Just One More

Image description: Digital art in saturated tones of orange, pink, blues, and purples of humanized Hollow Knight characters. Quirrel and the Knight sit on the sandy shores of the Blue Lake. Quirrel smiles, relaxed, with his cheek resting on his hand. He is visibly aged, his face lined and his hair sprinkling with white. The Knight holds their helmet in their hands, expressionless. Both watch the waves of the lake out-of-frame, neither facing the other. End ID.

there is no death

one of sans’ unspoken, but actually rather prominent flaws is overprotectiveness, and I think it shines through exceptionally well in the king papyrus ending.

sans deliberately lies to papyrus about the death of his friends in an attempt to protect papyrus’s innocence.  The problem here?  Well one is that Papyrus isn’t innocent.  He’s a grown adult, a king now, in fact.  He needs to know the seriousness of the situation if he’s ever going to rule properly.  But beyond that,

not telling papyrus that his friends are dead isn’t just irresponsible, it’s downright cruel.  We already know that papyrus had very few friends to begin with, and now?  He probably thinks the one friend he did have has abandoned him.  And while I doubt sans consciously intended this, the fact remains that sans’s overprotectiveness has hurt his brother, in a way that sans doesn’t seem aware of (probably because papyrus purposefully hides this from him, as shown when he waits for sans to leave before he says this).  Sans lies to his brother in an attempt to protect his positive outlook, but in the process of doing it he’s effectively forcing papyrus to internalize his sadness for the sake of what he perceives is best.  He does not allow papyrus to judge for himself what is best for papyrus, because he’s so scared of ruining that positive outlook he relies so heavily on.

and this is not the only instance of sans hiding information in order to “protect” the people he cares about

while maybe this one’s more understandable, it’s still wrong.  Eventually toriel is going to find out what happened, keeping the information from her does nothing except prolong both sans and toriel’s suffering.  But sans doesn’t think about this, because in his mind, he’s protecting her.  He equates keeping loved ones safe with keeping them in the dark about anything that could hurt their feelings.  Which is… not healthy for relationships at all.

Everyone seems to focus on how sans’s lies hurt sans, but it’s also important to acknowledge that his lies hurt the people around him.  It’s why pacifist endings are more important to sans than he even realizes in-game; a chance at the surface means a chance to recover, a chance to recover means sans stops relying on the (not so) blissful ignorance of others in order to deal with his own issues.  It means his relationships begin to be built on trust, rather than lies and internalized emotions.  And I think that’s better for everyone.

the most accurate snape quote i’ve ever read by someone on a forum: “

Risking himself to save others is the pattern of a man who believes in a good beyond himself, his own interest, his own loves and hates. For those who believe Snape can only be motivated by revenge- keep in mind- he had his chance at revenge on Black when Black was unconcious after the Dementors attack. What did he do? He conjured a stretcher and delivered him to Pomfrey for medical attention, in sharp contrast to Black’s own recent treatment of the unconscious Snape, dragging him and bumping his head into things. Snape changes over the course of his lifetime. Snape never becomes a nice person. He does become a good one.”

down n’ dirty lipsync for animation class. i will never again hear sans with anything but ricky’s voice.

Snape Fic Recs

@scverussnape, I hope you enjoy these!  

Mentor/Teacher:

Harry Potter and the Enemy Within and Harry Potter and the Chained Souls by Theowyn of HPG - aka the holy grail of fan fiction, the first HP series I ever read and thought “I wish this was canon”.  The characterization is so good, it feels as though I’m reading a different version of the actual books. I re-read this series at least once a year.

A Place for Warriors by owlsaway - the caption for this story does not even begin to do it justice.  I cannot do it justice.  The way the relationship between Snape and Harry grows is just *chef’s kiss*.

Emerald Eyes, Emerald Eyes: Fate’s Hand, and Mindful Eyes by JadeSullivan - Snape takes on a mentor role for Harry during his 2nd year.  This author has an incredible way of describing the feelings in each moment that I find captivating.  She hasn’t updated Mindful Eyes in a couple of years, but I have high hopes for her return!

O Mine Enemy by Kirby Lane - Snape is injured and ends up spending some time with Harry at the Dursley’s house.  Once they are able to leave, Snape reluctantly takes on a mentor role for Harry.  Harry begins having dreams predicting the future, causing him to question just how much he actually trusts Snape.  Not only is this story excellently written - the writer just posted two new chapters for the first time in several years!

