If somebody asked you to name the masters of interactive design, chances are good that Will Wright would be on your list. He created SimCity which led to SimAnt, The Sims, and Spore, and he’s currently working on a new social game called HiveMind. Last year in New York, I heard him speak and was struck by his thoughts about the learning opportunities he brings to his players, and asked him about it. What does he think about when he makes a game? What are some key influences? (Note that this was a long interview, and edits have been made for clarity).

Scott Traylor: In your presentations you often refer to learning theory, including your own Montessori education. It seems you have a passion for the topic.

Will Wright: Learning theory is certainly one of the factors that shapes my talks and my work in general, but it’s only one element. For me, making a game or a talk is a process of continual self-discovery.

Scott: Can this be attributed to your Montessori background?

Will: Montessori is good for self-discovery and exploration, but Montessori didn’t invent it. Self-discovery and exploration have existed for millennia before Montessori. it’s the way the human brain works. The whole constructivist approach to education simply leverages hardware that’s already built in.

Scott: When you say “constructivist” is it fair to say that you are thinking of Piaget and perhaps Seymore Papert?

Will: Oh, yes, and Alan Kay as well. This formalized approach to learning has really only been around for maybe a 100 years. We can go back hundreds and hundreds of years before that and see people understood this as the primary mode of learning. Consider the Renaissance and Leonardo Da Vinci. At some point the pedagogy got wrapped around that inherent process. It’s something that has remained, almost becoming more relevant in terms of its implications with modern technology, or our imaginations, and our creativity. It’s almost more relevant now where people can approach a wider range of endeavors creatively, because of the tools we have, for gathering information, for creating things, for sharing things.

Scott: So you’re saying we’re at a point, technically speaking, where we are empowered as creators, as explorers, in anything that might interest us?

Will: Yes, especially in things like the social dimension. I can create something and put it up on the web and then by tomorrow 1,000 people might’ve seen it. Think back 100 years ago what it would have taken for that to happen. It just wasn’t a possibility then, but now it’s a possibility for anyone.

Scott: While these theories have become more formalized in the last century or so, good teachers and good facilitators of learning have been aware of these things for ages. Now there’s the opportunity for learning to be amped up through technology and through participation in a way we have never experience before, in such an immediate way.

Will: Yeah, Seymour Papert and Alan Kay were among the first people to realize the impact that modern technology was going to have. Nicholas Negroponte, as well.

Scott: When you talk about games, or video games, you often refer to these things as playful objects. Is that intentional?

Will: Let’s take a look at that. People like to call the things I make games, but I tend to think of them as toys. There really needs to be more open-ended play experiences and that’s a broader world than the formal definition of games. I think a game is really a subset of the world of play. In substance it’s really just semantics but it’s cultural as well. A lot of people think of games, video games, as this brand new thing that’s popped up. But of course games have been around forever. Most games are based on some fundamental play experience that at some point becomes formalized. There are different connotations to play, and with that formal rules. You might play with others, or by yourself, the play might be a zero sum game, or not. These are just a few specialized versions of play in my mind.

Scott: Are there any play experts you follow?

Will: Not really. There have been a lot of attempts in the game design community to come up with more formal structures of frameworks to understand this. I think we’re just beginning to scratch the surface. They’re looking at the different perspectives on play coming from cognitive science or sociology or evolutionary psychology. I don’t think any one of these things is going to capture the subject completely. You have to triangulate from all these different perspectives.

Scott: Do you think the vocabulary around play and around games is evolving?

Will: In general, yes. A game is like the nucleus of the experience, but it’s not the whole experience. I spend a lot of time thinking about the meta-game, the experiences we’re having around the game, experiences that are the larger iceberg. For example, The Sims is a game on some level, where you can play with goal structures and rules. However, there’s a larger game where people make things and tell stories about the game. Then they try things with online communities. These are the things that people do outside the game. It is what I call the meta-game. To me, the more successful games are the ones that spark these larger meta-games.

Scott: You mean bringing the play or the game experience outside of the game, in some kind of social context, where people can talk about and interact around the game?

Will: Yes, in some sense the game in the player’s minds goes from being a specific entertainment experience to becoming a tool for self-expression. At first they were playing for the fun, just exploring. Then they start realizing they can be expressive with it. It’s almost like playing a musical instrument. At first, you experiment and press buttons. At some point you realize you can compose music. You might even start to perform. Eventually this toy becomes a tool to express one’s self.

