Wenhao Bi ASSEMBLING VIA 'DANMU': THE PLAYFUL NETWORKS OF BILIBILI - aprja
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Wenhao Bi
ASSEMBLING VIA ‘DANMU’:
THE PLAYFUL NETWORKS OF
BILIBILI
Abstract
The ‘danmu’ system in the Chinese video-sharing social media platform Bilibili,
in allowing comments to sync to any specific playback time, has constructed
a community where separated viewers can join in the seemingly simultaneous
conversations at the same time they watch videos. The participatory design of
such co-presence demonstrates the political and cultural gesture of speaking
out and exchanging ideas as the main orientation of the platform. Through
danmu comments are the living networks connected both in the videos they
are attached to, and in Bilibili as a whole. Despite the instantaneous emotions
displayed in individual danmu comments, there are affective connections that
shape the temporal quality of participation. The playfulness embedded in the
interface design has further directed the gratification of speaking out on the
platform.
APRJA Volume 9, Issue 1, 2020
ISSN 2245-7755
CC license: ‘Attribution-NonCommercial-ShareAlike’.Wenhao Bi: ASSEMBLING VIA ‘DANMU’
The danmu commentary function was com- displaying vocabulary, music and other
petitively trialled in different media architec- cultural elements in the ACGN community
tures such as cinema and mainstream video grounds the accumulation and circulation
platforms in China in 2014 due to its com- through danmu, echoing Azuma’s under-
mercial value (Chen et al., “Understanding standing of the “postmodern database
Gratifications” 153–54; Wan et al. 1; Cao). model” (Azuma 31–32; Chen; Chen et al.,
With the literal meaning of ‘bullet curtain’, “Understanding Gratifications”; Zheng). It
danmu allows numerous comments to fly has also grounded the gatekeeping of post-
over the video from the right to the left as it ing danmu comments which requires users
plays. Currently, the danmu function is best to have passed the membership test with
performed on the Chinese video-sharing so- 100 questions “covering ACGN knowledge,
cial media platform Bilibili among its millions etiquette regulations and good practice on
of monthly active users. In other words, con- Bilibili” (Chen, pt. Exclusivity strategies). In
nectivity is established both through videos other words, the abundance of niceness-
and danmu comments. What then are the oriented danmu comments is culturally and
cultural and political concerns and potentials technically embedded in the ‘purity’ of the
around such a socio-technical setting? Bilibili community. After its transformation
into an incubator for the wider youth culture
(Xu 443), Bilibili has extended its coverage
Unpacking danmu in to a variety of popular culture genres such as
films, TV series and documentaries (Chen),
Bilibili yet the shared preferences around danmu
comments have continued on the platform.
The essence of the danmu function is at- Unlike the membership restriction in
taching text to a specific playback time in posting danmu comments, viewing videos
the video. Unlike the general impressions and danmu comments is unlimited. The fly-
and post hoc reflections in the bottom half ing comments are taken as a secondary
of a webpage, detailed and specific informa- but unique layer that reminds viewers of
tion can be conveyed on the video screen the existence of others despite the physical
through this function (Chen et al., “Watching separation (Wan et al. 4). While the feeling of
a Movie Alone yet Together” 732). Hence it ‘alone yet together’ can be elaborated from
is generally used by users for feedback on a textual perspective that emphasises the
or as annotations to the video, be it their gratification of meeting the utilitarian needs
instantaneous emotions and feelings (Chen such as learning, hedonic needs such as
et al., “Watching a Movie Alone yet Together” relaxation, and social needs such as avoid-
732), for amateur subtitles (Yang), for the ing loneliness and keeping up with the peers
sharing of explicit knowledge such as the (Chen et al., “Watching a Movie Alone yet
background music (Wu et al. 20), or for the Together” 733), the juxtaposition of the video
addition of their own phrases, codes and and the comments also gestures towards
symbols (Wan et al. 15). a conflation of the visual experience since
Bilibili’s origin as a part of the otaku the two components are taken as a whole in
ecosystem fostered around anime, comic, multitasking scenarios such as subtitles for
game and novel (ACGN) is culturally con- cross-language videos (Yang 271). Danmu
nected to the danmu function (Zheng). comments in this light not only mediate
The richness in cataloguing, storing and the knowledge and information related
109APRJA Volume 9, Issue 1, 2020
to the video, but also deliver a ‘stream of have discouraged certain practices. The
consciousness’ shaped by the embodiment membership test, for example, has filtered
in visual perception (Liu et al. 284; Johnson out bots and suppressed the trolling potential
308). In other words, the viewing experience due to its knowledge threshold of the com-
with danmu comments comes from both the munity’s culture and etiquette. Another ex-
separation and collision between video and ample is the five-second display time of each
its comments (Li 244). danmu comment that shapes the tendency of
Considering Bilibili’s marketing strat- posting the immediate feelings and reactions
egy, there seems to be an inconsistency or rather than structuring them into long sen-
ambiguity with viewers attracted to engage tences (Zheng). These settings have guided
with the danmu function on the one hand and the transgressive momentum so that mem-
the overlapping comments obstructing a full bers are socially connected and creatively
comprehension of video content on the other engaged to enjoy and challenge the culture
(Wan et al. 2). However, the communicative interpretatively and expressively (Zhang 2,
interactivity is highlighted within the ‘curtain’ 5). A sense of belonging to a community is
interface that “operates against a transpar- also formed under the shared standard in
ent access to media content” and lies be- posting danmu comments.
