An Examination of Conflict That Occurs Though Shipping in Fandom

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If fandom jumped off a bridge, it would be onto aship An examination of conflict that occurs

though shipping in fandom.

Conference Paper July 2014

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Gemma Bothe

University of Western Australia

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A N Z C A 2 0 1 4 - M e l b o u r n e P a g e | 1

Gemma Bothe

PhD Candidate Anthropology and Sociology,

The University of Western Australia

[email protected]

PRIMARY KEYWORD: Community Media

SUPPLIMENTARY KEYWORKS: Creativity/creative Industries; Cultural Studies; Media Studies

If fandom jumped off a bridge, it would be onto a ship: An examination of

conflict that occurs though shipping in fandom .

Abstract:

Online technology is often purported as a great equaliser amongst users. Unable to physically see, or

hear users in a text based forum gives the assumption that individuals will default to an open and

socially inclusive mind-set. At a superficial level participation, fandom and fan fiction appears to be a

completely socially inclusive forum. Individuals are unable to tell the age, race, gender or demographicof other users. Membership of forums such as Fanfiction.net (ff.net), Archive of Our Own (AO3), and

Tumblr is essentially unrestricted, with any individual able to create an account. However, social

exclusion is not always based upon physical identifiers. Identification with a specific ship (a romantic

paring of two or more characters within a story) within a fandom can result in exclusion and intolerance

if the ship is not one predominately supported by the fandom. This can result in individuals feeling

unwelcome and discriminated against. This paper examines two ships which exist within theArrow

fandom; Olicity (Oliver Queen and Felicity Smoak) and Lauriver (Laurel Lance and Oliver Queen) on

Tumblr, ff.net, and AO3. Despite not being the relationship that is reflected in the television series, a

significant proportion ofArrow fans ship Olicity (941 stories on AO3), while those that ship Lauriver are

the minority (42 stories on AO3). Through an examination of these two ships I seek to show that fans

discriminate through their posts and commenting, and become socially exclusive based upon these fanpreferences.
mailto:[email protected]:[email protected]:[email protected]


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Online technology is often purported as a great equaliser amongst users. Unable to physically see, or

hear individuals in a text based forum results in the assumption that people will default to an open and

socially inclusive mind-set. At a superficial level of participation, online fandom and online fan fiction

appears to be a socially inclusive forum. Individuals are unable to tell the age, race, gender or socio-

economic demographic of other users. Membership and participation in forums such as Fanfiction.net

(ff.net), Archive of Our Own (AO3), and Tumblr are essentially unrestricted, with any individual able to

create an account. However, conflict is not always based upon physical identifiers. Identification with a

specific ship (a romantic paring of two or more characters) within a fandom can result in exclusion and

intolerance between groups within the fandom. This can result in individuals feeling unwelcome and

discriminated against. This paper examines two ships which exist within theArrow fandom; Olicity

(Oliver Queen and Felicity Smoak) and Lauriver (Laurel Lance and Oliver Queen) on Tumblr, ff.net, and

AO3. Despite not being the relationship that is reflected in the television series, a significant proportion

ofArrow fans ship Olicity (1290 stories on AO3), while those that ship Lauriver are the minority (64

stories on AO3). Through an examination of these two ships I seek to show that fans discriminate

through their posts and commenting, and become socially exclusive based upon these fan preferences.

This results in a fan community that is not homogenous and conflict free, but one that is fragmented

with competing interpretations of the source text.

The data for this paper has been collected over the last 6 months during the fieldwork for my PhD. This

data has been collected through interviews and conversations with both canon (original work) authors,

and fan authors, as well as through the observation and examination of fan fiction on ff.net, AO3 and

Tumblr.


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There are varied definitions of fan fiction that exist (Black, 2009; Busse, 2009; Derecho, 2006; Young,

2007; Jenkins, 1992; Jenkins, 2004); however, at its most basic fan fiction can be described as a written

story based on a pre-existing work, generally known as the canon. According to Schaffner (Schaffner,

2009: 614) [a]t its core, fanfiction is simply the practice of writing fiction based on other peoples

work.Many definitions of fan fiction can get caught upin dichotomies such as; professional vs.

unprofessional, commercial vs. non-commercial and quality writing vs. amateur writing. To fully explore

these issues would be an entire paper in itself; therefore, for the purpose of simplicity, I will only be

using the term fan fiction to refer to written texts, produced for a non-commercial purpose, that have

been posted on an online fan fiction site that is, or is similar to, sites such as archiveofourown.org, and

fanfiction.net.