Scott: Is it accurate to say that the opportunity for creative expression is also a central part of your games?

Will: it’s one of the more powerful benefits of technology. We can do things now that allow people to come in and craft more interesting experiences and share them with others. Somebody can take something from their imagination, create an external artifact, and then share it. They can even collaborate on larger imaginary structures. This is something that used to be confined to a small number of people that had very high skills in language. These individuals could write a book and describe some imaginary world, like Alice in Wonderland. But not many people had that skill set. Now average people are getting these tools that empower them, to create entire worlds, external to their imagination, to share with other people.

Scott: You have this amazing ability to translate complicated systems into successful play objects. What is your thought process?

Will: First, how much are these things representations of the real world? When I get started it’s usually with something that contains some aspect of the real world that fascinates me. I’ll start to imagine if I had a toy planet, what kind of things would I want to do with it? What kind of processes would I like to see? By connecting the toy to real world, it maintains a relevance. Later that toy becomes the scaffolding for building a more elaborate model. When people get to the point where they realize the toy’s limitations, they start discussing and debating what their more elaborate model is relative to that toy. When players first started playing SimCity they didn’t know what was going on. They started building things, they started exploring what caused land value to go up or down, they explored issues around crime, or pollution. Eventually they get to a point where they say, “I don’t think that’s the way traffic really works” or “I don’t think the land value model is very accurate because of this or that.” They could not have formalized these thoughts without the toy. When a player realizes the limitations of a toy, the user has created a better model for themselves internally that transcends the toy.

Scott: Once a certain of level of mastery is achieved with a game, that’s the point when a player will go out and look for additional information to improve upon those models, those systems that they have in their mind?

Will: Yes, that’s the real model we’re building, actually. The computer is really just a compiler for that model.

Scott: What you have described in a sense are games that are digital manipulatives. Tangible manipulatives are a big part of the Montessori world and early learning. Sometimes I hear educators debate the benefit of digital manipulatives over tangible ones. Even if a digital manipulative doesn’t perfectly represent a system, they lead a user in a direction that helps facilitate further learning and growth and discovery that is more accurate and representational of the actual model.

Photo above: The typical Montessori learning experience is based on time with tangible manipulatives, such as these base 10 beads. There’s 1 bead, 10 beads, 100 beads, and 1,000 beads, in the form of a block. These physical manipulatives help young learners understand small and large, base-10 counting, and maybe even geometry (point, line, plane, volume). Substitute beads with the elements of a city, where you can freely experiment with a different kind of units and rules. Get the idea?

Will: Think about it. That’s what we call the scientific method. Quantum mechanics does not describe, is not reality, but it’s our best model so far for describing what we observe to be reality. it’s not the first model we built to describe it and it’s not the last model we’re going to build either. Each model is making a more accurate understanding of reality. They’re all just models and none of them are accurate representations of actual reality.

Scott: Does the knowledge a user gains through game play transfer into the real world? Do you have an example of people playing games where the user transferred something they learned from a game into the real world?

Will: There are a lot of things people learn from games that can’t be measured on any test. On the surface games don’t necessarily feel like education. But when you look deeper into them they really represent a fundamentally deeper level of education. There’s a common story I hear from players of The Sims. Someone will be playing the game and they really get into it. They make sure to take care of the basic needs of their Sims, getting them fed and rested before they go to work the next day. These players can get totally obsessed over making their virtual lives perfect. In doing so, a Sim might get a promotion at work the next day. At some point many players experience an “a-ha” moment — that its 2:00 in the morning, and they have to go to work the next day. Then somehow the players understand that they were taking better care of their Sim than they were of themselves. They were making sure their Sim got to bed on time, was well rested for work the next day, while the players were staying up late playing this silly computer game. For these players this is where they started understanding the strategy within the Sims as a time management game. it’s a game where you juggle many factors. Sometimes a player will step back for the first time and see their real life as a strategy game. As a player, day to day, hour to hour, minute to minute, they were making resource management decisions that would impact their Sim in the short term and long term. Then there’s the paradigm shift: What if your real life was a game, and you actually had these resources, and had to develop structures, how would you play it? This is one of those things you’re not going to measure on any standardized test. Through playing the player would walk away from the game thinking deeply about every aspect in their life. “Do I really need to do this now?” or “Should I really spend that money?” For the first time, the game caused them to clearly see the decisions they were making in every day life.