tween visibility and invisibility (Li 237), and The storage capacity for ‘real-time’ dan-
is facilitated by the layout of Bilibili’s video mu comments in one video is based on the
page and its default settings. Similar to the video length. For example, 100 comments
platform-as-delivery vein that emphasises are allowed to be shown on the screen for a
visual transparency with “full-screen aesthet- video that is no longer than 30 seconds, and
ics” (Steinberg 185, 191), Bilibili weighs its instead of blocking the comment entry, the
video contents over other textual information oldest comment will be stored in the server
by placing the video player as the key ele- as an ‘invisible’ record to give its way to the
ment in the browser window. It holds around latest one when the limit is reached. While
40% above the scroll before switching to the such a design can be culturally and politically
full screen mode with a toolbar for danmu interpreted in terms of openness and equal-
control and a text field for posting comments. ity since the comments are not judged with
Contrary to the dominance of video-related ‘likes’ or ‘dislikes’, the openness and equality
contents is the marginalised textual informa- cannot last long as the first-in-first-out regu-
tion outside the video player. Only the first lation indiscriminately removes the earliest
3.5 lines of the video description is shown comment. Hence danmu comments can be
below the video player with the remaining to seen as an adapted version of graffiti with
be unfolded with a button. Similarly, a three- playfulness since different layers pile up
column list that stores the times each danmu ephemerally.
comment is sent, the commentary texts and The anonymity of graffiti is also shared
the playback times they synched to is folded in the danmu comments with the aesthetic
by default to the right of the video player. and communicative preference of prioritising
In short, the video player is the designated texts and precluding authorship (Chen et
‘field’ where interactivities take place. al., “Watching a Movie Alone yet Together”
Posting danmu comments can be sim- 732). It has therefore shaped an immersive
plified as interactions upon a canvas where experience of encountering comments from
the video image is projected (Johnson 303), nowhere by somebody in a vague past.
yet the cultural and technical boundaries This is where Hamano Satoshi coined the
110Wenhao Bi: ASSEMBLING VIA ‘DANMU’
Figure 1: Screenshot of a Bilibili video page (av1731928).
term ‘pseudo-synchronicity’ that portrays videos, danmu has opened up a variety of
“simultaneity despite ‘real’ differences in time interactive practices and relationships in
between users” (Johnson 301). An experi- Bilibili. A rough idea of community organised
ence of ‘virtual liveness’ is generated in such around communication and derived from
pseudo-synchronicity since the comments Bilibili’s subcultural otaku origin has emerged
across time are transformed into the seem- as well, leading to questions around the con-
ingly simultaneous conversations in relation nectivity danmu affords.
to the particular moment of viewing the video
(Johnson 301; Steinberg 195–96). The prefix
‘pseudo’, on the other hand, indicates the
Living networks in danmu
scrolling of danmu comments as a mere
display of the previous comments rather than
real-time responses (Yang 256), as they are By piling up layers of comments to the vid-
communicated by revisiting, repeating and eos, the danmu function has structured view-
replaying given their ephemeral nature (Li ers’ connectivity with the video uploaders as
251). the feedback channel despite its disruptive
With the rooted function of synching appearance both in terms of its visual experi-
comments to specific playback times in ence and the discordant thoughts (Cao).
111APRJA Volume 9, Issue 1, 2020
Figure 2: Connectivity of danmu.
