Sammy Jam for a revised Sammy Lawrence… From sheep to shepard, since those dark days down in Joey Drew Studios, Sammy has come a long way, in spite of, or perhaps because of his inky prison of a body. Who knew being a terrifying ink man could garner you so much reverence? And all it took was a little Ink on the streets for his flock to begin to gather before his anotherness. They came for Sammy’s power, but they stayed for his big ideas.
My brother (War Wasp) has been working on little tunes for Lampblack, as if they would be used in the hypothetical game, just because… it’s fun. He’s great at making music, but he hasn’t felt ready to share anything he’s made yet, until right now! Everything else he’s been working on is completely original, but in discussing what kind of music to do, I asked if he’d try out a “Sammy Jam” reprise for powerful-faction-leader-Sammy-Lawrence, as a step up from the original “Sammy Jam” which belonged to a pretty pathetic guy, and in my opinion he NAILED IT! What stands out most to me, besides it just being more energized in the best way, is that he turned those pieces of the original meant to be a little broken and deranged and turned them into powerful, intentional parts of the song; which totally mirrors how Lampblack!Sammy took his disturbed state and turned it into power. I can’t stop listening to this. I hope you guys like it as much as I do! -HG)
In which Saiki comes across a charismatic little girl that somehow reminded him of a certain someone he was escaping from on his way home from school just now.
But he was sure he had never seen nor encountered this strange girl before in his life, so he was really troubled and bothered by the fact that this pink-haired kid caught up to him, grabbed his sleeve, and chanted with the most ecstatic voice full of glee a little toddler could muster,
TO BE CONTINUED (nah jk just a teaser for that idea where Saiki meets his future daughter)
Cursed Child was dumb and here are some reasons why
(warning: spoilers. this probably won’t make sense unless you’ve read the script. far be it from me to recommend this kneazle-vomit of a play, though, so if you haven’t read it, good)
the plot is messy, strange, and childish. there’s only one time-turner left!! how will the characters cope when said time-turner is lost? oh lol they’ll just use this other convenient time-turner. for convenient plot points, see also: harry can suddenly speak parseltongue again, because well he just kind of needs to be able to do that
Harry cursing “oh dumbledore” without a hint of irony. like really? really
the characterisation was a pile of dragon dung and we all freaking know it. let’s break it down into individual characters here because fuck if I can stop at one bullet point for this
Hermione: the brightest witch of her age, the constant crusader for the unloved and the unrepresented, whose successful career and capacity for kindness apparently rest in the hands of her romance with Ron Weasley. oh… but wait. it sounds a little familiar, this story. hear me out. let’s see now, a highly intelligent person who falls in love but doesn’t have that love reciprocated, and who then becomes a really fucking mean teacher at Hogwarts through bitterness. sound like anyone we know? fam, they tried to parallel Hermione and Snape. Hermione and Snape. this being the same Snape who sneered in Hermione’s face when she’d been visibly hexed, and made her cry; the same Snape who bullied Neville Longbottom for years, while Hermione muttered instructions under her breath to help him. if you want to tell me that Hermione would ever allow herself to become a Snape parallel then I will kindly invite you to shove a dirigible plum where there’s no lumos solem
Harry: when Harry was at his angriest in OOTP, and he’s yelling at Ron and Hermione, there’s one thing we notice. everything he yells is true. he means it. he’s bitter about it and he’s loud and furious, but he doesn’t have the kind of anger that just says anything to cause hurt, that speaks without thinking, not even at this crisis point in his life. are you really going to tell me that the boy who knows down to his bones what it’s like to feel rejected, and misunderstood, and alone, would ever say - even in anger - that he wishes Albus wasn’t his son? I am going to snap wands over this
Cedric. and this one burns. because Cedric was brave and he was true, and he had a sense of justice that led him to telling Harry about the way the golden egg worked, and led him to sharing the winning of the triwizard tournament with Harry. he died, he was murdered at the age of seventeen, embodying a sense of justice so strong, an innocence, a goodness. Cedric Diggory - the boy who believed in fairness with an integrity that is astounding - becoming party to the indiscriminate killing and casual torture of the Death Eaters just because he had his head engorged one time… is about as likely as Hagrid stomping on a dragon egg. it’s an insult to who he was and I am going to engorge the entire bodies of the writers of this fucking play so that hopefully they’ll just float away too, with all the grace and likeability of Aunt Marge
Voldemort: can we all agree now that Voldemort would not father a child. the idea of him experiencing lust seems out of character; the idea of him giving into a base urge seems more so. it’s too human, too vulgar, too physical; it would associate him with the common and the mainstream in a way that I contend he would find repulsive. Tom Riddle Sr. was trapped by Merope into sex and romance; to have sex would be to bring himself closer to his parents, down to the level of a Muggle and a witch who lacked power and craved love, two things Voldemort could never, ever stand. no. he wouldn’t have sex just because he wanted to; he’d be repelled by the idea. what other reason could there be for him to do the nasty with Bellatrix? to ensure the continuation of his line? that makes even less sense. achieving immortality for Voldemort was always a question of magic, a personal quest. he wouldn’t go for a messy, physical back-up plan. he always thought that he would win. if anything, he would see a child as a future threat, not a security. another being in the world with the promise of his power? he wouldn’t risk it.
what the fuck was that trolley witch scene though
“for voldemort and valour” are you serious. is there a Gryffindor spy in the Voldemort camp laughing their ass off because they actually managed to get that one through. and are they ten years old
overall, the message of the play infuriated me. Delphi was the child of Voldemort, so she was evil. Albus was the child of Harry, so he was good. Scorpius was the son of Draco, so he should have been evil, but Draco’s actually kind of good now and his mother was nice, so he can be good too. where is the complexity? was five hours of drama not enough to find some shades of morality? where is the hope, where is the resonance, in a story that says that good begets good and evil begets evil, and nothing can really change? the Harry Potter book series was about a boy who grew up with something inside him that was utterly evil, and who rejected it, fought against it, changed the path that fate seemed to wish him to walk. not slytherin, not slytherin. we had Regulus Black and Sirius Black, who rejected their pasts, whose heritage and whose House stood for nothing against their principles, their eventual and separate forms of bravery. we had Remus Lupin, who transformed into a monster but never became one, not even after years of rejection and pain. we had the word mudblood, and we watched Hermione fight it, we knew it was ridiculous to label someone based on their blood. and now… we have the Cursed Child. a playwhich is flat, and stupid, and tells us that your parentage inevitably dictates your character - and that how you’re treated is how you’ll treat others. dear writers, in the words of Albus Dumbledore, you fail to recognise that it matters not what someone is born, but what they grow to be. you fucks.