Scott: If the game is the model of a system, which happens to loosely or exactly parallel your own life, at some point, you might reach that a-ha moment.

Will: Right. People who think of themselves as really good strategy players, for some reason never think of their real life as a strategy game. If I were to treat my life as a strategy game how would I play it?

Scott: Will, thanks very much for sharing your thoughts on play, learning, and games. While we have talked about a variety of inspirations and influences across a number of professions, is there one person that has done more to shape your thinking than any other?

Will: My mother, Beverlye Edwards. She supported me with all my crazy ideas as a child. If there was something I was interested in trying or doing, she believed that I knew what I was doing, even if at the time certain ideas seemed slightly odd. Just her believing in me allowed me to keep on trying new things, made me believe in myself, made me confident that I could do something big, something special. I thank my mother, for everything I have, everything I achieved, for her wonderful spirit and the great support she gave during my childhood years and in the years thereafter. I credit all my success in life to her unconditional belief in me and support in my trying something new.

Linkography:

• NY Times – The Long Zoom, by Steven Johnson
  October 8, 2006

• TED Talk – Will Wright makes toys that make worlds
  March, 2007

• NY Times – SimCity Living
  November 21, 2008

• Maria Montessori: The 138-Year-Old Inspiration Behind Spore
  March 29, 2009

• Jeff Braun presentation at Dust or Magic Design Institute
  November 1, 2009

• The Man Behind Spore Explores Gaming as Learning
  February 5, 2011

• Huffington Post – HiveMind Creator Will Wright Hopes To Turn Real-Life Into A Game
  January 2, 2012

Being the number one virtual world for kids is no small thing, especially in these days of Disney, Nick and Cartoon Network. But what’s interesting about Wizard101 is that 60% of visitors are playing with another member of their family (at least, according to a recent Trinity University study). What’s are they doing right?

To find out, CTR correspondent Scott Traylor interviewed head wizards at KingsIsle: Josef Hall and Todd Coleman, on a quest for their magic formula. Note that portions of this interview have been condensed, and this interview is part of a larger report that is sold separately.

Where did the Wizard101 idea come from?

Josef Hall: We started talking about it seven years ago. I have three kids, they were young then, and I wanted them to have a safe and high-quality online game. Todd and I thought the children’s space really seemed underserved. We wanted to make something that was triple-A, super high-quality. Something we could feel comfortable with our kids and other kids playing.

Todd Coleman: Josef and I were founders of another game company that made hardcore fantasy games with violence and mature themes. We were interested in going in a different direction, a more lighthearted approach to gaming through storytelling.

So the founders of KingsIsle brought you on and charged you with developing a virtual world product for them?

Todd: The story goes back earlier than that. Elie Akilian, our CEO and primary investor had an idea to create a new kind of game company. He talked to a dozen or more game companies to find a partner. At the same time he was searching for a partner, Josef and I were out talking to big publishing houses about a new kind of game we wanted to create. What’s funny about both sides of that story, neither of us were finding traction. Elie found that game companies were mostly interested in making shooters or army games or post-apocalyptic games, hardcore games for hardcode players. When Josef and I were talking to studios, those were the same types of games they wanted to fund. We stumbled into Elie who looked at us, having come out of the hardcore game space, now pitching a wizard game for the family, and it became apparent we should join forces.

From the beginning the idea was to create a family-based wizarding world, even before KingsIsle was formed?

Todd: Yes, in fact if you go back and read the high concept document that Josef and I put together, it’s amazing how much of that original vision is exactly the same as what we created.

How long were you in development?

Josef: About two and a half years before we went into alpha with friends and family.

Todd: And another eight weeks before we went live.

Did the masses come right away?

Todd: It took time. It was about six months of steady growth, but we hadn’t yet hit the tipping point. That was in December 2008 when it started to pick up steam.

Josef: We did some national television advertising, then things really took off. We started growing quickly around that time, and we knew we had something special.

How has Wizard101 changed since you launched?

