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dani474 · 3 days
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every few months some annoying motherfucker makes a post asking why it's called 'spirk' instead of 'spork' or 'kock' and the short, easy answer is: spirk is already the silly ship name, the og ship name is 'k/s' and the og og ship name is 'the premise', because spirk is a ship so old that it was around before ship names were invented. now never come into my house again.
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dani474 · 3 days
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Alright, to ao3's soon to be arriving Wattpad Refugees, a basic guide to general user culture:
1.) Unlike Wattpads vote system that let's you like each chapter, the ao3 equivalent kudos only allows one per work. Everyone is generally quietly annoyed about this. To engage with each chapter, you're heavily encouraged to comment. Trust me, it makes people's day.
2.) Ao3 has no algorithm. By default it's latest updated work first. You can find things to your taste through searches, filters and tags.
3.) 'No archive warnings apply' and 'user has chosen not to use archive warnings' mean two very different things. No archives warnings means the work is free from any content that could require a warning tag (character death, graphic depictions of violence, non-con, etc). User has chosen not to use archive warnings means it could contain any of the warning content, be it hasn't been explicitly tagged. Treat it like an allergen. No archive warnings apply is allergen free. User has chosen not to use archive warnings, may contain traces or whole chunks of the allergen. If you're likely to have a bad reaction, maybe don't take the risk.
4.) Speaking of warnings, ao3 has very few restrictions on the type of work that's allowed. Whatever your personal thoughts or feelings on that are, thats how the site is. You're likely to run across some dark subject matters and a lot of people are uncomfortable with reading that. You're well within your rights not like these works and have your opinion on whether they should be allowed, but harassing the authors of such works (or any works) is more likely to come back on you than them. Ao3 operates on a strong policy of 'don't like, don't read'. Use the tagging system to your full advantage to only engage with the kind of works you want to see.
We look forward to welcoming you all and seeing the fantastic works you create. Happy writing!
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dani474 · 7 days
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romantic theory print copy/graphic novel. all pictures from national geographic 1972-2007
(more pages under the cut)
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dani474 · 7 days
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going through it (started reading jwqs)
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dani474 · 7 days
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drew a few more jwqs characters as i imagine them (qijing ver)
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dani474 · 7 days
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‼️‼️⚠️‼️‼️JWQS and FGEP have been licensed in English!!!‼️‼️⚠️‼️‼️
No release date has been given as of yet.
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dani474 · 7 days
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day one - flowers
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dani474 · 7 days
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based on this
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dani474 · 9 days
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truly nothing about house md prepares you for wilson. he's fucking insane. he's been divorced three times. he's the only person who can scheme just as well as house. he gives a patient his own liver bc he felt bad for him - a patient who didn't even know wilson's name. btw. he noticed a patient had depression bc he never mentioned his grandkids. he starred in a porno. he dosed house with antidepressants for several weeks. he allowed his boybestie and his gf to share custody of him and didn't even try to stop it. house told him to buy a piece of furniture that represented who he was, and he bought a $4000+ organ for house. he was gonna torpedo his career to talk abt euthanasia bc one of his patients suffered longer than he had to. he let house move into his 1 bed apartment bc his therapist thought it'd be a good idea. this man would do anything for anybody if they let him. he'd fucking quit his job to save a snail off the sidewalk. bro is not normal in the slightest
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dani474 · 9 days
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Fanfolks today need to remember how important The Premise was.
Y'all have heard of The Premise, right?
See, historically there have always been people who saw an extra layer of gayness on certain pairs of fictional people (you just thought of several), and people Back Then even wrote their own fanfic (or as they were called at the time, "pastiches"), but the first widespread queer fanwork to really define the fanfiction genre was KIRK AND SPOCK. Kirk/Spock. K/S. The very first slashfics.
Why this work was vastly, overwhelmingly written by straight women is a discussion for another time, but it was, so that's the main perspective I'm gonna consider here.
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How do you - a statistically middle-class, 30+, stay-at-home wife and mother - how do you write slashfic ao3-style in the 1960's before the internet?
Carefully.
Through letters with friends, phone calls, pen pals, and sometimes - sometimes - clandestine meetings of small groups. Whole novels were written communally, round-robin style, by sending typed or handwritten additions chapter by chapter to each other. These were all underground, some deep underground; even the early Trekkie fanzines of the time wouldn't touch them.
And keep in mind, few of these stories were explicitly even sexual! But they were all about a very, very close relationship between two men. In the 1960's.
Guess how cool everyone else was about this.
Actually, for their part, Gene Rodenberry and the other writers were fine with it, saying that they had deliberately written the characters to be two halves of a whole, and if you wanna read it that way, yeah sure, go right ahead. Shatner and Nimoy took it all in good humor, and seemingly still do, each guy basically gesturing to the other and chuckling "I mean, who wouldn't?"