It has also formed the connectivity among speaking out within the context of the spe-
viewers that affords replies, resonances cific content as a precondition. As a result,
and denials to earlier comments. From the danmu comments have shaped the sense of
network perspective, each danmu comment a talkative crowd with echoing sentiments or
can be taken as a node and the interactions discordant thoughts (Cao). The composite of
as the edges, whereas the plots of the video previous experiences of others’ viewing re-
hold the base of the network. The ubiquity actions in the present moment indicates the
of connectedness is emphasised in such an connectedness among the different layers of
abstracting and spatialising procedure with danmu comments (Johnson 301).
its technical roots in Eulerian graph theory The loose control from the community
(Thacker, “Part One”). In a sample of the has also facilitated the connectivity among
relationships around danmu comments as the viewers. According to the design in Bilibili,
sketched in Figure 2, comments 1 and 3 indi- danmu comments cannot be deleted either
cate the feedback regarding plot a, whereas by the commenter or by the video uploader,
comment 5 and 6 based on comment 3 can but can merely be switched to ‘invisible’ on
be loosely linked with each other since the screen. Such a design choice can therefore
focus of the two has shifted from the video be interpreted as a gesture of accepting dif-
to one previous comment. In short, the con- ferent opinions. However, when it comes to
nectivity of danmu comments are twofold. the comments that go against the community
More specifically, the connectivity regulations, the only legitimate means is to
among viewers is clearly demonstrated in mark them with the ‘report’ function and
the pseudo-synchronicity where ‘monologue leave them to the back-end administrators. In
discussions’ are situated, given the feeling this light, denouncing transgressive danmu
of temporal disjunction on Bilibili (Li 249). comments has de facto enhanced the con-
Although the pseudo-liveness has intensified nections among comments.
and highlighted the contradictory temporality However, as Thacker (“Part One”)
(Li 249), it has captured the eagerness of noted, since time has been flattened into
112Wenhao Bi: ASSEMBLING VIA ‘DANMU’
space in a topology or map of a network, the and articulates the participatory attitudes can
inherent dynamics and changes within the be portrayed as a cultural generator despite
composition of individual nodes and in the re- the different videos these comments are
lations between nodes are not represented. embedded in.
The danmu capacity that keeps comments Critically, the interiority in the gather-
updated but also ephemeral, for example, ings of danmu is questioned under the notion
has structured the temporal dynamic that of ‘swarm’ that originates from nineteenth
‘washes away’ older comments. When century natural science; classification in
comment 1 in grey is ejected as the danmu zoology, structure in comparative anatomy
capacity is reached, not only is the node and context in the study of ecosystems
itself removed, but comment 2 that is based (Thacker, “Part Two”). The ethological study
on comment 1 gets isolated as well. In other of ‘social insects’ is highlighted in this theo-
words, neither nodes nor edges are stable retical trajectory as it raises the issue of the
when the temporal dimension is included in structuring process from ‘dumb’ individuals
the network since networks are always living to ‘intelligent’ collectives, particularly with
networks (Thacker, “Part One”). their distributed interactions and decisions
While the connectivity in danmu is rather than the central controller (Thacker,
rather obvious in individual videos, it is in fact “Part Two”). Such a dumb/intelligent duality
shared throughout the platform regardless of can be referenced in the Bilibili case as the
the contents of the videos or the comments. fundamental presumptions of the mental and
Not only do danmu comments afford the behavioural differences between individuals
diversions and transgressions from the origi- and collectives, and can also be observed
nal narratives of the videos, posting them is in danmu comments. While the message
also less demanding in time and effort and each danmu comment conveys varies, the
more passion or emotion-driven compared general impression of danmu is a communi-
to making and uploading a video. Codes cative means with friendliness and openness
and slang in danmu comments get circulated fostered by Bilibili’s community building. In
easily due to their communicative value and other words, there remains a middle region
the anonymity that stresses the textual between the individual and the collective.
contents. In this light, it is the danmu func- One key approach to these questions
tion that dominates Bilibili whereas the video is re-examining the idea of participation in
contents are dethroned as the bases for the Bilibili. Two layers of participation are af-
creativity and playfulness in comments. In forded when danmu comments are posted to
fact, the amateurism for video makers Bilibili videos. On the one hand, it is the interactive
follows has boosted the danmu comments design that encourages the users to ex-
as a channel for judgements and feedback press themselves as “a rhetoric of progress
from others. Moreover, the unique multitask- which promised social progress through
ing interface that demands time to habituate technological advancement” (Schäfer 11).
has limited the expansion of the user com- From a rather cynical perspective, danmu
munity despite its participatory appearance. comments that seem to facilitate a process
The scrolling comments are communicated of emancipation are in fact “integrated into
by playfully revisiting, repeating and replay- new business models and are subsequently
ing given their ephemeral nature (Li 251). subject to corporate control” (Schäfer 14).