Josef: The game has stayed true to what it was when we launched, but we’ve added a lot of things, like a housing system and gardening. Everything has kind of the wizard slant. The gardening’s not a normal gardening system. You grow funny plants that have a lot of character and personality, like Couch Potatoes which are little spuds sitting on couches watching TV and talking to each other. It’s all very tongue-in-cheek. We’ve added a pet system where you can own pets and grow them through different in-game mini games. We’ve also added a lot of new worlds, some are pretty big departures from the existing world, like Celestia, which is underwater.

[CTR Editor's note: Most of these are premium features, available only with a code that costs up to $39. That's the magic of Wizard101's business model.]

Have you learned anything surprising about your audience?

Todd: It’s a wider age spectrum than we expected. We started hearing grandparents were getting into the game, using it as a way to stay connected to their grandchildren. This was really surprising and just really cool to us. It’s something you can’t predict going in. You sit down, make the best game you can, and what you don’t really have control over is player behaviors. Players come into this empty world you crafted. They bring their own hopes and expectations and experiences and relationships. Then the world starts to take on a life of its own. It’s an amazing thing to watch.

How has the business of virtual worlds changed in the last few years?

Todd: Back when we started Wizard, the biggest game at the time was EverQuest, having amassed 400 thousand people. The prevailing thought in the industry at the time was any new virtual worlds to come out would simply carve up the same base of 400 thousand players. Then World of Warcraft launched and started racking up millions upon millions of players. All of a sudden people realized there was a new market. After that, the free-to-play model started in Asia. When it first came to the US, people thought that model would never fly, and of course that was not the case. Today you’re seeing these very casual games pop up on Facebook, and people who never considered themselves gamers, hundreds of millions of people, are now playing on a daily basis. Using those games as a way to connect with their friends.

What was your single biggest moment in the Wizard101 history?

Josef: One that jumps to mind was early on in development I came home and all the computers were taken over by my wife and kids. They were so deep into the game nobody noticed I came in the door. They were laughing and talking to each other, running around in the game. I knew at that moment we had built something that was a lot of fun for my family and would be fun for other families too. It was a wonderful moment.

Todd: My biggest moment was during development. I remember we had our first milestone, an internal test. We had created the art pieces and had engineering working on the code and a design group working on the players and the characters and pulling it all together. We fired it up, and Josef and I were able to jump in for the first time and play. It was that vision we had, taken from a “Wouldn’t it be cool?” conversation to actually seeing it on the screen. It was buggy, the sound wasn’t working, the cinematics were too long, the cameras weren’t working, but looking past all those warts and seeing it, at that moment I knew it was going to work. Josef and I were like, “Okay, we’ve got something here.” I think it was two in the morning. But that moment, you turn that corner and know you’ve gone from an idea to an actual game. Nothing beats that.

(Photo and images © KingsIsle Entertainment)

It’s been amazing to watch the virtual world (VW) space grow by leaps and bounds over such a short time. Using unique user traffic as a yardstick, the virtual world and massively multiplayer online (MMO) space increased more than 50% last year. Compare that with 15% for the prior year (in the US). The first thing to note is that traffic patterns seem to follow a seasonal rise and fall. Traffic increases from spring to early summer only to drop significantly when school starts in September. Then, as the holiday season approaches, it peaks before dropping off again in the new year.

WHAT’S HOT? The most popular destinations for both kids and adults are “casual gaming” destinations. For kids and tweens, that means Wizard 101, Poptropica, Club Penguin and Moshi Monsters (which was just valued at $200 million). While social and chat-based destinations like IMVU and Hi5 fall in second place for the young adult and older crowd, destinations that have a toy tie-in or real world connection, like Webkinz and Build-A-Bearville hold second place for kids and tweens. However, this VW/MMO type has been on a slow two-year decline, largely as a result of Webkinz loosing significant marketshare over that period, to newcomers like Wizard 101 and Poptropica. While Club Penguin has dropped in placement on the best top 10 list for kids, it has done a surprisingly good job of maintaining marketshare, loosing only a small percentage compared to Webkinz.