But elsewhere there was vicious backlash against The Premise, and not just within the fandom. This was still at a time in the US and UK when various "sodomy" and "decency" laws made no distinction between homosexual sex acts and just, like, directly lighting another man's cigarette with your cigarette in public. (That, sadly, is not a fucking joke.)
It was probably the closest some suburban cishet women came to understanding the pain of being in the closet. They had to protect this secret from their friends and family at all cost. There were cases of divorces where women lost custody of their children because their writing had come to light.
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Can you imagine having such a burning desire to write for your OTP that you were willing to lose everything over it? Even if you were never caught, you still had to be willing to wait weeks, months, to receive a letter in the mail that you had to carefully intercept, read in secret, and then add your own chapter t, also in secret, and then send off, perhaps never to be seen again.
These people were goddamn heroes, and they laid the foundation for the world we live in today. A world where we can read, write, comment on, or share - in a matter of seconds! - literature about two background characters from two different franchises enjoying a really specific kink involving vacuums or something. And that's objectively amazing.
Raise a toast to our fanfiction elders, who simped in the darkness so we could simp in the light of day.
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dani474 · 9 days
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house in season 8 truly uses every single opportunity to float the idea of him and wilson having sex. he’s just constantly in “haha jk…unless?” mode
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dani474 · 9 days
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I really like house and wilson because they are the opposite of "the one that got away" — they spend every waking moment making sure the other won't get away. they're insane. they're in love. they cannot be separated. they're terrible. they're codependent. it's always been you. you. I chose you before and I will do it again. damn my luck. I will make sure it's our way. I will kill the version of myself everyone else sees and I will do it for you and only you will reap any benefit. fuck it all. I cannot let myself be the one that got away. you keep me. I am yours and yours only.
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dani474 · 9 days
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you're one bus stop away from the afterlife – Original
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dani474 · 9 days
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i know it's funny to say wilson is fucked up in ways the dsm 5 cannot describe but i think he also normal regular ppl mental illness... as in ocd. i think wilson has moral ocd. his thoughts yell at him that if he's anything other than kind and perfect, he's a horrible person. bad things will happen, and they'll all be his fault. like if he's a little harsh to his old patient with terminal cancer, their death will be on his hands. he knows realistically that it wouldn't be, but he actually cares so much about these people that he can't risk it. the idea scares him so much. and i don't think he's had it his whole life. maybe ocd traits as a kid, little things here and there, but not full-blown ocd. what triggered it was danny. he didn't pick up that night, danny disappeared, and he spiraled. he wasn't there to listen, to be kind, then something bad happened and his brain clung onto that. cause and effect.
i dunno if anyone else sees this or agrees, but it makes sense to my silly little ocd riddled brain
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dani474 · 9 days
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In healthcare, we learn a saying: "If you treat a disease, sometimes you'll win, sometimes you'll lose. If you treat a person, you'll win every time, no matter the outcome."
I can't help but extrapolate this to House and Wilson. House who has studied every infectious and genetic disease under the sun who fights and fights and fights for life, who pretends he doesn't care about his patients, who even says, "I don't get paid to treat people, I get paid to treat diseases, the fact that people have to be involved is a downfall," who admits he takes every loss personally and feels it's his fault because he failed. If he had been faster, they would have lived. If he had figured it out sooner. House who believes he deserves misery because of this, who thinks chronic pain makes him a better doctor because if he's less pliable as a person he's more likely to find The Answer when The Answer is all that matters.
On the other hand, you have Wilson. A practiced oncologist, someone who has long ago learned it is impossible to beat every disease but it is possible to bond with every patient, to the point that he advises other doctors on techniques to make bonds with their own children, because the point of medicine is in the humanity. Wilson who fights for life but also fights for comfortable death, to whom palliative medicine is no stranger. He takes hits, of course, and the losses hurt, but he also finds comfort in the journey from one space to another. He acknowledges that he believes in the In Between from life to death and though it isn't often expressed (particularly to House, as this elicits too many volatile reactions), he thinks something happens after the meatsack stops working and the chemical computer in the brain shuts off. He believes people are something more than neurons.
And their roles are foils of one another throughout the series. This is always clear in their medicinal acts. House fighting for life, searching for answers, and Wilson rolling joints, rigging PCA pumps, committing MAID illegally.
They only swap roles for each other in the finale.
In the final act of their friendship, Wilson knows he is going to die. He knows his options are shorter and painless or longer and painful. He wants painless. But House needs him. "I don't think that's a bad thing anymore," he says. He is ready to go for the long haul. He knows it isn't a cure, that he'll still die, but sometimes love is worth the pain, and more hours with House (even in agony) will be worth the pain. He's going to fight, knowing he'll lose, knowing it's pointless except to say that he spent another few months with his best friend confined to a hospital and a clean room.
