LEGO Builder App by hinnyhan

lego builder

hannah schultz

LEGO BUILDER Creations that come to life Download the LEGO Builder for smartphone or tablet in the app store to customise sets that are delivered to your doorstep or interact in a world of bricks!

project overview Feat ur e s a n d ta r ge t a u d i e n c e This application will be designed in a manner that allows the user to easily access and create themselves as an avatar in a LEGO format. The user is then also given the ability to have their avatars manufactured and customised in real life. As the user you are presented with a multitude of options to customise yourself. These options are categorised by type; face, hair, shirt, pants, accessories etc. As the user you are then given the option to interact through a virtual reality platform or in real life in a MMOG style platform. Correlations can also be made to other games with similar attributes. More specifically we see correspondences with games like Sims, Minecraft, Skyrim and Club Penguin. Sims and Skyrim partially revolve around this element of character creation and customisation within the game and it is from these elements that lessons can be learnt. Sims does not necessarily require a specific winner or aim to play but instead focuses on this notion of socialising as well. This application will be designed utilising LEGO as a brand name and must take into consideration the demographic that is currently involved with LEGO, users that enjoy avatar customisation, and iOS gaming. In particular LEGO currently targets a demographic of 10-16 year old boys with majority of their games (Pandya, 2013). However, in the past decade LEGO has incorporated a shift in focus towards catering for a much older demographic of 30-40 year olds, of the original LEGO kids from the 1970s. Socialising applications such as Sims, Skyrim and Warhammer currently have a target demographic of around a 16-30 age bracket and we aim to focus on this target market also (Iversen, 2014) (Hong, 2013) (Pilley, 2009).

B ac kg r o un d LEGO is a toy that revolves around this notion of creation and experimentation. Historically LEGO has been a tool or experience that allows the user to create a variety of structures and designs. It is this action and experience of building with the hands that has captivated and stimulated users. For years it has been considered to provide users with cognitive skill development. LEGO has been renowned for releasing product extensions that progressively increase the variety of LEGO bricks and features. LEGO’s key focus is dependent on the innovation of products, their most successful releases usually incorporating a form of either co-branding or convergence of another platform or medium. It is for this reason the LEGO Builder App will be so successful, utilising elements that have made LEGO as a company so successful, and integrates into an interactive experience. It is for this reason the application will require a seamless and functional design regarding the building process. LEGO currently gives users the ability to create custom sets through their online website ‘LEGO Ideas’, however, many are ignored regardless of the vote tally. This website

focused on model sets reaching certain levels of support before they are produced, this application skips over this process and based on creativity and willingness to purchase users can create minifigures or sets. More specifically this application will provide the user with ability to not only customise themselves into LEGO and purchase the actual figurines but they then have the ability to interact on a social level with their avatars and create worlds.

Pl ay el e m e nts a nd u s e r e xp e r i e nce As a user you will be given the opportunity to customise and either a desired self image into a LEGO figurine. To start the user has the ability to flick through and choose from a range of elements such as faces, clothing accessories etc. The user is then given the option to purchase and order themselves/ avatar made from real LEGO. This application also provides the user to customise countless characters of their choosing. If the user chooses to do so they can then interact in a virtual reality with other creators. Users can also advance from this and begin to develop buildings or sets where they can construct an online LEGO world or realm. These sets will also be purchasable and customisable. As incentives the application provides users with rankings and the ability to vote on designs and purchase other custom designs. Initially the application will provide the user with numerous categories and pieces to customise their avatars and worlds with.

T e c h n o l o gy a nd ma rk e ti n g This application orientates itself around the partnership and branding from LEGO. Although LEGOâ&#x20AC;&#x2122;s patent has become available to the public domain, branding and marketing benefits can arise from this partnership. LEGO currently owns 70% of the toy market and currently holds a net profit of around 7 billion US dollars (Hansegard, 2014)). From a marketing perspective it is most beneficial to target LEGOâ&#x20AC;&#x2122;s current demographic and utilise this fan base to generate users. The game has been developed for the use on android or iOS applications. A main concern to consider will be creating the application is that it must be transferrable across all devices iOS and android, on phone and on tablet. This will most likely be developed on a program such as Unity, which supports both 2D and 3D game development. The application platform was chosen due to its accessibility factors as well as in the increase in market demand for phone and tablet applications. However, this also brings into question the ability particular devices have to store information and memory use (Norshidah, 2015). LEGO currently has just over 7,000 brick options and this could become seemingly overwhelming for users to sift through. With this in mind the initial release will focus on utilising the most popular bricks and designs with colour palette options. Crowdsourcing has the ability to serve a mass market but these technological concerns must be taken into consideration. LEGO could also consider integrating the application into a desktop format where similar technology is utilised to create the building experience. This platform can also be utilised in relation to promotional opportunities through their website, social media accounts and packaging. This can be implemented online prior to the release of the app to create hype and interest, and then eventuate to advertising through current product line packaging.

table of cont ents

C O R E VA L U E S D I A G R A M C O R E VA L U E s C O R E VA L U E 1 â&#x20AC;&#x201C; f r e e d o m o f c h o i c e a n d C U S T O M I S AT I O N 1 . 1 va r i e t y a n d e x t e n t o f c u s t o m i s at i o n 1 . 2 u s e r g e n e r at e d l i b r a ry / c ata l o g u e 1 . 3 s e t s t r u c t u r e a n d c u s t o m i s at i o n 1 . 4 avata r c u s t o m i s at i o n C O R E VA L U E 2 â&#x20AC;&#x201C; S O C I A L I N T E R A C T I O N 2 . 1 l e g o w o r l d c o m m u n i t y 2 . 2 i n d i v i d u a l a n d g r o u p g a m e p l ay 2 . 3 t e x t b a s e d c o m m u n i c at i o n 2.4 leaderboard and voting system C O R E VA L U E 3 â&#x20AC;&#x201C; N AV I G AT I O N a n d u s e 3 . 1 s i m p l i s t i c a e s t h e t i c d e s i g n 3 . 2 b u i l d i n g p l at f o r m C O R E VA L U E 4 - P U R C H A S I N G 4 . 1 p u r c h a s i n g m o d e l s a n d 3 d f i g u r i n e s 4 . 2 q u o t i n g s y s t e m 4 . 3 s e c u r e pay m e n t m e t h o d s a n d s e c u r i t y user interest f i v e m i n u t e s o f g a m e p l ay licenses aesthetic overview the team business model advertising final remarks a u t h o r i n f o r m at i o n references appendix

core values diagram

High Level Value lego customisation application with online socialising platform

core values freedom of choice and customisation

social interaction

easy navigation and processes

variety and extent of customisation

lego world community

buidling platform and 3d modeling

user generated library/catalogue

individual and group gameplay

simplistic aesthetic design

set and structure customisation

text based communication

avatar customisation

leaderboard and voting system

purchasing

key features

area of significant risk or key feature innovation

purchasing models and 3d figurines

quoting system

secure payment methods and security

moderate risk or key supporting features

meets industry standards: innovation not key

H I G H L E V E L GOA L: This application has been designed to further the experience of building with LEGO. It provides users with the ability to easily create and purchase custom LEGO avatars and sets. The online socialising section LEGO World allows users to connect and build with other designers and expand both their virtual and physical LEGO sets and figurines.

core values

1.FR E E D OM OF CHO I C E AN D C U ST O M I SATI O N

T his application focuses on the ab i l i t y t o c u s t o mi s e a n d c re at e L E GO o ri e n tat e d p ro d u c ts t hat t h e u ser can interact with on a vi rt u a l o r re a l i s t i c s c a l e .

1 . 1 . VA R I E TY A ND E XTE N T OF CUS T O MIS AT IO N

User s are given an ex tensive vari e t y o f o p t i o n s t o c u s t o mi s e bo t h s e t s a n d c h a rac t e rs to c r eat e a u niqu e and original LEGO d e s i gn w o rt h p u rc h a s i n g.