Two destinations have really taken off. Minecraft, a “better than LEGO Universe” online building (or “crafting”) world that appeals to both boys and girls is growing at an amazing rate globally. The funny thing about Minecraft is that it is still in public Beta! It’s not even a fully released product yet. (Note to execs, learn from this product’s creative expression thinking AND business model!) If you are not yet familiar with this low res, yesteryear looking world, tonight’s homework is to get familiar with it, NOW. Educators should note that teachers are beginning to create lesson plans around Minecraft’s in-world building activities. The second destination of note is Nickelodeon’s latest virtual world offering, Monkey Quest. This new 3D world is also growing quickly since its launch earlier this year and you can’t miss the advertising on Nickelodeon cable channels throughout the day. It’s a world that spent more than a couple of years in development and the polish shows now that it’s ready for prime time.

As we head into the summer months, the kids VW/MMO industry typically assumes that as the dog days of summer drag on, kids will become bored and start to gravitate to virtual world activities from the indoor comfort of an air conditioned room. If you watch any amount of children’s commercial television during the summer you can’t help notice the number of virtual world advertisements. However, while it is unclear if subscription rates actually rise during the summer months, unique traffic to kids VW/MMOs actually falls through July and August, especially in the casual gaming sector and in the toy and web connect space, an interesting trend that goes against popular belief.

What about education-based destinations? You might imagine these kind of sites have some appeal with younger audiences and kids, right? While the casual gaming space has captured almost 34% of all VW/MMO traffic, educational destinations hold less than 6% for all ages, and only 4.4% of all traffic for the top 20 kid and tween educational destinations. Out of this list, a majority share of traffic goes to Knowledge Adventure’s JumpStart and their new and fast growing world Math Blaster. Almost all other destinations show small numbers in comparison.

As I look back on the virtual world and MMO data I have collected over the past five years one thing is certain; expect to see many more virtual worlds launching in the months and years ahead. I remember a few years ago hearing one day there will be over 300 virtual worlds globally. I remember thinking “that’s impossible, we will never have that many.” Well, that day has recently come and gone. I continue to add another ten destinations to my list every month. Adding more new worlds to the existing list of players will create challenges for everyone in this field, pushing all players to continually improve, build out, and try to hold onto market share. Ultimately it will be the children and their parents that will benefit. Each new world that launches raises the bar for quality, engagement, innovation and ultimately, access. That’s the good for kids, but it presents an ongoing challenge for publishers who choose to play in the virtual space.

Start your engines! Disney’s newest virtual world, World of Cars, is at the starting gate! World of Cars recently went live and is the latest online community for kids. The LA Times posted a great interview with Rachel DiPaola (shown in photo above) who is the Product Director for Disney Online and commander in chief for Cars Online. Reading the piece reminded me that just a few months earlier I had a conversation with Lane Merrifield (also in photo above) about Cars. Merrifield, founder of Club Penguin, now oversees all virtual worlds for Disney. Below are highlights from our conversation together as he discusses the thinking behind Cars Online. This interview was conducted in the Spring of 2010 and has been edited for clarity purposes.

QUICK QUESTION PICKER:

In our last interview together, Club Penguin had just been acquired by Disney. Today you’re in charge of all virtual worlds for Disney. How many virtual worlds are you managing?

You were made the Executive Vice President of Disney Online Studio. Where do you start with this role?

What makes World of Cars unique compared to other virtual worlds?

What 3D solution are you using for Cars, Unity?

Was John Lasseter involved with this project?

In addition to Cars Online, what else can Cars fans look forward to in the near future?

INTERVIEW:

Scott Traylor: In our last interview together, Club Penguin had just been acquired by Disney in August of 2007. Today you’re in charge of all virtual worlds for Disney. How many virtual worlds are you currently managing?

Lane Merrifield: We have four actively launched virtual worlds. ToonTown was the first, Pirates of the Caribbean Online, Pixie Hollow, Club Penguin, and soon to be World of Cars. That’s four live currently with a fifth virtual world actively being worked on. It’s a lot of worlds to manage, but we have really strong teams who own the product, who are passionate about it, and passionate about their audience. For me, I’m less inclined to feel like I have to manage the worlds themselves, and more inclined to make sure that the values are lined up, the priorities are right, the expectations on quality are consistent. (Return to Question Picker)

Traylor: You’re under Disney’s wing now, which was nothing unfamiliar to you since you first worked in the parks at Disney as a teenager. You’re brought on as the Executive Vice President of Disney Online. Where do you start with this role? Do you focus on business models for these virtual worlds? Do you coordinate branding? Do you modify these virtual worlds to meet the business objectives of Disney Online or maybe the entire Disney enterprise?