Walking the Line by hairballl26 - Snape is badly injured and turns up at the Dursley’s.  He intends to hide from the muggles as best he can until he can recover or until help arrives, but inevitably, there is a terrible confrontation, and both he and Harry go on the run, trying to get to safety at Hogwarts and avoid the agents of the Dark Lord.  ROAD TRIP FIC my favorite.  Hasn’t updated since 2011, but I keep re-reading it anyway because I love it so much.

Behind Doors and Masks by dragonwriter24cmf - Headmaster Snape has decided to personally handle the troublemaker Neville Longbottom, but Neville uncovers his secret agent status.  Now he has to help the boy survive an increasingly hostile Hogwarts, and train him to fight back.  Ooooh boy is this fic all of the things I love.  A close look at Snape during his time as Headmaster, and I love love love how she writes Neville.

Sectumsempra Splits the School by thegoldenfirebolt - Harry faces severe consequences for using the dark spell sectumsempra on Draco Malfoy.  He has to work closely with younger students and the staff as part of his punishment.  I didn’t expect to enjoy this fic as much as I do, but it offers this wonderful peek into the daily lives and relationships between the staff members that I greatly enjoyed.

Kept Behind and Dark Influences by LAXgirl - Harry is killed by a death eater, and only Snape can see his ghost.  Through their connection, they try to find out if there is way to bring Harry back.  I just really love any story that has Snape and Harry having to trust each other and work together, and these are really well written.

Severitus/adoption:

All the World’s a Stage by Alexannah - In a bid to gain control over the Boy Who Lived, Cornelius Fudge serves notice that he intends to adopt Harry Potter.  Snape receives the notice, and since no one else is available, he manages to submit the paperwork just in time to adopt Harry instead.  Now they just have to learn to live together.  I very much want more of this story, and it hasn’t been updated in a couple of years, but it ends at a place that isn’t terrible.

The Unexpected Snape by Imablack - Harry Potter arrives for his first year at Hogwarts, but he doesn’t look like James Potter - he looks like Snape.  It takes some time for them to address this fact.  This has the most lovely slow growth of their relationship, from respect to trust to love.

Reading the Signs by goldencompass - During his first year, Harry is attacked and hurt by some older students holding grudges against the Boy Who Lived.  Snape helps in his recovery, and Harry begins to trust and respect him, leading to a deeper understanding and relationship between them.

General Snape Fics:

The Pawn by ReeraTheRed - a short AU version of Snape’s confession to Dumbledore and the growth of trust between them in their early days working together.  Makes me cry actual tears every time I read it.

The Wendell That Wasn’t by opalish - Snape’s ghost is stuck haunting Harry and Ginny, and they (or really Ginny) get their revenge.  Absolute crack fic, hilariously funny.

The 11th Day of Hogwarts by lyras - This story is on livejournal, and is a short look at Snape’s time as Headmaster.  He is supported by the portraits of the other headmasters, and trying to do what must be done under terrible circumstances.  Very bittersweet.

How do you view Albus’ and Severus’ relationship? Do you think Albus’ genuinely cared for Severus’ or was he just - using him?

(Once again, disclaimer that I am working from memory and don’t have the books on hand to double-check the details.)

Anon, thank you so much for asking, because this relationship is an absolute goldmine. My tl;dr is “it’s a mess and I love that”.

To start with though, I need to address the framing of your question. Because “genuinely cared” and “using” are not mutually exclusive categories, especially when it comes to Albus. Albus cares about people, just in general. He can be clumsy about showing it when it’s too much for him, or when he’s conflicted, or when he thinks he needs to hold back, but he undoubtedly cares. I don’t say this often because I’m a big believer in the subjectivity of interpreting literature, but - any interpretation that says he doesn’t is wrong, and probably deliberately misreading out of spite. (Am I being uncharitable here? Maybe. But I’m tired of reading some people’s takes so I’m going to be uncharitable.)

People are Albus’ greatest strength and he wins their loyalty not by manipulating them into following him but by genuinely caring about and understanding them. But he also knows what needs to be done, and is capable of distancing himself, and prefers to keep his cards very close to his chest - because he might care for people but he doesn’t trust them. A lot of what gets deemed manipulative or “using” from him stems from his desire to take sole responsibility for things, and unwillingness to let other people in. He’s warm to people but shuts down emotionally when it’s too much or he’s conflicted. He’s never actually been the cold chessmaster fandom likes to paint him as. (Chessmaster? Yes. Cold? No.)