The user is given the ability to create avatars as well as sets but within this we must also allow for a variety of customisation, so that these elements truly represent the individual. In particular this platform presents areas of significant risk which must be addressed. Problems begin to arise where too many options become overwhelming or unnecessary for the users as well as apps ability to host the amount of options. Firstly, we must examine why the customisation process is so effective. According to Pearce (2015), 93% of users claimed that they had spent money on fashion, and 92% on avatar customisation of skin and hair, as well as avatar actions and accessories. As long as the platform will support it, our LEGO users will be willing to purchase their customised avatars. It is through the varieties of bricks and accessories provided the user feels as though they can create something unique and better than LEGO essentially. We can exploit this notion to the userâ&#x20AC;&#x2122;s advantage, where we create competitive attributes or characteristics around the extent of customisation avatars or sets have. The more advanced an avatars appearance or accessories are representative of achievements or longevity within the game (as opposed to skill or monetary influence). Another reason for providing the user with a large variety in brick options also increases the chances for them to customise and own an original design in real life. Users are able to interact and build on this digital platform, the socialising and leader board factor also helps generate interaction and encourages support for sets that are designed successfully. Too many options could become problematic and overwhelming for the user; however, this applications focus is on the ability we give LEGO fans to customise sets and avatars. Therefore, options although not exhaustive cover a variety of choices. To cater for the amount of options a catalogue feature will also be developed where users can sift through specific categories to make the designing/building process time efficient and productive. Depending on the success of the set creation do we go even further where we provide the user with ability to customise certain bricks and accessories that LEGO does not already manufacture. Consider Lens #39 The Lens of Meaningful Choices, where users are given meaningful decisions to make. This can be taken in the context of the customisation process for when users need to make design decisions. This can also apply to group tasks or competitions. Where challenges are set and users need to work together to answer the particular design brief (create a castle set using only a certain number of parts, design a fan base set for â&#x20AC;&#x2DC;Adventure Timeâ&#x20AC;&#x2122; etc). This element of decision making creates for a more meaningful interaction and allows for growth in strategy and socialising qualities of the app.

1 . 2 . U S E R GE N E RATE D L I B R A RY O R CATA L G O UE So users can easily navigate throu gh a l l o f t h e o p t i o n s, c ata l o gu e s w i l l be d e ve l o p e d t hr o ugh featu res, most p opu lar bri c ks a n d mo s t p o p u l a r d e s i gn s. The catalogue library is means to fix the overarching problem of users being overwhelmed with choices. This catalogue system also allows users to go through and view ‘submitted’ designs from other players. They have the ability to crowd source from these fellow designers and further customise or if they choose, pay a percentage to have the particular design manufactured in real LEGO. The catalogue system will allow them to search for particular words or sort through categories or themes. There will also be a library or a catalogue system developed for the customisation process of avatars or sets. Separated into features of either ‘eyes, hair, shirts, pants, bricks, accessories’ etc. to make access easier due to the variety of LEGO pieces, one category will consist of ‘Most Popular’, where the top 20 bricks for avatar or set design are displayed. Users are given the ability to check on other user trends, expand on already popular designs and easily navigate through the application. Correlations will be evident from most common platforms, such as Second Life, Xbox and Wii customisation process. These games allow users to go through and utilise a library or catalogue that has been divided into features. Users have the ability to go back and forth from these categories, having the ability to change or update throughout any stage of the design purpose. Within these libraries the users will also be given access to the LEGO colour palette but have the ability to colour any item in any colour (see colour palette bellow). These common themes will be redesigned in a more app-ropriate way, where users will be able to follow the sequence and similar layouts of options categorised into boxes. This user generated catalogue also further strengthens the social community formed within the app with peer to peer evaluation and praise.

L E G O C OL OU R PA L E TTE

design l ib r ary

1 . 3 . S E T S TRU C TU R E C U S TOM IS AT IO N

G iv ing users the ability to cu stomi s e s e t s a n d n o t j u s t c h a rac t e rs a l l o w s u s t o d e ve l op a n d int egrate a world element to this a p p l i c at i o n .

To extend the users experience and interaction they will be provided with the ability to customise sets or building structures in a similar manner to their avatars. This creates a stronger sense of community and structure for the virtual reality in which the avatars socialise. According to Pearce (2015) virtual worlds can be classified as worlds or spaces that simulate a particular environment and must consist of key common features such as; a shared space, graphical user interface, immediacy, interactivity, persistence and finally socialisation and community. The virtual world aspect of this app is open ended and focuses on user generated content. This style lacks in direction and does not require the user to fulfil goals. With this in mind other features more specific to ‘social interaction’ will justify this choice and design later in the document. The lens of ‘The Player #19’ can be applied here where this notion of being able to complete something or accomplish something results in feelings of satisfaction. This can be related to the action of completing a particular set or design and this is heightened by social interaction where users are given the ability to then communicate their feelings towards particular creations.

Upon analysing ‘LEGO Ideas’ we can see that many sets have been ignored by LEGO. There is clearly a demand for customisation capabilities and this application allows the user to customise characters and sets. The app will allow users to design larger scale sets with zoom functions and auto locks to make the design process easier (quick home tool boards to flick back and forth in). We don’t want to frustrate or overwhelm the user, therefore, will recommend that they begin with avatars and develop their skillsets to then begin customising sets. Users should be given the ability to share set designs so that if other choose to do so they can purchase. If consumer designed sets are purchased a system will be organised that cuts a percentage for the designer to gain profit as well as LEGO, this acts as an incentive for users to design and collaborate. More specifically SimCity utilises this feature of customising a reality for their avatars. This also continues to build stronger online communities where users create and share their content and build together. With this in mind we allow users to share their creations or sets or structures in the online world. Users have the ability to walk through and interact with others and their designs. They are also given the ability to co-create with other users to make larger structures if they choose to do so. Lens #92 of Inner Contradiction can be applied here where the properties of the game or cannot defeat the purpose of the game. The purpose of being able to construct avatars and sets allows the users to have them in real life, as well as an online platform. It is through these online platforms users create sets and structures within the world to interact and socialise with other builders. The ability to co-create with others also enhances this feature of socialising, user generated content and crowdsourcing.

1 . 4 . AVATA R C U S TOMI S ATI O N User s are given the ability to cu s t o mi s e avata rs a n d i s a k e y e l e me n t t h at ac t s a s bo th a pur chasable produ ct and as ch a rac t e r t h at u s e rs c a n s o c i a l i s e w i t h i n t h e L E GO wo r ld el em ent. This feature provides the user with ability to custom make themselves or another character. for either the purpose of interacting in the virtual world or with LEGO as a tangible product. In order to understand this process, we must analyse the theories and meanings behind what avatar features, can provide for the application. Peterson (2006), states that avatars provide the user with an awareness to telepresence and co presence, which in turn enhances this socialising experience generated by the interactive experience. These interactions typically incorporate a ‘text based chat’ or ‘user interface’, that result in these miniature social structures of communities (Devisch, 2008). Avatars can be defined as a character that is either a personal or customised representation of the user. It is for this reason we give the user a large variety of options to customise their avatar with, as seen in feature 1.1. This avatar is then given the ability to interact with the provided space, manipulate objects, and interact with other users (Devisch, 2008). Younger demographics prefer to participate in interactions where they have the ability to identify with other groups of similar nature (Kafai, Fields, & Cook, 2010). This notion of identity becomes an important part of virtual communities. Self-disclosure is easily influenced through virtual and reality based representations of the users avatars, self expression of the avatar and platform to communicate, playing a detrimental role (Kafai, Fields, & Cook, 2010). However real life cues, such as facial expression or body language lack in virtual settings must be taken into consideration. More specially roles of avatars or the intended use of the particular avatar, in the game heavily influences how the avatar is designed. Even further the structure of the actual environment the avatar interacts in must also be considered. Avatar based platforms typically have no assigned roles or tasks initially, and it is from this that users choose to recreate themselves from real life (Kafai, Fields, & Cook, 2010).