Merrifield: When I first came onboard, almost all of these worlds, with the exception of Cars, had already been launched. So all of them had a nature. They were all in different parts of their life cycle. Some were struggling a little more than others. Pirates, which had great content, was not technically functioning as well as it could. It wasn’t working well on all machines. The team had reached pretty far with what they could do technically, but as a result, had made the site less accessible. For Pirates, we put a halt on a lot of new development, went back to the drawing board, and retooled to get it to a place where it is now. Recently we started to move the content ahead again, and the experience is far more accessible. You can play it in a browser now. Anyway, these virtual worlds are all on different paths, and a lot of my focus has been stepping in, bring the two studios together (the Club Penguin studio in Kelowna, now called Disneyland Studios Canada, together with the Disneyland Studios LA,) and bring together a lot of shared learning.

It’s interesting, the two studios are almost identical in size, although one was focused on just one product and the numerous facets of that product, and the other was focused on multiple products. One studio wasn’t involved with as many languages. The other wasn’t as tied into their consumer products and other things. One was driving very deep, and the other was focused on all the pieces. Internationally, Club Penguin was really leading the way, and now the infrastructure that we developed for Club Penguin is going to allow all of our virtual worlds to be able to grow internationally in the same way that Club Penguin did. The sharing between the two studios has been a great cross learning experience. (Return to Question Picker)

Traylor: What makes World of Cars unique compared to other virtual worlds that compete in the same space?

Merrifield: Well the most obvious is that it starts from such a strong place in terms of its intellectual property. People know the product, people know the characters, they know what Radiator Springs should look like and feel like, although they haven’t necessarily experienced it like this before. There’s great strength in that, but it’s also a double-edged sword. It means people’s expectations are going to be higher. We already had a head start in the narrative, and in the environment and the characters. I don’t like to focus on the technology, but we’ve also created a way of doing 3D in Flash that’s pretty unique and different from Papervision and some of the other technologies out there. (Return to Question Picker)

Traylor: The front-end is in 3D using Flash? You’re not using Unity?

Merrifield: We’re using Flash, at least until some of these other tools get to the same adoption rate. Our goal is never to try and perpetuate the technology. We’d rather come in behind it once it’s already reached a significant adoption level. This is not to say we’re not looking at all of these other new tools, playing with all of them. Just the same, we’re not locked into Flash either.

We always talk about being technologically agnostic. That’s a big focus for us. It’s difficult to bring a Pixar 3D movie to life in 2D. Not to say we didn’t experiment with it, but it just wasn’t the same thing. The character of the cars, and the ability to bring them to life, and the way they are articulated, we knew we had to address that problem. And yet, the requirement was always not to chase technology. If we’re going to do it in 3D, it has to have a 98 percent install base, which is what Flash has. It was a tough challenge, but the team rose to it. In part, it’s also why we’re making sure everything will work right for the launch. This is a technology approach that hasn’t been done before. We need to make sure when there are 60 cars driving around on the same page at the same time, that it’s still as strong an experience as if there were just two cars driving on screen. (Return to Question Picker)

Traylor: Was John Lasseter involved with this project?

Merrifield: Yeah, John’s been pretty involved. He would do check in meetings throughout. He also has the dedicated gurus of Cars at Pixar who are involved in work on Cars II and the Cars Land Experience. The relationship has not been like a licensing situation where we say “Okay, can you tell us everything about Cars, and we’ll go make it.” It’s been a real collaboration. In fact, there are elements of what we’ve created that are being incorporated into the Cars manual, the Cars bible. Some point down the road, it could be incorporated into future movies or theme parks or whatever else. It’s neat to see this. It’s a collaborative effort, more than it is one way. John’s been a big fan, and he’s very interested in this because it presents a new medium for storytelling. (Return to Question Picker)

Traylor: What you have shared with me so far is that there’s a new Cars Virtual World, a new physical world theme park called Cars Land, you’re also talking about the next Cars movie. I’m seeing a “tent pole” approach with the Cars brand that has many different elements circling around that center pole. Fans of the Cars franchise are soon to see much more than just the Cars virtual world, is that correct?