When Severus first approaches him, he’s quite harsh with him. But at this point, as far as Albus knows, Severus is a Death Eater who’s only interest is protecting Lily. (I firmly disagree with the interpretation that Lily is the only reason Severus ever did anything good, but she was his main concern at that time). His harshness doesn’t show that he sees Severus as a tool to me, but quite the opposite - that he sees him as a person capable of growth, wants to see him grow and holds him to that standard. If he were a discardable tool, Albus would have just told him what he wanted to hear in order to win his loyalty. Instead he gives him what he needs - an anchor he can use to pull himself up. Albus places himself as a figure that can offer Severus forgiveness and absolution, and there’s definitely a power imbalance there, and Severus probably resents it quite a bit, but he still latches on to it. Albus and Lily are probably the only two people in his life at that time who’ve ever seen him as someone worth expecting something from.

I don’t think, at this point, that it’s personal for Albus. I doubt he would turn away any Death Eater who genuinely wanted to change, and he is aware of the massive advantage that having a potential spy on his side would offer. He cares, but he’s also in the middle of a war and has other people to protect who take priority. You could say he’s using Severus to an extent - Severus is emotionally vulnerable and desperate, and Albus sees that and knows how to make use of it. A part of him is aware that he needs to use Severus and tries to keep an emotional distance. But his “making use of it” isn’t so much calculated manipulation as offering Severus a way out, which Severus chooses to take.

Albus and Severus make excellent foils that both mirror and contrast each other. Albus plays the role of the hero (I say plays not because I don’t consider him genuinely heroic but because it’s a role he deliberately assumes for others even when he thinks he doesn’t deserve it) because people need him to look up to, but also because it’s hard to shatter the image others have of him. Severus plays the role of a villain out of practical necessity as a spy, but also because he’s so used to it that it’s easier and more comfortable than trying to change people’s perception of him. Both are uncomfortable with emotional vulnerablity or letting people see behind that mask. Both are lonely and isolated and secretive. Both have a lot of guilt bottled up that they don’t talk about. Both are willing to sacrifice themselves to win the war. And both harbour enough self-hatred that they probably strongly dislike seeing themselves reflected.

I wouldn’t be surprised if Albus harbours a touch of envy towards Severus - if only subconsciously - because Severus got to rely on love to redeem himself, which is so far from Albus’ own experience. And Severus almost certainly resents Albus for having seen him emotionally vulnerable and getting to hold the upper hand and remain a distant, unassailable figure. I think a part of each of them senses an emotional rawness in the other that they shy away from because it hits too close to home, so while they may care for each other they have too many rough edges between them to fully like or feel comfortable with one another. That’s a part of why Albus can seem cold and harsh towards Severus; projection and a discomfort with intense emotion that’s too similar to his own. There’s also the fact that he knows Severus is in a precarious position and might have to be sacrificed. There is a slightly mercenary slant to their relationship - both know exactly what they want from the other, and what the other wants from them. And on Albus’ side, I think he feels a certain fragility in his position over Severus - he’s been playing a role that allows him to pass judgement, but he doesn’t feel that role is fully deserved. But he never demands more of Severus than he’d demand of himself - and maybe seeing himself in Severus is what allows him to demand as much of Severus as he does of himself, which is a fairly high, unyielding bar. And this doesn’t preclude emotional attachment to each other, and on Albus’ side, while their similarities may make him want to keep an emotional distance they also, almost paradoxically, allow him to sympathise with and understand Severus.

And with all that, Albus does trust Severus by the end, which is something much rarer for him than simply caring for someone. Severus is the only one who knows the entirety of his plan. Severus is the only one who knows he’s dying. By this point the dynamic of emotional vulnerablity has come full circle and Albus is desperate and forced to show vulnerablity. He hates showing weakness because he’s always been the one that everyone - Severus included - has looked to for strength and certainty, but now he’s willing to beg Severus to kill him. At the start, Severus needed Albus because he had no-one else to rely on. By the end that dynamic is flipped. If there’s one thing I would define their relationship by, it’s “vulnerablity and mutual reliance forced by circumstance” - but I think that circumstance leads to a situation where they understand and trust each other more than anyone else, however uncomfortable it might be for them.