When designing or customising avatars, problems arise when determining why these styles of games are so popular. Schell (2015) suggests that games who focus solely on avatar customisation are a novelty. This results in long term impact, where users interact with games to be people who they admire or wish to be, as opposed to playing themselves (Schell, 2015). Kafai, Fields, & Cook (2010) argue that avatar customisation aids in the portrayal of status and ability and this relates back to to the creation of more realistic character development (Kafai, Fields, & Cook, 2010). These opposing arguments present reasonable opinions, however according to Pearce (2015), 54% of users created avatars generated around their personal characteristics. It is for this reason we give the user the ability to create any form of avatar that they desire and an unlimited amount. There was consideration given for providing users with the opportunity to upload photos to automate a design, however, due technological restrictions and functionality it was decided against. This would have catered for a much more realistic representation of users as LEGO, Perceptions of identity is regarded as something much stronger and is most applicable to the teenage demographic. Kafai, Fields, & Cook (2010) argue that this demographic of tweens (10-13) are experimenting with a ‘second self’ and as a result typically play these categories of games. The customisation aspects appeal to the older demographic where designs become much more complicated and in-depth. According to (Pearce, 2015) users develop avatars to explore gender uses, sexual orientation and role play. Furthermore, users of MMO style games typically have numerous avatars, which allows them to express ‘Multiple Bodies’ (Taylor, 2006). LEGO is limited with its realistic applications and qualities users from platforms such as Sims or Skyrim might not use this application in the same manner. However, correlations can be made regarding the theoretical set up and psychology behind why users play or use their avatars. This feature will provide the user with the ability to customise themselves into a character that they determine, this coincides with LEGO’s key ideals from a product and marketing perspective and also provides users with this notion of ‘possibility’. Schell states recommends that users obtain pleasure from having a variety in choice and having the ability to decide for oneself, with correlations to ‘shopping’ experiences.

avatar b uild mode

2. S OCI A L I NT E R ACT I ON T his valu e allows u sers to conne c t w i t h a n o n l i n e c o mmu n i t y, bu i l d u p o n re l at i o n s h i p s, discover innovative desig n s a n d c o mp e t e f o r ra n k i n g.

2 . 1 . L E GO W ORL D C OMMU NI TY User s can interact in a world lik e s e t t i n g, w h i c h w i l l u lt i mat e ly e n c o u rage e n gage me n t, crowd sourcing and conti n u o u s ga me p l ay w i t h i n t h e L E GO c o mmu n i t y. According to (Pearce, 2015) we see users engaging with virtual realities for numerous reasons; object creation, construction, art, photography, events, projects or performance. Correlations to an emergent style narrative can be made where users are given the ability to generate unique and innovative designs that were not anticipated by the designers. This feature is extended by the ability to communicate with other users and collaborate on tasks. According to Schell there are ten key tips for developing strong communities. #1 foster friendships, this has been circumvented by the chat feature which allows the users to communicate and build relationships. However, we must not assume that because we give the users the ability to talk they will talk. We have resolved this issue by creating friends lists where users can easily find their real world friends, whilst simultaneously cultivating relationships with online strangers as well. The other leaderboard feature also enhances this tip Schell discusses, where builders are given a rank or a number of votes which creates somewhat of a status system. Users will be more inclined to talk and work with others that have been popularised or given a celebrity like status within the world by the leaderboard system. #2 suggests there must be conflict; to formulate a stronger bonding connection for users. Consider Minecraft, where users work together to build projects but there also remains a competitive streak to be the most popular. This relates directly to our group challenges and leaderboard system. #3 architectures to shape community; developing common areas where users will interact with others, LEGO world â&#x20AC;&#x2DC;Start Pointâ&#x20AC;&#x2122; where all new users enter the world. This includes a common area and the hub of the world, allotments expand outwards from this point and users can travel throughout each allotment. This has a direct connection to tip #4 community property, where users can collaborate on builds and have common property. Tip #5 focuses on this notion of allowing users to be self expressive. This is directly related to our avatar and set customisation features, where users can design unrestricted ideas. #6 support the three levels of players; newbie, the player and the elder, where content is challenging enough for regulars but not overwhelming for players just starting out. For older players it is more about status and becoming respected designers. #7 force the players to depend on each other, in particular challenges presented will involve the completion of the task by the entire group. #8 manage your community, utilising feedback and implementing changes regularly. This will be prominent throughout the initial stages of the apps release where we will learn what works on the platform and what doesnâ&#x20AC;&#x2122;t. this means giving the users to also talk to the developers of the game in the chat to sort out problems and discuss issues. #9 player to player commitment also build a stronger sense of community where users, however, this tip is not really applicable to our LEGO application. The last tip #10 refers to the creation of community events, where users can utilise the app platform to host events online, meetings, parties competitions and ceremonies, either to do with LEGO or completely void of it.

When considering our users target market, we see games such as Club Penguin which are focused on catering for children 6-14 that is MMO orientated (Wikipedia, 2015). We can also consider Warhammer in regards to the table-top style game play and how users are given the ability to physically handle and customise creations and has a targeted a younger demographic of teenagers, that have disposable incomes (Vela, 2015). According to Schell Teens this age category of around 13 years of age tends to segment interests into genders, boys typically interested in competition and girls interested in communication. Young adults have developed particular skills and tend to have both more time and money to spend on games. The older demographics of 30-40 year olds have usually reached a ‘peak family formation’ where gaming is hobby orientated and look for games that can encompass the entire family (Schell, 2015). With these case studies in mind the demographic for the application can be fine tuned and catered to suit majority of these demographics by considering design aspects features that are most applicable to each age. According to current statistics gaming applications have a user demographic of mainly women aged 30-40 years of age (Iversen, 2014). Although LEGO has typically been targeted towards younger demographic, this new application will cater for both younger teenagers or ‘tweens’ and older demographics 20-40 year olds. The application will be designed in a manner that is then suitable for all ages with an ERSB rating for EVERYONE 10+ or TEEN, due to ‘digital purchase’ abilities and ‘users interact’ with exposure to user generated content (ESRB, 2015).

leg o w o r l d m ode

2 . 2 . I N D I VI D U A L A ND GR OU P GA ME PL AY

Desig n individually or join teams t o c o mp l e t e L E GO d e s i gn c h a l l e n ge s a n d s o lve bu i l d i n g pr o b l ems. A greater focus is presented for creations of community and an online social structure (Devisch, 2008). It is these socialising aspects that also provide Sims with the flexibility to generate interest in planning activities, raising awareness, and decision making (Devisch, 2008). It is from this sense of community that the development of user generated content becomes increasingly popular. By allowing the customisation of content or avatars, an incentive of status and popularity is derivative of ‘who can create the best design’ (Schell, 2015). This incentive of gaining respect from the online or gaming community is a tactic that can be utilised to increase usage. Schell discusses the concept of community as creating the ability for users to talk, but more specifically, there must be a reason as to why each user would want to talk. He goes on to state that users dependent on age will only ever want to talk to their friends, celebrities or users of an equal status. This idea can be utilised where creators of the LEGO app are treated or portrayed in such high regards for either their designs or creations that this encourages interaction. Club Penguin also focuses on this idea of interaction and communication through avatars in an online setting (text book). More specifically, club penguin grants the user this notion of being able to achieve the same task in a number of different ways. All of these games have correlations to emergent narrative style, where the creators do not anticipate or control a large portion of the interactive experience (Schell, 2015). The app gives the users the option to either design their own LEGO or join teams and complete challenges. This notion of creating more control with meaningful choices was previously mentioned in the variety and extent of customisation.

2 . 3 . TE XT B A S E D C OMMU NI C AT IO N

C o mm unication with other u sers w i l l be ac c o mp l i s h e d t h ro u gh a t e xt ba s e d c o mmu n i c ati o n in a c h at f eed.

Users will be given the opportunity to converse with other players whilst in the world section of this application. Due to the fact that a large feature of this application is orientated around crowdsourcing, we must provide each user with the ability to communicate and converse through the app. Lens #44 ‘The Lens of Cooperation’ focuses on this ability to communicate with other members. It is for this reason a chat stream will be available to each user. This can be used when crowd sourcing plans from other users or for collaborating on larger projects. By giving the users the ability to converse with other avatars reinforces this notion of identity presented with these features. Although users will be given different ranking on leaderboards and for their designs, no users rank will exclude them from conversing. To encourage further engagement, LEGO will release design problems or challenges that groups have to participate in. This can be utilised to inspire cooperation, force communication between users and build relationships within the world. Consider Lens #32 The Lens of Goals, where they are provided with meaningful tasks to solve particular problems with real life rewards, perhaps a free custom set for real life as incentive. When walking through the world version users will be given the opportunity to approach others and request a ‘start chat’. Until the other user accepts and gives consent you will only be able to chat with them through a text based chat. Audio communication was also considered for this platform, similar to campaign and combat style games like Call of Duty or Halo. However, it was thought to be more suited to strategy and multi player orientated task gameplay. Although this application does incorporate some of these styles it is assumed most players will find this level of communication sufficient enough as demonstrated by Sims and Second life avatar based games.

