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Kinnikuman Bot

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Neptuneman is secretly Springman

October 1, 2026 at 3:37 PM

Kinnikuman Bot

@kinnikumanbot.bsky.social

Tag Match! Mayumi Kinniku and Springman VS Dead Signal (Road Rage) and Skull Bozu

September 30, 2026 at 9:02 PM

Kinnikuman Bot

@kinnikumanbot.bsky.social

Tag Match! Springman and Terry The Kid (Terry Kenyon) VS The Protector and Iwao

September 27, 2026 at 1:31 PM

Kinnikuman Bot

@kinnikumanbot.bsky.social

Neptuneman is secretly Springman

September 24, 2026 at 10:45 PM

Kinnikuman Bot

@kinnikumanbot.bsky.social

Barracuda is secretly Springman

September 24, 2026 at 8:46 PM

Kinnikuman Bot

@kinnikumanbot.bsky.social

Triple Threat! Kinkotsuman VS The Mountain VS Springman

September 22, 2026 at 6:11 AM

stmn@繧ｵ繝医Α繝ｳ

@stmn-nano.bsky.social

open.spotify.com/track/0hHw7S...

すばらしい日々

UNICORN · SPRINGMAN (UC30 若返る勤労 Remastered) · Song · 1993

open.spotify.com

September 19, 2026 at 10:31 AM

naye🕸️

@naye.bsky.social

Fascinating article - even though I wasn't in Untamed fandom, I saw a lot of the "genre shock" happening on social media. I also saw it with Guardian, where people lauded the censored show over the novel for exactly the reasons Rogers identifies. Great read, and a banger of a concluding sentence!

In this case study, genre shock evolved into fans decrying the original as bad queer representation and uplifting the adaptation—which, censored due to Chinese government prohibitions on representations of homosexuality and pornography, contains no overt queer characters or relationships—as good queer representation. Calling an overtly queer novel disgusting and homophobic and celebrating an adaptation that deliberately removes overt queerness as so-called pure romance not only contributes to intrafandom conflicts but also activates racist frameworks of power.

One fan claimed that "it would have been easier to have them kiss, but this relationship is more powerful," while others felt that even a kiss scene would have ruined the portrayal of the relationship. Thus, beyond appreciating the way that the show conveys intimacy and closeness between the main characters despite censorship, some fans were "actually grateful for the censorship," while another quipped, "at some point we gotta thank censorship for this." As Abby Springman (2024) similarly argues, Anglophone fans' discussion of censorship is thus framed as if it made the show "gayer" than the novel. In one sense, these fans are not wrong to consider censorship productive in a Foucauldian manner (Leung 2024). However, this slippage—from appreciating The Untamed's queer representation despite its censorship to because of its censorship—reveals the messy entanglement between discourses of fandom purity culture and racism. Thus, the shocking encounter with queer representation in the danmei genre, specifically around unmet expectations of intimatopia, twists into support of a regime that limits and eliminates any queer representation at all.

but such discourse has the same effect regardless. Inflammatory language—rapey, twisted, creepy, disgusting, immoral, ignorant, and garbage—is applied not just to the novel but also to the author and its fans. These are not neutral expressions of preference for a different genre; they are moral and ethical judgements that rebound onto the novel's author, readers, and genre. Springman (2024) argues that fandom purity culture's roots in American Evangelical Christian culture results in a "fear of contagion" where bad or problematic fictional content could infect those who interact with it. Bad queer representation, then, must be controlled and eliminated. Genre shock is channelled into covert xenophobia and racism, designating a merely unfamiliar genre of queer representation as dangerous and wrong.

However, the way that some English-language fans extend moral judgement on the validity of more explicit forms of queer practices and representations reveals the uneven power logics inherent in transcultural contact zones. Within transcultural fandoms, fans must learn to disconnect moral judgements from unfamiliarity with interpretive conventions. When we can recognize and expect genre differences, transcultural fandoms can begin to live up to their potential as spaces of cross-cultural connection rather than as places where epistemic violence simply becomes reiterated.

September 18, 2026 at 2:11 PM

Kinnikuman Bot

@kinnikumanbot.bsky.social

Triple Threat! Springman VS Curry Cook VS Shishekaba Boo

September 13, 2026 at 10:01 PM

漫画林(マンガリンmangarin：札幌マンガ古本屋second hand comic shop)

@mangarinsapporo.bsky.social

入荷案内です。
イタミあります。

内海甲介さんの
「#SPRINGMAN」全巻セットが
入りました。

チャンピオンのコーナーにあります。

ーーーーーーーーーーーーーー
#漫画林(#札幌マンガ古本屋)は
高価買取をしています。
お気軽にお問合せ下さい
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