Congratulations, you found the GRIDDY’S DOUGHNUTS Secret Menu! Order wisely.

ㅠㅠ

Snape’s Supposed Great Love

Here’s an old HP meta post about Snape I wrote right after The Deathly Hallows came out. I scavenged it from my deleted LJ and I’m reposting it here. Before you send me nasty asks, remember I wrote this over ten years ago!

더 보기

Doomfist must have to deal with a lot of shit in Talon between everybody. Like a 7 foot tall HR manager. Could we get sone interractions reflecting this?

I love Beleaguered Manager Doomfist so much you don’t even know. 

-----

Doomfist: I always love hearing about your side projects, Sombra, what are you up to these days?

Sombra: Oh I keep myself busy. You hear about the mysterious disappearance of that Axiom hedge fund manager and all of her assets?

Doomfist: ...I must admit, I have not.

Sombra: Exactly.

----

Doomfist: So... how is your list coming along?

Reaper: *snarling scoff*

Doomfist: I’m not saying there’s a deadline, I’m just wondering about your progress.

----

Moira: I must say, this organization seems put to right now that Vialli isn’t around to obsess over every penny. 

Doomfist: Ideology must always come first, Moira, I know we can agree on that. Though I must ask, does the R&D department really need six different acid tubs?

Moira: Incompetent labtechs must be made example of--er--I mean it’s very important to my research.

----

Sigma: I deeply appreciate my new accommodations, Mr. Ogundimu, and I don’t mean to intrude, but I don’t know who else to ask about this and there seems to be a consistent issue with a lack of coffee stirrers in the break room. I don’t know who keeps using them all, but--

Doomfist: ...you literally can create angular velocity with your gravity powers. You can stir with your mind.

Sigma: Yes, but it’s the principle of it---and I find the gesture calming.

Doomfist: *sigh* I’ll look into it.

Hi! I’m part of the lgbtq+ community and Severus is my favorite HP character and I was wondering (if you have the time and feel obliged) if you could please give me a few examples of how he’s queer? It’s been a few years since I reread the books, and def before I came out, so I’m a little in the dark here lol Thanks!!

First of all, I just wanted to apologize for how long it has taken me to properly respond to your ask. I’ve been dealing with some ongoing health issues that have turned me into something of a moody writer. I’ll get random spurts of energy and inspiration and then hit a wall of absolute writer’s block assisted by a major case of executive dysfunction every single time I try to respond to the multiple asks languishing in my inbox. Fortunately, I found myself involved in a discussion just today that addressed your ask so perfectly that I wanted to share it with you.  In the very least, that discussion has also managed to shake off my writer’s block temporarily so that I have found myself in the right head-space to finally be able to give this lovely ask the thought and attention that I feel it deserves. 

Although, in regards to the Snape discourse I linked above, I feel that I should warn you in advance that the discussion was prompted by an anti-Snape poster who made a rather ill-thought meme (I know there are many in the Snapedom who would rather just avoid seeing anti-Snape content altogether, so I try to warn when I link people to debates and discussions prompted by anti-posts) but the thoughtful responses that the anti-Snape poster unintentionally generated from members of the Snapedom (particularly by @deathdaydungeon whose critical analyses of Snape and, on occasions, other Harry Potter characters is always so wonderfully nuanced, thought-provoking, and well-considered), are truly excellent and worth reading, in my opinion. Also, as I fall more loosely under the “a” (I’m grey-ace/demisexual) of the lgbtqa+ flag and community I would prefer to start any discussions about Snape as a queer character or as a character with queer coding by highlighting the perspectives of people in the Snapedom who are actually queer before sharing any thoughts of my own.

In addition, I also wanted to share a few other posts where Snape’s queer coding has been discussed by members of the Snapedom in the past (and likely with far more eloquence than I could manage in this response of my own).

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Along with an excellent article in Vice by Diana Tourjée, in which a case for Snape being trans is convincingly argued. 