2 . 4 . LE A D E RB OA RD A N D VOTI NG SYS T E M

A l eaderboard and voting system h a s be e n i mp l e me n t e d f o r ra n k i n g c h a rac t e r a n d s e t desig n s to encourage continued ga me p l ay a n d h e a lt h y c o mp e t i t i o n be t w e e n u s e rs.

Due to the lack of task and goal setting this application focuses on generating interaction or aspects of competition through a voting system. This feature will aid in provoking and generating more consistent use of the application in a more active manner. Users are given the option to vote for best designs for either avatars or sets. Users are also given the opportunity to purchase other designers sets and characters if they wish to do so. A levelling system will be employed for this section where based on amount of designs, voting score or rating users can be granted particular statuses within the world. According to Rithcer (2014), leader boards relate back to original pin ball and arcade style games, and act as encouragement for competition. Applying Schells Lens #43 The Lens of Competition, is compulsive for any human, utilising this features need to be implemented that make our users want to win. These incentives can include free custom orders, access to private worlds, publicity within the LEGO realm. Leaderboard’s typically work well with creating a sense of community, interacting with friends, goal accomplishments, and show progress for users. The app will also provide the users with the ability to have a ‘Friends’ and ‘Global’ Leaderboard. Where they can view and see how high their own and others designs are ranked. This means that users will have submit their designs for ranking before they are entered into a leaderboard. This was implemented so that users were not subjected to any unwanted ranking or scoring, but any user is allowed to cast a vote or like for designs.

3. NAV I GAT I ON A N D U SE

Appl ications are designed f or qu i c k s u f f i c i e n t u s e i n mo bi l e p l ac e s, i t i s f ro m t h i s re a s o n t h e d e s i g n m u s t r e m a i n e a sy t o u s e a n d n av i g at e t h r o u g h t o c r e at e b o t h avata r s, s e t s a n d t o interact online.

3 . 1 . S I MP LI S TI C A N D A E S THE T IC D E S IG N

P o p o u t m e n u sys t e m s w i l l b e u s e d t o m a x i m i s e s c r e e n s pa c e w i t h m o s t p o p u l a r i t e m s f i r s t, w e l l a s a h e l p f u l t u t o r i a l wa l k t h r o u g h o n h o w t o u s e k e y f e at u r e s c o u p l e d w i t h an information or help section f o r f u rt h e r i n f o rmat i o n .

The application will be designed in manner that allows for quick navigation, simplistic settings, with a focus on aesthetics and design consistency. If we consider Lens #61 â&#x20AC;&#x2DC;The Lens of Virtual Interfaceâ&#x20AC;&#x2122; where consideration is given to how the user interacts with the menus and actionable elements, we must consider the following; the player will need to receive instructions initially on how to flick through catalogue systems apply bricks to foundations, grid lock and ruler features, a help section which will have FAQ and live stream questionnaire section this allows for ease of use and even if the user forgets they are able to return to this section for directions. These will be styled in slide out accordion menu to maximise screen space for the user whilst building or interacting. For optimal use we must also consider how the user will interact with the screen, whether it will be landscape or portrait orientation; with this in mind the app will cater to screen use depending on the users current mode. Vertical orientation allows the user to easily reach relatively everywhere on the screen, where as horizontal (which is considered gameplay mode for most applications) focuses on the sides and edges because the fingers are less likely to reach the middle of the screen. It is for this reason pop up menus and navigation items will be located around the outside areas of the screen. This will also maximise the screen play area for users (Smith, 2012). These functions of navigation are also universal, and as humans we have developed habits with these placements of icons and screen sizes. Screen and devices will be catered for by essentially scaling down interfaces (Scolastici & Nolte, 2013). When considering graphics, we will utilise a template with vector graphics to apply to a variety of devices and then determine which size is most appropriate (Scolastici & Nolte, 2013). Vector artwork will also allow us to explore this LEGO style of art in the most appropriate manner (Scolastici & Nolte, 2013). The icons used in both the building section and interaction section will be large enough for clickability purposes clear, question mark icon for help, LEGO figure icon for avatar customisation, brick symbol for set customisation, home for menu button, speech bubble for chat section, and world symbol for the interactive world platform. More in depth sub categories will be provided but this intimal menu will be the firs thing the user encounters. Subcategories can include the leader board section, checkout, shopping cart, library of designs, catalogues of bricks etc. The actual icon for the application has utilised a very simplistic minimalistic design. This app icon will appear in the home pages of any device, one click from accessing the multidimensional LEGO Builder app (see app design bellow).

L EG O B UI L DE R A P P I C ON 9:41

82%

Tuesday

Messages

Calendar

Photos

Camera

Weather

Clock

Maps

Videos

Notes

Newsstand

iTunes Store

App Store

Health

Passbook

iBooks

Game Center

Health

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LEGO Builder

BUILDER

3 . 2 . B U I D LI NG P L ATF ORM A ND 3 D MO D E L ING A 3 D modelling system will allow u s e rs t o e n gage w i t h t h e bu i l d i n g p ro c e s s i n a mu c h m o r e r ealistic manner, as they f lick th ro u gh s e a rc h a bl e c ata l o gu e s a n d be gi n t o c re at e t h e i r desig n . LEGO is a three dimensional object and this must be considered for the customisation process. When designing sets for the world, users are given an allotment or block to start, this sets up the parameters for the rest of the design and allows the application to constrain designs that become to large. Users are given an outline or catalogue to sift through and choose â&#x20AC;&#x2DC;building materialsâ&#x20AC;&#x2122; to start constructing your set or design, you are able to physically move brick pieces around and the design approach becomes more immersive for the user. The user has the ability to construct these sets and models in the building mode, although it would be interesting and engaging to view other builders creating their designs in the interactive world, the interface and technology of android and phones will not optimise this experience if these two methods are combined, keeping them separate will make it easier for the user to interact with catalogues and and customisation. We also want to give the user as much flexibility that the software and hardware will allow. The 3D modelling tool will allow users to visualise and engage in a much more effective manner if they are able to touch and move objects themselves physically. A virtual reality is ideal for 3D modelling as a design process (Florentino, 2001). This does raise an idea of allowing the user to build and customise bricks

as well, could LEGO as a company benefit from this advancement, this will be determined by the choice of software and whether it allows for it or if users begin to request this ability. According to LEOG’s research to customise new moulds is far to expensive and unnecessary. LEGO currently provides users with over 7,000 options in bricks and for the purpose of cost we will avoid this feature of being able to custom make bricks. Considering the platform for this game we must be sure to avoid creating a modelling system that is too difficult for the user to create designs on due to their screen size. this application can utilise Maya or 3D studio max to produce graphics that remains consistent with industry standards and a multitude of platforms is within best interest. We could also look to a CAD modelling system tech can be adapted to suit and build brick structures, with the ObjectManager – this allows the user to create, adapt and move objects (Florentino, 2001). Using this technology to build LEGO pieces, it can be adapted through Unity and placed into the application. Precise actions are imperative for users building experience, where they need to be given flexible control over all of the objects. Utilising snapping features makes it easier for the user to create more precise designs, we also give the user the ability to turn this function on and off, consider Adobe products where their applications provide the user with the option to turn on grids, rulers, snaps etc. These features will make the construction phase a lot easier and more time efficient. Considering Lens #60 ‘The Lens of Physical Interface’ where the player physically interacts with objects, touches, this was also one of the main reasons for the use of the tablet or phone device because of the touch screen interaction, this game creates a new way for LEGO lovers to interact with LEGO. Many devices have limited hardware capabilities this game will reduce the impact placed on these capabilities to maximise results (Scolastici & Nolte, 2013). We must also take into consideration battery power capabilities of tablet and mobile devices with this type of modelling system and determine how heavily this effects the user’s interaction. If the app deteriorates the battery life of the device, then the game will not be functional. Therefore, a balance must be created where the greatest experience or interaction is created for the user but remains device friendly.

