Emerging within the global context of quantification and metric tracking, this study examines a new type of popular music fans in China who self-identify as ‘data fans’. Moving beyond the conventional focus on fans’ affective labour, this article argues that metricisation and gamification form a contemporary regime of consent, through which data fans’ playful engagements are transformed into productive labour and self-governed participation that aestheticise exploitation and naturalise platform control. Drawing on a year-long digital ethnography and 33 semi-structured interviews, the study revisits Burawoy’s concept of manufacturing consent to examine how play functions as a mechanism of voluntary value creation. The analysis unfolds across three interrelated dimensions. First, the gamified design of social media and music platforms binds fans and idols in an accelerated cycle of reciprocal labour. Participation, visibility and productivity become mutually reinforcing, transforming affective devotion into a quantified and competitive game sustained by shared enjoyment and care. Second, platforms manufacture autonomous players who perceive themselves as self-directed participants. These data fans voluntarily devote time, skills, and even personal financial resources to what they regard as ‘bounty-hunting’, generating supra-value beyond conventional unpaid labour. Third, the ‘meta-players’ reinterpret metric production and analysis as gameplay itself, deriving meaning, identity and pride from continuous engagement. The calibrated uncertainty of opaque algorithms sustains their sense of autonomy, rendering playbour both pleasurable and unending. Overall, the study advances a sociological understanding of how digital capitalism manufactures consent through enjoyment, illustrating a paradigmatic shift from lovebour to playbour in the digital fandom.
Yiru Zhao (2026) studied this question.