Fan fiction is generally distributed online through a variety of websites. There are community sites such

as AO3, and fanfic.net, which are dedicated to a fan fiction from numerous canons. There are also other

web forums such as LiveJournal or Tumblr, which are micro blogging website, where people create

personal pages and then use them to post fan fiction, as well as general fan commentary. LiveJournal is

no longer particularly popular, while use of Tumblr is rapidly growing. Tumblr permits individuals to

engage more widely with a fandom as it allows individuals to post images and YouTube clips, in addition

to written text. Fans often use a combination of these sites at the same time in order to engage with

one or more fandoms. Participants site preferences can change over time with readers and writers

moving between sites.

Academic works on media fandom and fan fiction alike have generally painted a cohesive picture of fan

culture. Henry Jenkins (1992) seminal work on fandoms Textual Poachers: Television Fans &

Participatory Culture describes a relatively homogenous group of fans and their participation at fan

conventions. This text by Jenkins as well as the work of; Jonathon Gray (2007), Matt Hills (2007), and


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Camille Bacon-Smith (2000; 1992), position fandoms as a united, cohesive socially inclusive forum. This

idea is also perpetuated by fans, and content creators themselves. Anne Bishop, a renowned fantasy

and science author, recently commented at SwanCon 2014, a Perth Science Fiction Convention, that

fans are basically the same everywhere.These portrayals of fandom result in reducing the visible

difference and conflict that exists in media fandom in general and within specific media fandoms.

The cohesiveness of fan culture appears to have eventuated, to some extent, due to theusand them

dichotomy that has been created in highlighting and exploring fan culture. This dichotomy, in part, could

have been fostered on fandom externally, as fandom is generally considered a low value activity and

one that is generally stigmatized by the general public (Lopes, 2006). Jonathon Grayswork Why Study

Fans differentiates, to some extent, between media fans and fans of sports in order to demonstrate that

the social stigma and bias that exists towards media fans (Gray et al. 2007). However, despite

differentiating at a macro level between media fans, sports fans, and general society Gray (2007, pp. 4-

7) inadvertently glossed over any difference within the fandoms. Gray focuses on fans interaction with

generalsociety,and discusses fan hierarchy in holistic terms rather than examining differentiation

within particular fandoms.

The general cohesiveness in fandom is also assumed in discussions and examinations of fan fiction

practices. Works such as those in Hellekson and Bussesedited collection New Essays: Fan Fiction and

Fan Communities in the Age of the Internet, put forward alternative academic perspectives on the

history of fan fiction (Coppa, 2006), definitions of fan fiction (Derecho, 2006), and whether or not fan

fiction should be free (De Kosnik, 2009). However, within all of these works is an assumption of unity

and cohesiveness within the community that they are discussing. Rebecca Black in her workAdolescents

and Online Fan Fiction (2008) also neglects to examine conflict within fan fiction participants. In Blacks

examination of adolescents learning English as a second language, through reading and writing fan

fiction, she presents the adolescents as engaging in a cohesive anime fan fiction community. This is most


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obvious in her characterisation ofthe kinds of reviews and comments that fan fiction participants leave

for each other. Black (2008: 107) identifies four main types of reader responses; theOMGStandard,

which is simple positive feedback; gentle critiquethat incorporates positive feedback with gentle

suggestions for improvement; focused critiquethat incorporates positive feedback with specific

suggestions for improvement; and editorialisedgossipwhich focuses on the characters as if they were

real life people. None of these types of reviews incorporate the possibility for a purely negative, or an

argumentative comment. All of the works outlined above paint a picture of a complicated, yet a

cohesive and conflict free community of fans.

Media fandoms, have also been constructed as sites of active consumption (Gray et al. 2007: 7; Ford et

al. 2006). The consumption of media products is something that has received a large amount of

examination, and is not a subject I wish to engage with in depth here. However I do wish to highlight

Stuart Hallstheoretical approach of encoding and decoding communication (Hall, 1980). Hall suggests

that media audiences play an active role in decoding media, and constructing meaning from the content

that they are presented with. Therefore, all individuals will not interpret the same source text in the

same way (Hall, 1980: 120-122). Hallstheory allows media to be interpreted in a variety of ways

resulting in individuals consuming the same media, but gaining different meaning from the text. The

holistic, cohesive view of fandoms, and fan fiction, previously described, does not appear to take into

account differing interpretations of the source text, and the resulting potential conflict within the

fandom.