4. p u r cha s i ng

4 . 1 . P U RC H A S I N G MOD E L 3D F IG UR INE S

Aft er designing u sers can then p u rc h a s e t h e i r c re at i o n s a n d h ave t h e m d e l i ve re d t o t h e i r do o r step, with real LEGO p ieces, t h e y t h e n h ave t h e a bi l i t y t o c o n s t ru c t t h e m i n re a l l i f e .

The ability to purchase the actual designed items is what makes this application unique. This app has been designed to cater for pre-existing LEGO fan bases that want to customise sets. It is this ability to involve the user in a much more immersive experience, by creating their sets online and then being able to play with them in real life. We look to games such as Warhammer as a case study example, where there is an online platform and a table top gaming platform. The Warhammer platform was designed to cater for users who build and customise Minifgiures for gameplay. This game has been so successful due to a number of reasons; the physicality of the figures connects to this notion of being able to spend hours customising and generating personalised figurines (Castle, 2014). It is also the competitive factor where users compete for recognition within the gaming community. This relates back to second feature 2.4 where leaderboards and scoring systems have been implemented. The appeal is also generated through the action of collecting, assembling and designing sets for play (Castle, 2014). An intimacy is created with

this ‘hands on’ approach. In recent years this game has converged to online platforms but manages to successfully integrate the two seamlessly. LEGO has a pre-existing toy fan base and a gaming fan base. Majority of these games are extensions of physical LEGO sets and product lines. This application allows users to take this a step further and design the sets from the beginning. The ability to create and design digitally in the application will remain cost free for the users until they want to ‘interact’ with these avatars or sets in real life. It is this feature that is the games purpose. You are the creator and this allows you to create sets that have never been created. Although LEGO allows flexibility already with their products you are still limited with what parts are available to you. We have considered the option of utilising 3D printers or other manufacturers when customising these sets. However, it is in best interest to maintain the LEGO brand name when releasing these. This establishes a precedent of quality, trust and fan base. As an extension, consideration can be given to providing a property purchasing development. If this app builds a big enough community, should we consider the implementation of making real property purchases (Pearce, 2015). This notion leads onto the feature of real monetary purchases within this app.

4 . 2 . QU OTI N G SYS TE M C o st will be determined by how ma n y bri c ks i s c o n ta i n e d w i t h i n e ac h d e s i gn , a s i n gl e b r i c k co st ing o n av e rage $0.01, users will be gi ve n a s u mma ry q u o t e at t h e e n d o f t h e d e s i gn p ro c e s s. The sets and avatars will be quoted based on the number or bricks or accessories used, bigger designs resulting in higher cost. By generating a quoting platform this will allow the user to become aware of how much they are really spending on their custom designs. The user will not be shown the cost until the end of the design stage, this allows the user to become attached to their design and result in reward after hard work. The users are less likely to abort designs after finishing them, therefore, the cost will be shown at the end to maximise selling points. Avatars will most likely remain relatively cheap to produce due their limited size and amount of customisation, it will be the sets and structures that will accumulate in cost. This could however, backfire and users shock themselves with the cost of their set designs, if they were to overuse accessories. This can be counterbalance by notifying users with helpful tips or for them to check out pre-existing sets to gage the prices of particular sized ones. According to Eaton (2014), an average LEGO piece will cost around $0.05 US, inclusive of packaging, licensing, distribution, overhead, production costs of moulds and materials. But for pure production cost to make a brick it is around the $0.01 US mark. According to Allain (2014) we can ballpark an average of 300 pieces in a substantially sized LEGO box. With this in mind we can calculate an average of around $15.00 for a 300 piece set at a wholesale cost, to make a profit we will also need to consider a mark-up cost and a shipment cost to users who order their sets. By applying the average LEGO mark-up cost we see a total of around $30 for the 300 piece set. This costing adheres to LEGO’s formula of pricing and will in turn most likely generate a profit to offset app development costs in the future. This feature remains relatively common amongst ecommerce style applications but has risks specific to type of product and variance in target market.

4 . 3 . S E C U R E PAYME NT ME TH O D S /S E CR UIT Y Pay Pal will be used f or secure on l i n e pay me n t s f o r p u rc h a s i n g c h a rac t e rs a n d s e t s, a s w e ll as feat ur es with parental control, filteri n g a n d l i ve mo d e rat o rs t o c re at e t h e s a f e s t e n vi ro n m e n t fo r user s. Users are given the opportunity to purchase their custom sets and avatars and have them delivered to their doorstep. For this reason, we must develop secure payment systems for players to use. For the purpose of in application payments we will utilise PayPal, a quick and secure platform to make the purchases. This company already has a strong presence within the market, and trust is preexisting. When considering mobile payments trust is detrimental when checking out. Therefore, we will utilise certificates and and checkpoints to reassure users of safety. Another consideration that must be made regarding safety is age appropriation and ratings. This game is appropriate for tween/teenagers up to adults, therefore we must consider cyber safety and security. Club Penguin is an online platform that is orientated around online socialising for kids. It is from this we can implement similar security features that protect users of any age. This app will implement an ad free environment, parental controls, live moderators, and filtered chat options. Before registering the user will be reminded through security warnings, ‘never reveal personal information; address, real name, age, mobile etc. Users will also be given the option to report particular users for inappropriate conduct in world modes.

User intere st When considering the methodology of this game we can apply Jesse Schells (2015) Lens #69 The Lens of the Interest Curve, which tracks the users interests in your experiences over a particular time period. As seen below, the graph displays eight key points in the interest curve (see Interest Curve graph bellow). Point (A) references the point of purchase and initial excitement of the application, this will be influenced by the marketing and promotional tools. Developing electronic word of mouth through the LEGO community will also be detrimental to the initial release. LEGO should also consider combining current products and promotions for the application as extensions of those products and community. Point (B) refers to ‘the hook’, the unique, attention grabbing factor of the customisation and delivery that sells the experience of the application. Points (C – F) refer to the creation of the first avatar (C), the interaction into the LEGO World, adjusting to the controls and feel of game, building relationships through chat rooms and friends list connections (D). The initial ordering/purchasing of the first avatar or set, after establishing certain skills and users are happy with designs (E). A waiting period for orders to arrive, user will continue to design and interact world setting, eventuating to entering competitions as the user becomes more experienced (F-G). This section is key to not loose users interest, and a relationship must be maintained with the LEGO World section to repeat use. (G) the sets/avatars arrive promoted within social groups and word of mouth and within app forum. (H) User continues to build more advanced sets in LEGO world and increases popularity within leaderboards depending on skills. This point will continue to go up if the user continues playing as their skills will improve, which reflects upon their ranking and popularity through platform, which results in increased competitiveness to keep status and to win competitions.

