I Genuinely Have No Clue Where This Fandom Gets The Idea That James And Snape Were Rivals. The Definition

DELTA_EXPERIMENT - Chapter 3-13

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And once again actuator refs. 😊☕

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

Ghost caught on camera

this is so good......

WHAT LURKS BENEATH Comic

It's the spooky season...! To celebrate, please enjoy this 7-page horror comic featuring Brook that I made for "WHAT LURKS BENEATH", a One Piece horror zine full of incredible talent. After sales are only open until the end of October so please consider checking it out and grabbing a digital copy absolutely PACKED with amazing art & stories, and some of the nicest merch I've seen from a zine!

So I noticed this during my final Pacifist Run...

Here’s Sans as a Lost Soul. Notice anything unusual about his speech text? Let’s compare to this GIF of Alphys.

And here’s a close-up on his speech.

It’s hard to tell when it’s not in motion, but the letters are shaking. No other Lost Soul does this. Not even he does this at any other time; not even when you face him in Genocide Mode. His text never shakes like this at any other point in the game. And what does he say? “just give up. i did.” “why even try?” “you’ll never see ‘em again.” When Sans faces you as a Lost Soul, he can’t hide the emotion in his voice any more. Killing his brother won’t get this reaction, being killed by you won’t get this reaction, because to stop himself from being hurt any more, Sans has made himself numb. Even if you’re Genocidal and you commit atrocities like he’s never seen, he’s too far gone, so deep in despair that he’s dead inside. But if you play pacifist and befriend Sans? He sees you tread the same path as he did, trying to make things right despite overwhelming odds. He looks at you, and he sees the innocence he’s lost. And suddenly he’s out of Snowdin, he’s following you across the entire Underground, and he’s rooting for you, kid. You’ve given him hope. You’ve given him a reason to break out of his rut and actually care about something, and that something is you. Behind that glitchy mess as a Lost Soul, he’s crying. And given this is the guy who’s disguised his pain with laughs for the entire run, that’s a pretty huge deal.

no one asked but i never saw snape's story as a redemption arc, mainly because it turns out that for the entire length of the series he was already working on the side that is meant to be good so more like a revelation arc? not all of his actions were entirely great and they are not supposed to be, but many of the ones that made harry and co. hate him have different meanings when you see them in their full light like always being in the hallways catching harry out when the kid was wandering around (or making a beeline for the exact thing that is trying to kill him), he's not just trying to get harry in trouble but also trying to stop him from getting dead (a sisyphean task if there ever was one) i suppose snape's over-arching narrative must be considered a redemption narrative since it exists in a very strict good vs. evil/black-and-white world, but i don't know something seems "off" about that at least to my very specific brain...

WAIT WAIT WAIT

Okay so the triplet’s outfits are their own colors right?? Blue for Julieta, yellow for Pepa, and green for Bruno—

Except I just noticed that while Julieta and Pepa’s outfits are completely their own colors right

underneath Bruno’s green ruana am I crazy or does he almost (or used to?) match Abuela

And by extension what does this say about the triplet’s personalities, relationships with Alma, individualism/dependency/what have you because with how symbolic everyone ELSE’s colors are (like Isabela’s dress being more purple than blue reflecting how she’s Alma’s favorite, etc) it’s gotta mean Something right

[…we have been closed   for an hour.]

Look, I think it’s pretty clear that the border-crossing people secretly really like Héctor. Evidence for this includes:

• How happy the border guard looked when he finally got through. • The fact that when his Frida Kahlo disguise fails he admits that “actually I am Héctor”, not giving any last name. Clearly he’s gained enough of a reputation with these people that he knows they’re not going to confuse him with the  twelve thousand other  'Héctor’s that they’ve met doing this job. • The other border guard not locking him up, despite Héctor begging him and trying to bribe him and just generally pushing his luck (I remember sitting in the cinema thinking that I would have locked this guy up by now. But it makes sense if they’ve known him for ages and are all slightly amused by/sorry for the guy).

Probably they loved him for providing some much-needed entertainment every year. The border guarding gig on Dìa de los Muertos can’t be the best job in the world, since it mainly involves standing around, watching other people head off to their own families while counting down the hours until you can see yours.

The knowledge that, at some point during the night, Héctor will show up in some crazy disguise or with some convoluted plan to get through (I suspect that the year he met Miguel was the first time he dared to just make a dash for it, since that’s the only reason I can come up with for why he wasn’t better  prepared to stop himself from sinking into the bridge. Probably he was just desperate with the knowledge that this could very well be his last chance), which would then cause some excitement and give you and your coworkers something to talk about, was probably the one thing that kept them from dying (again) of boredom.

And of course, once he got through, this all stopped, since there was obviously no need for it anymore. Sure, Héctor still regularly got butterflies moments before the crossing, convinced that this was the year that they somehow forgot him again and he had to stay behind (one time he freaked out so badly  that Imelda had to physically push him in the way of the scanner), but even he never thinks of sneaking through.

And the border guards, weirdly, kind of miss it— the Dìa de los Muertos night shift is just so boring now— and somehow, word of this reaches the Riveras.

And that’s how The Game begins. The ‘try and get Héctor through border control without them realising it’s him’ game. Thought up to amuse the border guards and, though nobody mentions this to Héctor, to distract him and keep him from getting too nervous before a crossing.

Héctor absolutely loves it— though a large reason for this is  that it’s an excuse to spend more time with his family. Felipe and Òscar in particular get really into it and have been known to spend weeks before the crossing plotting their next attempt. Coco — who most definitely takes after her father in this respect— joins in.

Rosita helps out as well, but less with the inventive side and more with the practical side (where are they going to get the stuff for the disguises? Who’s going to play what part? When are they going to carry it out?), while Victoria makes it clear that she disapproves but then joins in anyway because somebody has to be there to point out the obvious flaws in their plans. Rosita and Coco together then persuade Julio to get involved, though he mainly just sits there offering only the occasional suggestion, and doesn’t have much to do with the overall planning.

Imelda, for her part, thinks that its stupid and childish and will have no part in it whatsoever, thank you very much. Oh, except for providing any materials that they need, and coming up with ideas, and helping them pull it off… other than that, she’s not going to have anything to do with it. (Wisely, her family avoid commenting on the fact that, for somebody who isn’t involved, it’s strange how often she ends up taking over the whole thing.)

Elena, when she dies, takes the same line as Imelda. “This is idiotic and I’m not going to do it— but here are some detailed instructions on how to do it and woe betide you if you do anything else without consulting me first!”  Miguel’s father is happy to help out and his mother, to everybody’s surprise, throws herself headlong into it and has great fun working on all the details and coming uo with zanier ideas each year.

When Miguel himself dies, he finds the whole thing hilarious (him being the only one of the younger Riveras who ever witnessed one of Héctor’s original, more madcap escapes) and insists on sneaking across the border with Héctor. He even manages to convince them to try Héctor’s old idea (apparently mentioned in the novelisation) of dividing himself up into baskets and getting carried across that way.

That’s the one year they call it a draw, since their skeletons start to reassemble at the point of crossing but, technically, both Miguel and Héctor had gotten through before that happened (or, rather, Miguel’s forearm and foot and Héctor’s hand, ribcage and straw hat got through in Imelda’s basket).

The border guards claim to find it a bit annoying— though, last time they brought him in for it, Héctor noticed a large scoreboard hanging on the wall (so far the border guards are winning, but the family’s help has finally allowed Héctor to score a few points of his own). A similar scoreboard hangs on one of the walls of the villa (oh yes, guess who ended up with Ernesto’s villa?) in the room where, once a year, the whole family gather to make their plans.