A way in which different interpretations of a source text manifests in media fandom is through

shipping.Shipping,is a term in fandom that is derived from the word relationship.A ship refers to a

romantic relationship between two or more characters. An individual can ship characters whose

relationship is canon compliant, or in many cases the ship can be not represented or only marginally

represented within the canon. The characters, although often from the same fandom, do not necessarily


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need to be. For example, an individual may ship Elsa, from the Disney movie Frozen, and Jack Frost from

the Dreamworks movie Rise of the Guardians. Fans can ship several combinations of characters within a

specific fandom, but they may have an OTP; which stands for One True Pairing (or OT3; one true pairing

involving three characters). An individualsOTP is the ship that that they are most committed to.

Shipping is a fairly common occurrence within fandoms. In interviews with fan fiction readers and

writers, many have stated that they have shipping preferences, or ship particular couples. Some

participants have also commented that they will not read a story if the ship within the fan fiction is not

one that they enjoy. Two participants, J and M, during an interview jokingly commented that if fandom

jumped off a bridge it would be onto a ship.This is a play on a saying intended to highlight that actions

resulting from peer pressure and mass opinion are not necessary logical. In this case the rhetorical

question is altered to demonstrate there are illogical actions and opinions taken by a majority within a

fandom, however the motivation for these actions is often a particular ship.

Shipping is also evident at a structural level within fan fiction storage and organisation. Works in both

AO3 and on fanfiction.net are organised so that there is an option to sort and filter stories based on

romantic pairings. On AO3 there is a separate tagging section for writers to tag a relationship in order

for readers to be able to search for their preferred ship more easily. Tagging couples on AO3 and on

Tumblr can appear in two ways. One way to tag is fairly standard, as it is the couplesfirst and last name

separated by a forward slash; for example Oliver Queen/Felicity Smoak. Ships can also be tagged

through the creation of a portmanteau name. This is done by either combining the couple names, alias

or descriptor associated with the individuals in the ship. For example Olicity is the combining of Oliver

and Felicity, or Smoaking Canarrow, is the combination of Felicity Smoak, the Black Canary (alias of Sara

Lance), and Arrow (alias of Oliver Queen). These couple names appear in most, if not all fandoms, for

instance Outlaw Queen is the combination of the Evil Queen (alias of Regina), and Robin Hood from the

television series Once Upon a Time. The ship BioSpecialist is the combination of two characters job titles


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from the television series MarvelsAgents of S.H.I.E.L.D. Couple names are also regularly tagged on

Tumblr, with tags such as #Olicity and #Lauriver making a regular appearance in posts that feature

Arrow.

The two main ships which exist within the television showArroware those between the main character,

Oliver Queen, and either Laurel Lance, or Felicity Smoak. The television series is based upon and inspired

by the comic book hero Green Arrowcreated in the DC Comic universe. The television series features

reimagined storylines, villains and characters from the original comic book series.Arrow has just finished

its second series, and it has been reported to be renewed for a third season (Byrne, 2014).

The pairing between Oliver Queen and Laurel Lance is canon compliant, as within the television show

Arrow Oliver Queen and Laurel Lance have had an onagain, off againrelationship. This is consistent

with the DC comic series Green Arrowin which Oliver Queen eventually marries, Dinah Laurel Lance.

Alternatively the pairing between Oliver Queen and Felicity Smoak is not canon compliant. The character

of Felicity Smoak in the television series has little resemblance to the character of the same name in the

comic series Green Arrow. Although the scenes and writing in the television series hint at potential

romantic pairing between the two characters, there have been no explicit romantic interactions. Despite

the lack of romantic interactions between Oliver Queen and Felicity Smoak there is an increasingly large

fan following that ships these two characters.

Despite being non-canon compliant the Olicity ship appears to be the more popular one amongstArrow

fans. On AO3 there are 1290 Oliver Queen/Felicity Smoak stories, compared to 64 Oliver Queen/Laurel

Lance stories. In addition on fanfiction.net there are 1.6 thousand stories that feature Oliver Queen and

Felicity Smoak compared to 135 stories that feature Oliver Queen and Laurel Lance, as of the 28th

of

April 2014. Fan fiction participants engagement with ships goes beyond the stories written on both AO3

and fanfiction.net, with fan fiction readers and writers posting about their favourite ships on Tumblr.


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After each episode ofArrow a stream of text posts, drawings, YouTube videos and gifs appear. This

content highlights and dissects what happened during the episode, as well as positing ideas for future

episodes, and posting some fan fiction. Many of the posts relate directly to what the individuals ships, or

shows an appreciation for a particular character.

Within theArrow fandom there is a level of animosity between these two ships. This animosity can be

clearly seen through examining several posts on Tumblr. Posts which are aggressive, or negative towards

the character that is not part of the fans ship are not uncommon. Below are several examples of

Lauriver fans, and Olicity fans demonstrating their allegiance to their respective ships.