interest curve

B interest

c d

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Five minutes of gameplay To demonstrate a more accurate representation of the users gameplay, a short summary of the building mode will be explained. The essential element of this game is built around the building process. We can also consider Schellâ&#x20AC;&#x2122;s lens #67 The Lens of Simplicity and Transcendence, where we utilise the simplicity of the application features in comparison to the real world. The act of building LEGO or designing custom sets has been made easier with this application, being able to experiment further and design larger scaled sets are just some of the features that reinforce this need for the application. This App does not however, take away all the excitement and creativity but just enhances this experience as users are able to reconstruct after the model or figurine arrives in the mail. Normally users have access to the building process and LEGO bricks in real life, so it is essential that this process is successful. Our average user consists of a teenager male or female, but we must also cater for children who attempt to use this application. Parental locks and the sign in process will be implemented and account details will have to be entered every time because of the monetary features. Sign in is required again upon checkout to avoid accidental purchases. Initially they will be given a base to work off and this will set the parameters of the build. The user then has access to the catalogue system which will give the option to click on â&#x20AC;&#x2DC;Recently Used, Most Popular, Popular Designs or All Bricksâ&#x20AC;&#x2122;. It is through this system the user can set the foundation for their design by selecting and the first brick. Automatically bricks will start in the LEGO blue colour and once placed can be clicked on to change colours. The colour palette will then expand allowing the user to choose between the 24 LEGO brick colours. The user can then continue to place the same brick numerous times or change. They can then reactivate the catalogue scroll through and then choose their next brick. Whilst the user is working on their design they also have the ability to activate snap guides which allows for quick and easy placements of bricks. The system will assume that the next brick the user wants to place is in the line with the previous one and can be placed on top of efficiently. If a mistake is made the user can then select one

or multiple bricks and â&#x20AC;&#x2DC;Binâ&#x20AC;&#x2122; them with the bin icon. To make sure users are fully aware of what their designs look like as they build, they can then twist and rotate the base of the design and view a full 360 degrees. These features have been implemented to make the users experience as easy and relateble to buidling with real lEGO as much as possible. When playing with real LEGO experimentation is key, so this build mode must allow for the user to have this experience. To emphasise this building experience the action of connecting the bricks will also result in either a noise or vibration or both, as a reaction of the bricks connection to another brick. Although digitalised, this experience should incorporate most of the motions and actions as if the user were really building. After the set has been completed the user can then select the finished button and submit their work within the online library and then proceed to checkout. Once the user has clicked check out they are taken through the quoting section and can input their details for payment. After this payment has been made the user depending on geographical location, will receive their model in the mail within a matter of weeks.

u s e r s i gn i n a n d m e n u fe at ure

leg o m o del b ui ld mode

LICENSES LEGO’s current success is partially for their ability to utilise licensing agreements with popular brands and fandoms. They currently have access to all LucasFilm owned trademarks as well as Disney’s Pirates of the Caribbean and Warner Brothers Batman. We also see licensing for Harry Potter, Marvel and DC superheros, SpongeBob Squarepants, Indiana jones, Disney Princesses and The Simpsons (LEGO, 2015). These licensing agreements have allowed LEGO to enter new demographics and create stronger relationships with fandoms. This has ultimately resulted in LEGO’s international success and one of the reasons why they remain so popular (Hansegard, 2014). Themed sets sometimes require customised pieces and LEGO’s pre-existing bricks, however, some sets require these unqiue designs and when they do, we need to be able to cater for this. If a new partnership or licensing agreement is formed, then we need to question whether or not these special bricks are made available. Within the App the developers should be able to readily update (by either removing or adding) bricks within the brick libraries. On the chance that these new license agreements have a limited release time we must cater for users and make them aware of certain brick availabilities. We can achieve this by labelling these particular bricks as limited editions and show the number of availabile bricks. A library catalogue section can also be implemented that collaborates all of these bricks into one easy to find section.

Copyright issues may begin to arise when users are publishing designs under brand or working titles i.e. “Doctor Who or Star Trek” through our Designer Library where users post their creations. To avoid these copyrights, agreements should be disclosed upon opening of the application and will encourage users to avoid Copyright names when publishing design sets. For the purpose of crowd sourcing and fan sourced work, these companies could also be inclined to allow this type of UGC and until LEGO is directly contacted users are able to design without too many constraints. The physical designs are made from LEGO and void copyright infringements if they are made for personal use. With licensing we must also consider the placement of internal branding as well. To date, it can be seen that LEGO has established relationships with companies such as Coca Cola and McDonalds. This platform could also be utilised for other companies to crowd source. We see the opportunity for Companies (at a cost) setting LEGO Design Challenges within the World section of this application. This allows us to generate a stronger cash flow and also allow for some creative design challenges for users. These licensing agreements are instrumental to the success of LEGO and are necessary for the success of this application, we should therefore be utilising this to its full potential.

L EG O’s c ur r en t produ ct lines

aesthetics overview One of the main issues for this application revolves around the action of the building process. In order for this application to be successful this process must enhance the building experience. This experience can be further enhanced by utilising mobile and tablet features such as vibrations and sounds. When in the building mode we can utilise these techniques to reinforce the actions of bricks clicking into place, bricks snapping to grid lines and notifications. The emotion or connection found within LEGO is through this experience of the build, so these elements must be seamless and evoke these same emotions of satisfaction when building in real life. We can also utilise sounds to recreate the 360 degree rotation, flicking through catalogues, bricks being placed and chat based or notification noises. Artificial noises can be created or real recordings of these actions can be used for the actual game play to make it as realistic as possible. It is here we can also apply Schellâ&#x20AC;&#x2122;s lens #1 The Lens of Essential Experience, where focus is directed towards the player and their experience within the game. This application will be designed in an aesthetic manner that allows easy navigation and does not take away from the userâ&#x20AC;&#x2122;s designs. General LEGO branding will be utilised throughout the application but the overall design will remain minimalistic and clean as the complexity should remain within the creation of the LEGO products themselves. This will cater for our broad range of demographics where both adults and children understand the features and is still aesthetically pleasing. This means we can still utilise bright colours but a minimalist flat design will be employed as this best suits Application platforms from a design perspective (Norishda, 2015). If everything was to be made out of LEGO within the application, we need to question whether or not this would enhance the gameplay or distract and overwhelm users. It is for this reason a simplistic design should be utilised. Correlations can be made to games that have similar qualities such as Sims, Minecraft, Warhammer and Club Penguin. These features include customisation through building, more specifically through bricks, as well as social world elements, figurine collection and online socialising platforms. However, the LEGO Builder App incorporates all of these elements but it involves the ability to utilise the LEGO brand name and gives users a platform to enhance their overall building experience. This was also one of the main reasons for the platform choice, the touch screen allows users to connect more with the building process as it literally becomes more hands on as opposed to PC or console. There are also the competition elements of this application that encourages crowd sourcing and also provides LEGO with the ability to create stronger relationships with their consumer base. The actual aesthetics of this application must enhance and cater for the functionality of these features as well as the demographic. This calls into action lens #9 The Lens of Unification, where all elements of the decision making must reinforce this initial theme. The graphics will aim to remain as realistic as possible and in line with current LEGO game style graphics as seen in LEGO My City and the LEGO Movie game (LEGO, 2015). This application orientates itself around the ability to build with virtual bricks therefore the building process and LEGO World must have high quality graphics to reinforce the realism of this process. LEGO have previously struggled with game releases partly to do with storyline, graphics, functionality and platforms. We see the opportunity to turn heads and change consumer perceptions on LEGO gaming products. This game should be considered and looked upon as an investment into the future of building with LEGO bricks, therefore, money should be invested in a high quality product worthy of the LEGO brand name. Variations of the LEGO colour palette as previously mentioned will be utilised with the apps design. We can even consider the Psychology behind colour; Yellow evokes creativity, Blue intellectual and red for stimulation and excitement

(Oâ&#x20AC;&#x2122;Connor, 2011). These colours can be implemented into the actual design of the application in small quantities. As previously mentioned in functionality of the application is instrumental. Simplistic settings will be implemented so that the actual gameplay is efficient, easy and aesthetically pleasing.

c ur r ent l eg o game graphics

After downloading the LEGO Builder users will be played an introduction video explaining the concept behind this customisation process, the LEGO World and the leaderboard and social elements of the gameplay. After these quick introductions users have the option to watch videos that explain how to use the different build modes for figurines and for models. There will also be an option where users can view a tutorial on how to interact in the LEGO World and use all of the features within the application. After these intros the application will allow for continuous gameplay with the option for users to go to the FAQ button for any further tutorials or questions. Visuals are key and users often respond a lot better to walk through tutorials that demonstrate how to do it exactly, so these videos will consist of an actual play through step by step on how to do the basics (Schell, 2015). To compensate for the other senses in this game we will utilise music that stimulates the build, remaining upbeat but easy listening. When users are in design challenges music that is fast paced and high pitched with a build as the time runs out, will be played to emphasise the time constraint. With audio we must also consider headphones and the delivery of different sounds to different ears (Schell, 2015). Audio tracks can be designed that creates an audio depth to the LEGO World section of the game to emphasize the space with birds, wind etc. These tracks create a realistic world for the users to interact in. In build mode we can utilise construction noises and real life LEGO bricks noises to recreate realistic building effects for users.