Viewing from a platform-wise perspective, a On the other hand, the cultural impacts on
network of danmu comments that channels individual and collective decisions cannot
113APRJA Volume 9, Issue 1, 2020
be neglected (Jenkins et al. 12) since they which lies between rational choice and ir-
are able to affect or transform the structural rational desire, and their minds work as part
obstacles among different levels (Kelty 24). of an endless social network (Borch 58). It is
This is where the emphasis on the participa- therefore difficult to take a clear cut between
tory condition that refers to both the structure the individual and society as well as between
of interpellation and the materiality it relies internal feelings and external restraints
upon is situated. Following Louis Althusser’s (Borch 58). Despite the different perspec-
reading of ideological interpellation, the tives and hypotheses, both Le Bon and Tarde
participatory condition grounds how subjects have taken rationality as an ultimate virtue
respond and what they become (Barney et people failed to achieve due to the physical
al., ix–x). In this light, danmu comments in co-existence.
general have on the one hand established Elias Canetti’s study that focuses on
the living networks with one link back to the discharge as the key element in crowd
the cultural products, and have channelled formation shed lights upon a shift from
Bilibili’s cultural orientation and social value physically congregating to participating in the
with other regulatory settings on the other. agendas of mass media (Hagen 128). Crowd
This is also where collective creative energy members are freed from hierarchies and the
within networks emerges. fear of being touched in the goal of gather-
ing (Canetti 15–18), and the destructiveness
in attacking boundaries such as windows,
gestures a sense of togetherness and be-
Representing the affects longingness within the crowd transcending
the limits of its individual members (Canetti
Despite the membership test that filters 19–20). Features of a crowd such as density,
out bots, the correspondence between one equality, togetherness and belongingness, or
danmu comment and a user cannot be es- at least a sense of them, have continued in
tablished since one person can hold multiple the contemporary digital conditions (Chen et
accounts and each of them can be used to al., “Understanding Gratifications”).
send multiple comments. Yet the gathering Like crowds, affect is also seen as an
of danmu has shaped a sense of belonging- unstable and hazardous factor in an ordered
ness and togetherness as if the comments and rational society, especially given the
represent digital personas if not people. A bodily interactions in the assemblages of
theoretical consideration of crowds and af- affective drives (Papacharissi 14). The psy-
fect can be examined in this context. chological equivalent to feeling or emotion is
While the idea of ‘crowd’ is often traced connected to the cognitive and the conative
back to Gustave Le Bon who saw a hazard- that respond to the detection of personal
ous status of irrationality with the dense significance (Neuman et al. 9; Papacharissi
assembling of bodies regardless of the 12), and is therefore regarded as a synonym
social classes the individual crowd member for irrationality that endangers both the
belonged to (Borch 41), Gabriel Tarde’s ap- judgements in making rational decisions and
proach is also noteworthy. From his perspec- democracy as a form of governance (Marcus
tive, crowds are subjected to the dynamics et al.; Papacharissi 10). Recent research, on
of imitation and suggestion which the society the other hand, has marked an affective turn
is also situated in (Borch 48). Hence, people in the analysis of politics and everyday life
act according to a semiconscious imitation which contest the perspective of rationality
114Wenhao Bi: ASSEMBLING VIA ‘DANMU’
(Papacharissi 12). Despite various under- regard, danmu function has accumulated
standings and interpretations, affect can hold the affective factors in watching videos with
both the corporeal intensity and the abstract the willingness to speak out, and has further
fluidity in its focus at the same time, and is cultivated a collective and playful persona
inseparable from the flows of technologies that expresses itself more than listens.
(Papacharissi 15–16). In networked patterns,
more specifically, affect offers a perspective
with an emphasis on power distributions
and political formations based on non-linear
Playing with danmu
substantial relationships (Papacharissi 17).