Wow, I just lost 4 followers for shipping Laurel/Oliver. Everyone who doesntlike Laurel can unfollow me

rn [right now] #lauriver, #arrow, #laurel lance #laurel x oliver(A Green Rider, 31st

of March 2014)

Laurel haters can seriously gtfo [get the fuck out] after this episodesending. Shes[Laurels] gonna be

part of Team Arrow and nothing you can say or do can change that. And shes[Laurels] gonna be more

important than felicity, just like she always has been.(My Name is Oliver Queen, 2nd

of April 2014).

Is it just me or it Laurel getting bitchier and bitchier. Calm it lady. #anti laurel #anti lauriver #cantstand

laurel #anti ship #arrow #arrow season 2(starling arrow, 2nd

of April 2014).

My entire dash is Olicity.thentheresthat one Lauriver fan #olicity #anti lauriver(youaremysafeplace,

2nd

of April 2014).


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This animosity can also be seen in the tags used by individuals; for example, nolicityis a tag that is commonly

used to post anti-olicity sentiments, while anti-lauriveris used to post comments against the Oliver Queen/Laurel

Lance ship. The animosity expressed through these tags is not just expressed towards the fictional characters, but

also towards the actresses who play the characters, the writers of the television series and the fans that are

invested in each ship. Katie Cassidy, the actress who plays Laurel Lance has received angry, and at times hateful,

messages on social media from Olicity fans resulting in her tweeting on April 28th

2014 that Hatersare just jealous,

insecure, sad lonely people.While Lauriver fans have often told Olicity fans to growup,or implied that show

writers are panderingto Olicity fans.

As each new episode ofArrowis aired in the United States new evidence is gathered from the scenes and dialogue

of the episode to lend credence to the legitimacy of one ship over another. Select images from the episodes are

turned into gif sets with accompanying text. The audio of the images is removed and any speech is

replicated by text that appears on the image.However, additional interpretative text is generally added by the

Tumblr user as a heading or an addition underneath the gif set. This additional text breaks down the scene to

interpret it within the frame of a specific ship. For example, in the episode Time of Death Oliver confronts Laurel

Lance and has an argument with her stating, I have loved you for half my life, but Im done running after you.

Laurivier fans interpreted this scene as evidence for Olivers continuing love and affection for Laurel Lance; while

Olicity fans saw this scene as Oliver standing up to Laurel, and beginning to let go of their past relationship.

The interpretation of scenes and interactions through a particular ship also occurs through fan fiction stories

written using particular scenes of episodes as a launching point. This was done extensively for the episode Keep

Your Enemies Closer,as during this episode Oliver tells Felicity that he justthink[s] itsbetter to not be with

someone I could really care about.Lauriver fans did not interpret this scene as Oliver referring to Felicity as the

someonehe could really care about.While Olicity fans assumed that Oliver was referring to Felicity. Olicity fans

have written numerous fan fictions based on this scene to explore the inner thoughts of the characters, their

motivations, and in some cases re-write the scene so that it was more explicitly Olicity.


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Both the Olicity and Lauriver fans are watching the same scenes of the television show, but interpret the

scenes and dialogue in different ways to suit their ships.This can be linked explicitly to Hallsconception of

encoding and decoding media. Olicity and Lauriver fans are decoding the media ofArrow in order to suit their own

fannish frames resulting in the fans seeing different relationships between the on screen characters. These

differences in interpretation have the effect of creating different and in the case ofArrow, competing, sub-

fandoms within the television series.

As demonstrated by the competing ships within theArrow fandom, fan fiction, and fandoms are not homogenous

places. As Halls(1980) theory of encoding and decoding media shows, media can be interpreted in a variety of

ways. These differences in interpretation result in groups and subcultures within fandom and fan fiction whose

interpretations of texts compete with each other. Previous studies of fans have sought to show the larger picture

of fandom. However, focusing on the bigger picture has neglected the divisions and subcultures that exist within

fandom. One of the most visual ways in which these competing interpretations and interests in fandom is

demonstrated is through fans posting fan fictions, comments and gifs dedicated to particular ships. Fans of a

particular ship interpret scenes and dialogue as evidence for their ship of interest. Interpreting texts in different

ways, amongst people who are passionate about the source text, can and does, result in conflicts, arguments, and

in some cases intolerance of fandom subgroups. These conflicts result in a picture of fans that is in contrast with

the homogenous identity of fandom that is often painted by scholars.


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An Examination of Conflict That Occurs Though Shipping in Fandom

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