The team The Lego Builder app like all projects, will require a strong foundation, and need to establish an effective team to produce an application of high quality. Essentially the production team will consist of the basics for any group project, but will also require a variety of disciplines to achieve success. For starters the development will require a product manager who will oversee and direct the team, strategy orientated, retaining structure and software management experience. The team must also contain UI and UX designers to develop the functionality and design of the application (Lo, 2015). The UI designers will need to be able to conduct tests and ensure the actual game play and use of the application is smooth and

successful, focusing on navigation and functionality. The UX designers will design the feel of the application and cater for the user task flow. Within this we can also consider the graphic designers that will need to to create the visuals of the application. These team members will most likely be utilised from LEGO themselves in order to maintain their style guide and development costs. An interaction designer will also be required to focus on the transitions and animations throughout the application, this will also include any of the vibrations or notifications within the gameplay. Engineering and coding elements will also be required to produce and implement the programming aspects of this application. More specifically a focus should be given to developing the iOS and Android versions to ensure this app is capable of running on all devices. It is after this development process that the team will require quality assurance testing to combat bugs and any other problems that may arise from the coding. The team should also consist of developers or designers currently apart of LEGOâ&#x20AC;&#x2122;s other game development teams. This will allow for consistency across platforms and ensure that this app meets branding requirements. After the actual development and creation of this application, a marketing and public relations sector will need to be implemented to control and maintain the apps release and any issues that arise. This section of the team will also need to focus on how advertise and market the game but also be able to integrate the application into current LEGO products. When designing the team for this application we can also consider lens #89 The Lens of the Team where recommendations are given to utilise people who share the same vision, passion for the idea and variations of communication. These qualities will be instrumental for the teams progress and success for developing the application.

A PP dev el o pm e nt team stru cture

App development team structure project manager

user interface designers

user experience designers

engineers

ios specialists

android specialists

coders

quality assurance testers

public relations / marketing

deployment team

release management

the business model As a comparison we can look toward other games developed by LEGO in the past to ground a much more accurate estimation for costing. According to Seabury (2011) who was head developer of LEGO Universe, which took around 5 years to develop their MMO style game and with the help of around 250 people. He also points out a direct shift towards iOS based games and suggests a direction towards them. LEGO currently releases a couple of new games a year either online or console based (LEGO, 2015). According to LEGO’s 2014 annual report we see a revenue growth rate of 13% with 28.6 billion in revenue. However, due to limited resources and knowledge it is hard to accurately gage the entire cost of this application development. Initially LEGO will design this application for a free release on the app store and users will have to purchase their designs. We consider an approach that increases brand awareness and respect. For development costs a percentage of this purchase can be directed back into LEGO. This application can be seen as a long term plan and will begin to offset initial costs after a number of years and based on popularity. When considering Schell’s lens #96 The Lens of Profit we must look at the flow of money seen in the diagram bellow our business model shows an estimation of this cash flow. Initially the consumer will download the application at no cost and after purchasing the actual product does LEGO regain profit. Fortunately for marketing purposes LEGO has the necessary channels and are slowly becoming more experienced in the gaming world. All sections of this model will need to regain a profit in order to offset costs. It is for this reason we could also consider the possibility of initially releasing the application for free for promotional purposes and then resorting to charging $0.99-2.99 (US) for the app purchase. This cost has been based off the price of the top 10 selling applications, and consumers are more inclined to spend this amount of money for mobile and tablet applications (Campbell, 2012). Campbell (2012) goes on to state that monetisation with in applications can occur in many different ways. We can consider the idea of monthly subscriptions, bow download sales, micro transactions and physical goods to unlock game content. In app purchases can include exclusive accessories or access to particular bricks or colours. This can be used to encourage users to make purchases if there is an exclusivity element around them. In order to maintain LEGO’s current trajectory the game has an estimation of around 2 years for development and then should be released around the year 2018 in peak season for Christmas shoppers (this is when most games do well). LEGO games are usually in direct relation to a current licensed set or trend, however, because this application is invariably different to any licensed or themed idea we see the ability to transfer across all sets. Specific packaging qualities will be explained later on. After purchasing one of the models or figurines from the application the package will be mailed to the users address of choice. These customised sets intend to be sold only through the application, unless LEGO chooses to mass produce one of the designed sets in normal retail outlets. This information will be disclosed to user upon sign in and made fully aware of the licensing agreements required by LEGO. This will also include the licensing agreements around trade marked and copy right characters and designs. The physical packaging of the items will come in individual bricks and an instruction list will be provided using the 3D model in a separated effect to show placement of pieces. The fun is in the build so we can’t take this away from the user, as well as there being many implications for trying to send pre built sets or figures. Examples of this packaging is shown bellow within the Advertising section.

i nst r uc t io ns recieved in mail after p u rch a s e o f c u s t o m d e s i gn

model instructions

When considering packaging we must also take into consideration LEGOâ&#x20AC;&#x2122;s pre-existing lines and and products. Can these elements be utilised to integrate the application into every LEGO experience. LEGO currently provides consumers with the ability to purchase sets ranging from licensed themed models and figures to original creator packages. These sets could begin to incorporate references to the application through packaging that encourages consumers to extend sets and join competitions. For example, we see star wars sets becoming increasingly popular and one of LEGOâ&#x20AC;&#x2122;s most popular lines. The packaging can be altered to have call to actions for using the app, to extend that particular scene and then post within the designer forum for their chance to be voted the best. LEGO has the ability to utilise all of their pre-existing channels to integrate and advertise this application to ensure its success within the market. When creating the marketing for this applications release LEGO must maintain a focus on their younger demographic but also their adult hobbyists.

S A L E S A N D D EVELOPM E N T B USIN ESS M OD EL

App development team structure project manager

user interface designers

user experience designers

engineers

ios specialists

android specialists

coders

quality assurance testers

public relations / marketing

deployment team

release management

advertising In order to achieve as great of a reach as possible, LEGO will need to implement an advertising and marketing plan. This means utilising current LEGO media channels to spread the word about the LEGO Builder app. Instagram will effectively inform our current fan base, and by using Facebook and Instagram algorithms advert placements can be catered to our demographic, see examples bellow. Content that utilises touch points and nostalgic routes will be key for targeting our adult hobbyist demographic. Whilst generating creative entertaining content for younger markets will be necessary. Different packaging has been designed for both the figurine and model sets that are mailed to consumers, packaging examples are shown bellow.

P R I N T A N D B I L LBOA RD A DVERT ISEM EN T S

BUILDER

CREATIONS THAT COME TO LIFE

S O CI A L ME D I A A DVERT ISEM EN T S

MO D E L A N D F IGURIN E PACK AGIN G

final remarks and recap In conclusion we can look to Schellâ&#x20AC;&#x2122;s last lens #112 The Lens of The Raven, which questions whether or not making this game worthwhile. Essentially this Application has the ability to provide a service to an extremely loyal fan base, and if executed correctly could begin to change the face of LEGO for the digital age. This game demonstrates the ability to provide users with the opportunity to create, design and explore the world of bricks in a much more interactive manner. This application will utilise the current LEGO market to develop a game that extends the users experience into a custom reality. As the user you will be given the ability to create yourself or a desired character. This character or set has the ability to be manufactured and purchased through this application. Leader boards and social interaction features will also be presented where you can interact with other builders and create a virtual reality with them. Essentially LEGO appeals to a large demographic, one that allows user to be creative in both the simplest and complex forms. LEGO is often attributed to problem solving and spatial reasoning that allows the user to create and build more specific representational avatars, structures or sets that they identify with. This application will begin to further this experience and enhance the essential aspects of LEGO. The Application design should revolve around creating a fluent, functional, aesthetic and secure design. (Norshidah, 2015) suggests that a large portion of commercial use and intent to purchase is based on an applications aesthetics and design quality. Therefore, the design of the application must maintain a certain quality of aesthetics by applying design principles whilst also considering function. The security of the purchasing mechanism must also be considered where reliable software that safely stores payment information, mechanisms and data transmissions such as Paypal can be utilised. Applications are limited to specific manoeuvres of pinching, zooming, swiping, tapping and shaking. The user can become more involved in the process of building, but these gestures or actions can become restricting depending on screen size. Mobile and tablet game applications, however, are particularly effective in social gaming and generating communities from accessibility perspectives (Feijoo, 2010). LEGO should most definitely consider pursing the development of this application to extend reach, increase branding awareness and stimulate the generations of tomorrow to think outside of the brick. Just think you could be creating yourself or your favourite set on the LEGO Builder App today, the possibilities are endless when you have the right tools.

