Completed series: Kindle edition: 11-chapters set; paperback: 1-volume set. When Sawoo gets bullied in high school, his only friend Kido promises to teach him how to become the greatest villain. But Kido goes overseas after teaching Sawoo only two of the three rules. Faithfully following the two rules, Sawoo writes Kido many letters in the hope that he will get to learn the last remaining rule but Kido never replies. One day after four years, Kido shows up in front of Sawoo, thinking those were love letters.

When Sawoo gets bullied in high school, his only friend Kido promises to teach him the three rules to become the greatest villain. But Kido goes overseas after giving only two of the three rules. While faithfully following the two rules, Sawoo writes Kido numerous letters in hopes of receiving the third rule, but Kido never replies. After four years, Kido comes back believing Sawoo has been writing him love letters.

Completed series: Kindle edition: 11-chapters set; paperback: 1-volume set. When Sawoo gets bullied in high school, his only friend Kido promises to teach him how to become the greatest villain. But Kido goes overseas after teaching Sawoo only two of the three rules. Faithfully following the two rules, Sawoo writes Kido many letters in the hope that he will get to learn the last remaining rule but Kido never replies. One day after four years, Kido shows up in front of Sawoo, thinking those were love letters.

Completed series: Kindle edition: 11-chapters set; paperback: 1-volume set. When Sawoo gets bullied in high school, his only friend Kido promises to teach him how to become the greatest villain. But Kido goes overseas after teaching Sawoo only two of the three rules. Faithfully following the two rules, Sawoo writes Kido many letters in the hope that he will get to learn the last remaining rule but Kido never replies. One day after four years, Kido shows up in front of Sawoo, thinking those were love letters.

Performativity of Villainy and Evil in Anglophone Literature and Media studies the performative nature of evil characters, acts and emotions across intersecting genres, disciplines and historical eras. This collection brings together scholars and artists with different institutional standings, cultural backgrounds and (inter)disciplinary interests with the aim of energizing the ongoing discussion of the generic and thematic issues related to the representation of villainy and evil in literature and media. The volume covers medieval literature to contemporary literature and also examines important aspects of evil in literature such as social and political identity, the gothic and systemic evil practices. In addition to literature, the book considers examples of villainy in film, TV and media, revealing that performance, performative control and maneuverability are the common characteristics of villains across the different literary and filmic genres and eras studied in the volume.

The tale of the legendary golden flower is widely known. The story has been told many times and in many ways. But always the flower is coveted by an old witch to keep herself young and beautiful. And always the flower is used to save a dying queen, who then gives birth to a princess with magical hair. Not willing to lose the flower, the old witch steals the princess and locks her away in a high tower, raising her as her own. But the princess always finds out who she truly is and manages to defeat the old witch. And yet this is only half the story. So what of the old witch, Mother Gothel? Where does she come from? And how does she come across the magical golden flower? Here is one account that recounts a version of the story that has remained untold for centuries . . . until now. It is a tale of mothers and daughters, of youth and dark magic. It is a tale of the old witch.

Some of history's greatest dramas have unfolded in the stories of kings and their sons in early modern Europe; and their conflicts presaged in some ways today's tensions in family-run businesses. In several notorious cases, the kings despised their sons to the point of committing murder, thus killing their own heirs. Prof. Konnert shows that these tragic dramas actually represent an extreme of the normal state of affairs rather than unusual occurrences. They are different in degree, not kind. This book is the first to look at these episodes in a systematic and comparative fashion. The stories are moving in themselves, but viewed in their historical context, they illuminate aspects of a past society which has faded from view in the 21st century. Two of the most famous episodes?those of Frederick the Great of Prussia and his father, and of Peter the Great of Russia and his son?are examined here, as well as three less well-known cases. These episodes are put into historical context, and the family dynamics of these royal dynasties are discussed, showing not only how they differed from those of today but also from those of their more common contemporaries. These tensions are also compared to those that have emerged in family-run businesses, where conflicts between fathers and sons are also very common. Furthermore, when the interests of the dynastic enterprise, whether political or corporate, take precedence over family life and personal happiness, marriage practices can produce particularly toxic relations. The cases examined here are unusual only in the degree of hostility rather than in its existence.