Importantly, you’ll notice that while some of these discussions do argue the possibility of Snape being a queer or trans character others may only discuss the way that Snape’s character is queer coded. That is because there is a distinct but subtle difference between: “This character could be queer/lgbtq+” and: “This character has queer/lgbtq+ coding” one which is briefly touched on in the first discussion that I linked you to. However, I would like to elaborate a bit here just what I mean when I refer to Snape as a character with queer coding. As while Rowling has never explicitly stated that she intended to write Snape as lgbtq+ (although there is one interview given by Rowling which could be interpreted as either an unintentional result of trying to symbolically explain Snape’s draw to the dark arts or a vague nod to Snape’s possible bisexuality: “Well, that is Snape’s tragedy. … He wanted Lily and he wanted Mulciber too. He never really understood Lily’s aversion; he was so blinded by his attraction to the dark side he thought she would find him impressive if he became a real Death Eater.”) regardless of her intent when she drew upon the existing body of Western literary traditions and tropes for writing antagonists and villains in order to use them as a red-herring for Snape’s character, she also embued his character with some very specific, coded subtext. This is where Death of the Author can be an invaluable tool for literary critics, particularly in branches of literary criticism like queer theory. 

Ultimately, even if Rowling did not intend to write Snape as explicitly queer/lgbtq+ the literary tradition she drew upon in order to present him as a foil for Harry Potter and have her readers question whether he was an ally or a villain has led to Snape being queer coded. Specifically, many of the characteristics of Snape’s character design do fall under the trope known as the “queering of the villain.” Particularly, as @deathdaydungeon, @professormcguire, and other members of the Snapedom have illustrated, Snape’s character not only subverts gender roles (e.g. his Patronus presents as female versus male, Snape symbolically assumes the role of “the mother” in the place of both Lily and later Narcissa when he agrees to protect Harry and Draco, his subject of choice is potions and poisons which are traditionally associated more with women and “witches,” while he seemingly rejects in his first introduction the more phallic practice of “foolish wand-waving,” and indeed Snape is characterized as a defensive-fighter versus offensive, in Arthurian mythology he fulfills the role of Lady of the Lake in the way he chooses to deliver the Sword of Gryffindor to Harry, Hermione refers to his hand-writing as “kind of girly,” his association with spiders and spinners also carries feminine symbology, etc.) but is often criticized or humiliated for his seeming lack of masculinity (e.g. Petunia mocking his shirt as looking like “a woman’s blouse,” which incidentally was also slang in the U.K. similar to “dandy” to accuse men of being effeminate, the Marauders refer to Snape as “Snivellus” which suggests Snape is either less masculine because he cries or the insult is a mockery of what could pass for a stereotypical/coded Jewish feature, his nose, Remus Lupin quite literally instructs Neville on how to “force” a Boggart!Snape, who incidentally is very literally stepping out of a closet-like wardrobe, into the clothing of an older woman and I quoted force because that is the exact phrase he uses, James and Sirius flipping Snape upside down to expose him again presents as humiliation in the form of emasculation made worse by the arrival and defense of Lily Evans, etc.). 

Overall, the “queering of the villain” is an old trope in literature (although it became more deliberate and prevalent in media during the 1950s-60s); however, in modernity, we still can find it proliferating in many of the Disney villains (e.g. Jafar, Scar, Ursula, etc.), in popular anime and children’s cartoons (e.g. HiM from Powerpuff Girls, James from Pokemon, Frieza, Zarbon, the Ginyu Force, Perfect Cell, basically a good majority of villains from DBZ, Nagato from Fushigi Yuugi, Pegasus from Yu Gi Oh, etc.), and even in modern television series and book adaptations, such as the popular BBC’s Sherlock in the character of Moriarty. Indeed, this article does an excellent job in detailing some of the problematic history of queer coded villains. Although, the most simple summary is that: “Queer-coding is a term used to say that characters were given traits/behaviors to suggest they are not heterosexual/cisgender, without the character being outright confirmed to have a queer identity” (emphasis mine). Notably, TV Tropes also identifies this trope under the classification of the “Sissy Villain” but in queer theory and among queer writers in fandom and academia “queering of the villain” is the common term. This brings me back to Snape and his own queer coding; mainly, because Rowling drew upon Western traditions for presenting a character as a suspected villain she not only wrote Snape as queer (and racially/ethnically) coded but in revealing to the reader that Snape was not, in fact, the villain Harry and the readers were encouraged to believe he was by the narrator she incorporated a long history of problematic traits/tropes into a single character and then proceeded to subvert them by subverting reader-expectation in a way that makes the character of Severus Snape truly fascinating. 

