Rachel Wieringa Slash Fiction

The Crossover Slash Fiction

In reading a few slash fictions, Jenkin’s formula of the genre generally stands up nicely. At some points it is incredibly acute, especially since many writers of slash fiction are unaware of his structure, and yet, for the most part, follow these unsaid rules throughout their slash fictions. The order in which these processes appear, however, tend to be scattered through the slash fiction, or even used more than once, often in subtle — and perhaps unintended — ways.

In the beginning of “Poor Impulse Control,” Peter and Wade’s relationship is addressed as friendship, much like their relationship in both *Spiderman* and *Deadpool* (ThanksIllPass). However, it is apparent that Peter has romantic feelings for Wade that may or may not be requited and have not been acted upon, like Jenkins states in “The Initial Relationship” phase (212). The author is also sure to describe any previous possible romantic events as “false hopes” in Peter’s mind, effectively addressing their relationship in the original series (where they are limited to strictly friendship), but also addressing the possibility of a homosexual relationship (which is wanted by this particular writer as well as possibly the other fans) (ThanksIllPass). In addition, the Flash has broken Peter’s arm, opening up the possibility for “hurt-comfort,” as Wade is concerned and worried over Peter (Jenkins 214). This also opened up the plot line, in which Wade made Peter pancakes, an action which “wasn’t healthy” for Peter to watch (ThanksIllPass).

“Masculine Dystopia” presents itself throughout the narrative, but is especially present whenever there seems to be some romantic connection between the two, such as intense eye contact or subtle touches wherein there is unaddressed sexual tension (Jenkins 215). In “Impulse Control,” the writer clearly states near the beginning that although Peter knows he has romantic feelings for Wade, he also believes it to be unrequited (ThanksIllPass). In this particular slash fiction the power struggle that Jenkins mentions does not seem to be present — it is mainly the characters’ fears of intimacy and perhaps the heteronormative society in which they live that seem to be the only factors preventing their romantic relationship (Jenkins 216).

The “Confession” Jenkins speaks of happens first in physical terms with a kiss, then is verbally reinforced directly after (220). I found that this occurred in most cases of slash fiction, where the authors assumed that the characters would succumb first to their physical desires before verbally addressing their feelings to one another. In addition, I found that the chances of a character recoiling in horror to a confession was slim to none; most authors took the Confession as an opportunity for the characters to finally engage in sexual exploits, described by Jenkins as the “Masculine Utopia” (221).

One particular aspect that sets this slash fiction apart from some is that it is a crossover of one story with another —*Spiderman* with *Deadpool*. Their interactions are limited to specific and few episodes within their shows, unlike other slash fiction characters (eg. Spock and Captain Kirk or Draco Malfoy and Harry Potter). It may be because of this limited interaction in canon that their romantic connections have less threats in their slash fiction, as they do not share a main storyline and supporting characters. It may also be an opportunity for more possibilities in their slash fiction, as they’re only limited to the character’s traits and the writer’s imagination.

Works Consulted

Jenkins, Henry. *Textual Poachers*. New York: Routledge, 1992. Print.

Princess Otaku Weeb. “Icing.” *fanfiction.net.* FanFiction, 5 Jan. 2015. Web. 11 Feb. 2016.

Rahndom. “Irresistible Fire.” *fanfiction.net*. FanFiction, 24 May 2008. Web. 11 Feb. 2016.

ThanksIllPass. “Poor Impulse Control — Spideypool.” *fanfiction.net*. FanFiction, 9 June 2013. Web. 11 Feb. 2016.