It is therefore argued that the significance The danmu interface can be linked to a
on the impact or rationality in digital political broader discussion of playfulness that re-
activities are frequently misunderstood or gards both the rigidness of media structures
overlooked as the contemporary political and the singularity of interpreting media texts
environments cannot be separated from “af- as having since room for modification to
fective statements that mix fact with opinion, meet personal needs and as such unleashes
and with emotion” (Papacharissi 26–27). To creativity in cultural participation (Raessens
follow the affective intelligence theory that 106, 108). This is situated in a process that
attentively examines various stimuli to the af- transforms media studies into a playground
fective state, the affective reactions and be- with ludic activities and experiences due to
haviours can be brought back to enthusiasm the socio-cultural, media and institutional
and aversion on the one hand and anxiety on changes at the end of the last century (Fuchs
the other (Marcus et al.; Neuman et al. 3, 16). 129, 135; Raessens 97). One of the key con-
Although the assemblage of danmu cerns in this transformation is the materiality
comments is not equivalent to the physical of digital media based on hypermediacy in
gathering of a crowd, the momentum of the interactions with multimedia interfaces
collective reactions emerges. Apart from despite the transparent immediacy it is sup-
marking the presence of users, danmu posed to follow (Bolter and Grusin 5; Frissen
comments mock the contents with slang or et al. 24–25). To put it differently, the omni-
gags, or debate viewpoints in the video and presence of the interfaces through which
previous comments. Despite the various users experience and interact with comput-
opinions and attitudes, they reveal political ing has become less transparent despite
moments where antagonist engagements the early aesthetical pursuit for seamless
take place and where a sense of belonging interactions (Andersen and Pold 22), raising
and togetherness is shaped. Moreover, the a question of playfulness in these interfaces
temporal dimension in danmu that keeps or buttons closely connected to the social
comments ephemeral has persevered the and communicative affordances. All these
temporal quality of participation. Like graffiti changes have followed the broader ludic turn
to urban governance, danmu has challenged “in which games and playful experiences
the fundamental ideas of power relationships are understood as essential components of
in Bilibili. Yet the empowerment in danmu society and culture” (Fuchs et al. 7–8, 12).
comments can also lead to a narcissistic Playful elements are integrated in products
tendency that focuses on expressing in- and services with a cultural-economic con-
stantaneous emotions instead of taking in cern and as a lifelong attitude so that user
and reflecting on other comments. In this involvement can be advanced (Raessens
115APRJA Volume 9, Issue 1, 2020
95–96). The turn takes place not only in the an illusion mirrored from the real world that
realm of leisure, but educational, political represents reality but in another form (Fink
and even military domains which were once 27–28). In this light, the world of play is built
considered the opposite of play as well intra-world both with its own kind of reality
(Raessens 94). and as part of everyday reality (Axelos 9),
Deep down in this ludic turn is the and its boundaries are perceivable as “we
fundamental understanding of play as part of know when we are playing and when we
human nature. At the centre of play is the se- are not” (Frissen et al. 18, 24–25). Such an
riousness in recognising and respecting the ambiguity has further challenged the hypoth-
rules that constitute game worlds (Bateson esised dichotomy between seriousness and
30; Huizinga 11; Raessens 98). Such a playfulness (Frissen et al. 9; Raessens 94).
temporal and spatial boundary, also known This is also why both ill-mannered danmu
as ‘the magic circle’, has grounded a free comments and serious advice can be trans-
activity of pretence that attracts the player lated into and accepted as casual jokes. In a
from ordinary life without material interest or broader sense, the playfulness in danmu has
profit (Huizinga 13). The messages or signals enhanced the connectivity and redirected
in play are not necessarily true or real, and the emotional attitudes comments contribute
these signals can stand for something does to the gratification of speaking out but not
not actually exist (Bateson 141). necessarily being heard.
In this light, the playfulness of the
danmu interface has taken the lead in Bilibili.
The connectivity in danmu is facilitated by
the playful design that devalues videos and
Concluding remarks
enhances the communicative interactions of
rewinding, pausing and posting. Challenges The technical design of danmu has encour-
over the original narratives such as disa- aged users’ involvement when they watch
greements and satire can also be placed separately, and has formed a sense of to-
in this playful trajectory. Having said that, getherness with the overlapping comments.
seriousness still exists in Bilibili in the case of Both Bilibili’s marketing strategies and the
feedback and discussions in danmu. When affordance of danmu have made the platform
it comes to the boundaries of the magic more than a mere ACGN fandom community,
circle that distinguish playful activities from and have highlighted the playfulness in dan-
ordinary life, Bilibili’s regulatory settings have mu bounded by the community’s regulations.
functioned as the divisions. In other words, The connectivity of danmu has grounded the
the understandings of ‘transgressions’ and cultural and political concerns and potentials
‘norms’ within the Bilibili community differ with the collective creative and affective
from ‘the outside’. energies.
The pretence in play is also noteworthy Although the discussion is based on a
with its ambiguous threshold between reality Chinese video-sharing service, most of the
and unreality as a paradoxical sum of two observations can be applied to other social
negative meanings at a metacommunication media platforms as commenting and repost-
level. To put it more simply, action inside the ing as a participatory means of engagement
magic circle “both is and is not what it ap- has been widely introduced. Playfulness both
pears to be” (Bateson 139; Sutton-Smith 1). in the interface design and in users’ reac-
Therefore, playful behaviours can be seen as tions has also gone beyond Bilibili with other
116Wenhao Bi: ASSEMBLING VIA ‘DANMU’
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