LEGO BUILDER CREATIONS THAT COME TO LIFE

lego customisation application with online socialising platform freedom of choice and customisation

social interaction

Download the LEGO Builder for smartphone or tablet in the app store to customise sets that are delivered to your doorstep or interact in a world of bricks!

BUILDER

easy navigation and processes

purchasing

variety and extent of customisation

lego world community

buidling platform and 3d modeling

purchasing models and 3d figurines

user generated library/catalogue

individual and group gameplay

simplistic aesthetic design

quoting system

set and structure customisation

text based communication

avatar customisation

leaderboard and voting system

secure payment methods and security

author information

My name is Hannah Schultz, I am currently a student studying a Bachelor of Interactive Media and Design at Bond University on the Gold Coast. The following documentation has been designed for the promotional use of LEGO. This game development is a work in progress and will be utilised for a portfolio piece. I have a personal love for LEGO as a brand. The following research has been conducted through secondary sources and majority of the theory has been sourced from Jesse Schell, our prescribed textbook for the Interactive Experience Subject at Bond.

REFERENCES Ahmed, S. (2012). Why are adults still launching tabletop war?. Retrieved November 1, 2015, from http:// www.bbc.com/news/magazine-17274186 ALLAIN, R. (2014). How Much Does One Lego Piece Cost?. Retrieved November 1, 2015, from http://www. wired.com/2014/08/lego-cost/ Campbell, R. (2012). A Marketers Guide to Selling Your Mobile App. Retrieved December 5, 2015, from http://unbounce.com/landing-pages/market-your-mobile-app/ CASTLE, A. (2014). Warhammer at War: How Home 3D Printers Are Disrupting Miniature Gaming. Retrieved November 1, 2015, from http://www.tested.com/art/makers/452866-how-home-3d-printers-aredisrupting-miniature-gaming/ DEVISCH, O. (2008). Should planners start playing computer games? arguments from SimCity and second life. Planning Theory & Practice, 9(2), 209-226. doi:10.1080/14649350802042231 Eaton, D. (2015). How much does an average LEGO brick cost to produce?. Retrieved November 1, 2015, from https://www.quora.com/How-much-does-an-average-LEGO-brick-cost-to-produce Entertainment Software Rating Board (2015). ESRB RATINGS GUIDE. Retrieved November 1, 2015, from http://www.esrb.org/ratings/ratings_guide.aspx Feijoo, C. (2010). An analysis of mobile gaming. The role of the software platforms. Retrieved November 1, 2015, from http://www.academia.edu/1674596/An_analysis_of_mobile_gaming._The_role_of_the_software_platforms Fiorentino, M. (2001). Parametric interaction for CAD application in virtual reality environment. Retrieved November 1, 2015, from http://www.academia.edu/542062/Parametric_interaction_for_CAD_application_in_virtual_reality_environment FrĂ&#x192;omming, U. U. (2013). Virtual environments and cultures: A collection of social anthropological research in virtual cultures and landscapes. Frankfurt am Main;New York;: Peter Lang. HANSEGARD, J. (2015). Lego Bucks Industry Trend With Profit Growth. Retrieved November 1, 2015, from http://www.wsj.com/articles/lego-reports-2014-profit-growth-1424857331 Hong, R. (2013). Game modding, prosumerism and neoliberal labor practices. International Journal of Communication (Online), , 984. Iversen, S. M. (2014). Playing with sims as a space of oneâ&#x20AC;&#x2122;s own.Feminist Media Studies, 14(5), 727-742. doi:10.1080/14680777.2013.816332 Kafai, Y. B., Fields, D. A., & Cook, M. S. (2010). Your second selves: Player-designed avatars. Games and Culture, 5(1), 23-42. doi:10.1177/1555412009351260 LEGO (2015). Licensed Themes . Retrieved December 5, 2015, from http://lego.wikia.com/wiki/Licensed_ themes Lo, M. M. (2015). Recruiting a Designer?. Retrieved December 5, 2015, from https://bold.pixelapse.com/

minming/recruiting-a-designer-heres-what-you-should-know Norshidah, M. (2015). Critical Socio-Technical Issues Surrounding Mobile Computing. Retrieved from https://books.google.com.au/books?id=zNnHCgAAQBAJ&lpg=PR1&pg=PR1#v=onepage&q&f=false. O’Connor, Z. (2011). Colour psychology and colour therapy: Caveat emptor. Color Research & Application, 36(3), 229-234. doi:10.1002/col.20597 Pandya, M. (2013). Lego : Identifying the market segment. Retrieved November 1, 2015, from http:// www.scribd.com/doc/125970465/Lego-Identifying-the-market-segment#scribd Pearce, C. (2015). Virtual Worlds Survey Report: A Trans-World Study of Non-Game Virtual Worlds— Demographics, Attitudes, and Preferences. Retrieved November 1, 2015, from https://www.academia. edu/11239596/Virtual_Worlds_Survey_Report_A_Trans-World_Study_of_Non-Game_Virtual_Worlds_ Demographics_Attitudes_and_Preferences Peterson, M. (2006). Learner interaction management in an avatar and chat-based virtual world. Computer Assisted Language Learning, 19(1), 79-103. doi:10.1080/09588220600804087 Pilley, B. (2009). What audiences should Mythic have targeted with Warhammer Online?. Retrieved November 1, 2015, from http://www.engadget.com/2009/07/01/what-audiences-should-mythic-have-targeted-with-warhammer-online/ Ratan, R., & Sah, Y. J. (2015). Leveling up on stereotype threat: The role of avatar customization and avatar embodiment. Computers in Human Behavior, 50, 367-374. doi:10.1016/j.chb.2015.04.010 Richter, K., & EBL Ebook Library. (2014). Beginning iOS social games. Dordrecht: Springer. Schell, J. (2015). The art of game design: A book of lenses Morgan Kaufmann. Scolastici, C., & Nolte, D. (2013).Mobile game design essentials. Birmingham: Packt Publishing. Smith, J. (2012). Applying Fitts’ Law To Mobile Interface Design. Retrieved November 1, 2015, from http://webdesign.tutsplus.com/articles/applying-fitts-law-to-mobile-interface-design--webdesign-6919 Teng, C. (2010). Customization, immersion satisfaction, and online gamer loyalty. Computers in Human Behavior, 26(6), 1547-1554. doi:10.1016/j.chb.2010.05.029 Vela, L. (2015). Games Workshop – 2014-15 Annual Financials. Retrieved November, 28, 2015, from http://www.belloflostsouls.net/2015/07/games-workshop-2014-15-annual-financials.html Wikipedia (2015). Club Penguin. Retrieved November 1, 2015, from https://en.wikipedia.org/wiki/Club_ Penguin Wood, A. (2012). Where codes collide: The emergent ecology of avatar. Animation, 7(3), 309-322. doi:10.1177/1746847712456261

Appendix

main menu creations that come to life, order your designs today chat

lego world

build figurine

build model

checkout

help

user name

password

enter

friends friends leaderboard leaderboard

mostmost popular popular designs designs

john john smithsmith house house

lego car lego car

spaceship spaceship

t-rex t-rex

pikachu pikachu

castlecastle

john john smithsmith john john smithsmith john john smithsmith john john smithsmith

build mode library turn off/on guides

faq

help

build mode library customise features

lego world freinds list john smith john smith

friends location

john smith john smith john smith

john smith pinch to zoom

BUILDER

CREATIONS THAT COME TO LIFE

BUILDER BUILDER

Download the LEGO Builder for smartphone or tablet in the app store to customise sets that are delivered to your doorstep or interact in a world of bricks!

+ -

thank you