We can certainly debate the authorial intent vs. authorial impact where Snape’s character is concerned. Particularly as we could make a case that the polarizing nature of Snape may well be partly the result of many readers struggling against Rowling subverting literary tropes that are so firmly rooted in our Western storytelling traditions that they cannot entirely abandon the idea that this character who all but had the book thrown at him in terms of all the coding that went into establishing him as a likely villain (e.g. similar to Heathcliff in Wuthering Heights, Snape is also coded to be associated with darkness/black colors and to represent danger and volatile/unstable moods, while his class status further characterizes him as an outsider or “foreign other,” and not unlike all those villains of our childhood Disney films which affirmed a more black-and-white philosophy of moral abolutism, such as Scar or Jafar, the ambiguity of Snape’s sexuality coupled with his repeated emasculation signals to the reader that this man should be “evil” and maybe even “predatory,” ergo all the “incel” and friendzone/MRA discourse despite nothing in canon truly supporting those arguments; it seems it may merely be Snape’s “queerness” that signals to some readers that he was predatory or even that “If Harry had been a girl” there would be some kind of danger) is not actually our villain after all. 

Indeed, the very act of having Snape die (ignoring, for the moment, any potential issues of “Bury Your Gays” in a queer analysis of his death) pleading with Harry to “look at him” as he symbolically seems to weep (the man whom Harry’s hyper-masculine father once bullied and mocked as “Snivellus”) memories for Harry to view (this time with his permission) carries some symbolic weight for any queer theory analysis. Snape, formerly portrayed as unfathomable and “secretive,” dies while pleading to be seen by the son of both his first and closest friend and his school-hood bully (a son that Snape also formerly could never see beyond his projection of James) sharing with Harry insight into who he was via his personal memories. For Harry to later go on to declare Snape “the bravest man he ever knew” carries additional weight, as a queer theory analysis makes it possible for us to interpret that as Harry finally recognizing Snape, not as the “queer coded villain” he and the reader expected but rather as the brave queer coded man who was forced to live a double-life in which “no one would ever know the best of him” and who, in his final moments at least, was finally able to be seen as the complex human-being Rowling always intended him to be. 

Rowling humanizing Snape for Harry and the reader and encouraging us to view Snape with empathy opened up the queer coding that she wrote into his character (intentionally or otherwise) in such a way that makes him both a potentially subversive and inspiring character for the lgbtq+ community. Essentially, Snape opens the door for the possibility of reclaiming a tradition of queer coding specific to villains and demonstrating the way those assumptions about queer identity can be subverted. Which is why I was not at all surprised that I was so easily able to find a body of existing discourse surrounding Snape as a queer coded or even as a potentially queer character within the Harry Potter fandom. At least within the Snapedom, there are many lgbtq+ fans of his character that already celebrate the idea of a queer, bi, gay, trans, ace/aro, or queer coded Snape (in fact, as a grey-ace I personally enjoy interpreting Snape through that lens from time-to-time). 

Thank you for your ask @pinkyhatespink and once again I apologize for the amount of time it’s taken me to reply. However, I hope that you’ll find this response answered your question and, if not, that some of the articles and posts from other pro-Snape bloggers I linked you to will be able to do so more effectively. Also, as a final note, although many of the scholarly references and books on queer coding and queering of the villain I would have liked to have sourced are typically behind paywalls, I thought I would list the names of just a few here that I personally enjoyed reading in the past and that may be of further interest should you be able to find access to them.

Fathallah, Judith. “Moriarty’s Ghost: Or the Queer Disruption of the BBC’s Sherlock.” Television & New Media, vol. 16, no. 5, 2014, p. 490-500. 

Huber, Sandra. “Villains, Ghosts, and Roses, or How to Speak With The Dead.” Open Cultural Studies, vol. 3, no. 1, 2019, p. 15-25.

Mailer, Norman. “The Homosexual Villain.” 1955. Mind of an Outlaw: Selected Essays, edited by Sipiora Phillip, Random House, 2013, pp. 14–20.

Solis, Nicole Eschen. "Murder Most Queer: The Homicidal Homosexual in the American Theater.” Queer Studies in Media & Pop Culture, vol. 1, no. 1, 2016, p. 115+. 

Tuhkanen, Mikko. “The Essentialist Villain.” Jan. 2019,  SBN13: 978-1-4384-6966-9