And in this final act of their friendship, House knows Wilson is going to die, has spent days pleading with him just to keep fighting for more time, you could make it another two years instead of five months. Until Wilson is ready to start chemo. "You're the only one I listen to. You're smarter than me." House gives Wilson what he wants: painless and quick, the final five months spent together. House rages against the terminal acts of dying bodies all the time, but he can destroy that instinct to love Wilson better. He can make Wilson comfortable until the very end. He can treat the person, not the disease, just this once.
And that's what medicine is all about.
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dani474 · 9 days
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the levels of repression in both house and wilson…yet they are opposite of one another. house routinely makes gay innuendos (whether sexual and/or romantic) towards wilson, yet wilson doesn’t take him serious at all.
and this constant rejection from wilson is both a buoy as well as a giant wall. house pushes their relationship time and time again. wilson refuses to let the nature of it change. house brings up a romantic getaway, wilson shoots him down. house sabotages wilson moving out, wilson doesn’t stay. house allows himself to be The Other Woman regardless of how bonnie or wilson’s other ex-wives feel. in a way, it boosts his ego and makes him feel special. he is allowed to have wilson in this way.
amber is an extension of house; she is house in a woman’s body. house can accept it because he has expressed before that if wilson were a woman, they would’ve been married already. so why can’t the same be true for wilson? let him find a woman version of house. house loves wilson so much that he goes into a risky surgery to try and save amber. this is his Place simply because wilson and him cannot escape the confines of compulsive heterosexuality.
and it is compulsive. wilson never feels good enough or secure enough in a relationship outside of his and house’s. he cheats, he lies, he manipulates. all because at his core, wilson’s insecurities render him into a selfish person. he has affairs and he prioritizes house over his wives, because he doesn’t feel like his own wants/needs are met by his wives. or that they should/deserve to be met. he doesn’t know how to communicate them!! he maybe even feels guilty for having them. because even to house, he communicates these desires in metaphors or pranks or whatever other indirect way he sees fit. but the difference between house and his wives is that wilson has no tangible, legal sense of obligation to house. if house doesn’t meet his expressed needs, fuck him!! they don’t owe anything to each other!! the rejection will sting less.
wilson chases women on such a compulsive level that it’s nearly a reaction to whatever house has done. it’s affair after affair. wilson moves in with his patient during the time house is on a ketamine treatment. house, his patient who seemingly no longer needs vicodin. no longer needs him. if wilson is no longer needed, he parasites to the next host. why? because he doesn’t know who he is on his own. why? because he has trouble expressing his own core needs as a person. and as a result, these core (repressed) needs seep out sideways.
so why threaten this sense of safety he gets with keeping house at a platonic level? if they were to entangle into a relationship, wilson would be wrapped under an Obligation Gauze. there is a fear he’d lose house because, historically, all of his relationships end in loss. because, historically, he cannot express his needs to his partners due to his fear of rejection.
and then wilson becomes terminal. and then death becomes bigger than an anxious fear of loss/rejection.
“i need you to tell me that you love me.”
wilson, my brother in christ. house cannot say those words to you because for all the years you’ve known him, you’ve denied him it. the only way house can tell you that he loves you is by burning his home down and faking his death. he is nothing without you. you know it as well as he does. these things remain unspoken because that is the way you’ve molded the relationship to be.
wilson has house on a leash. house runs as far out as possible until the leash yanks him back. when wilson finally trusts house enough to let him go off-leash, house is too conditioned to act as expected.
and this conditioning in house is not just wilson’s doing. it’s primarily house’s own doing. his own self-loathing chains him to wilson’s side. as an addict, yes, but also as a support system. house hates himself so viscerally that it affects every interpersonal relationship he has, including with wilson. but wilson never, ever leaves no matter how bad it gets.
also. who else other than wilson gives him a sense of bodily autonomy? not stacy, not cuddy, not his fellows. wilson doesn’t pity him. wilson enables him. wilson lies for him. house will selfishly keep wilson forever because wilson is all he reliably has.
so house can push and prod wilson into gay romantic/sexual innuendos, but when wilson yanks that leash, he’ll drop it. it’s a buoy for reality checking where he is with wilson. it’s a giant wall for enabling his self-hatred thought process that even his boy best friend has limitations to his love for him (or at least what is acceptable). addict line of thinking.
they both eat each other up like an ouroboros. where does wilson’s repression end and house’s begin?
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dani474 · 10 days
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It must be wild to be Wilson’s patients. You meet him and he’s this incredibly nice gay doctor and then you learn he’s been married to women???? And sometimes his feral boyfriend comes around but oh my god they were coworkers. And they should really try a throuple with the Dean. You might die of cancer but god damn that’s one hell of an office drama.
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