Merrifield: There is a lot of cool stuff coming out. The neat thing about everything you mention is that the center pole IS the story and IS the narrative. People sometimes say, “The virtual world is the connection point.” The Internet may be the connection, the vehicle, and Cars Online will be a browser experience. However, as devices get more and more connected and smarter, as we connect more with mobile, as we connect more with console games, as we connect more with the physical environment, my hope is that this next evolution of engaging with the Cars franchise will be more about this connected experience. Disney has been making similar connections from a franchise perspective for years. It’s not just about the replayability of these various experiences. It’s really about one continuous story across multiple experiences. (Return to Question Picker)

For those that follow my blog, you may remember a post I wrote last winter where I explored the world of children’s television commercials, just before and after the last holiday season. At the time my focus was mostly on the world of technology toys, and how toy companies promote their wares to children through television. Over eight consecutive weekends, I had watched about 100 hours of children’s television across seven stations, which loosely added up to over 3,000 commercials viewed. That many commercials edited end-to-end would fill an entire day of watching nothing but commercials.

A couple of months ago I was reviewing the data I had collected, deciding if I might undertake a similar effort again this year (I’m looking for sponsors), when I realized I was sitting on a ton of stats related to virtual worlds and kids. After pulling my head out of the world of toys, and instead focusing on social and virtual worlds for kids, I realized that many virtual worlds were advertised for the first time ever on television during the latter part of 2008.

In the months leading up to last year’s Christmas holiday, at least nine virtual worlds were advertised in the US to older kids and younger tweens. These destinations included Bella Sara by Hidden City Games, Build-A-Bearville by Build-A-Bear Workshop, Mattel’s UB Funkeys, Cartoon Network’s Fusion Fall, Irwin Toy’s Me2 Universe, Disney’s Pixie Hollow, Hasbro’s MyEpets and LittlestPetShop, and Wizard 101 by KingsIsle Entertainment. Most companies offered commercial spots in 15 and 30 second lengths to promote their online virtual worlds. All commercials were placed on channels that aired children’s programming with the heaviest rotation appearing on weekends.

The company that had the most commercials in rotation was for Cartoon Network’s virtual world Fusion Fall. Cartoon Network ran an AMAZING number of spots in 10, 15, 30 and 45 second lengths to promote Fusion Fall, but all of Fusion Fall’s advertising was on a single channel, that being Cartoon Network. The shorter spots were placed strategically as bumpers around all show entry end exit points. I can’t cite the exact number, but the amount of Fusion Fall impressions per hour was impressive and more than any other competing site.

The Pixie Hollow and Wizard 101 virtual world commercials were the next heaviest in rotation after Fusion Fall, but for these worlds, they were advertised across multiple channels. Next in line was Build-A-Bearville, Bella Sara, and Funkeys. Each virtual world destination experienced an increase in unique visits to their virtual world but none more than Fusion Fall and Wizard 101 in the November to December 2008 time period. Both of these desitinations experienced an increase in web traffic 3 to 5 times more than before those on air campaigns began. All virtual worlds lost traffic to their sites after the holiday season as advertisement campaigns wound down, all except for Disney’s Pixie Hollow. However, gains remained for seven out of nine of the virtual worlds advertised when measured over a two month period, though only three out of the nine had experienced any significant gains. Out of the collection of these nine virtual worlds, seven companies offered a tangible product that was sold as part of their virtual world service.

Over the summer months, I’ve had the opportunity to check in on a few children’s channels to see what’s being advertised. A new crop of virtual world commercials are running on air this summer. One big surprise to me was MapleStory which is a virtual world that started outside the US. It makes sense to try to reach out to kids during these months to grow an audience base. I’ve been thinking that this might be a better and cheaper way to gain visibility as opposed to winning kids over during the winter holiday season.

Outside of children’s television, I’ve also been keeping a close watch on a number of virtual worlds for kids. Every now and then I’m surprised by how some site just explodes. Moshi Monsters has had my interest most of this summer. This is a UK virtual world for kids that has yet to take off here in the states, but has been doing great at home. I’ve wondered why it has been so successful in the last two months. Only recently did I came across an interview with Michael Smith, CEO for Moshi Monsters on YouTube. (Thanks Joi Podgorny for the tip!) In this interview Michael discusses the growth in visitors and subscribers to his site as a direct response to advertising on TV.

If you’re interested in learning more about the data I have, shoot me an email. One thing is certain though, we should all be prepared to see many more commercials of virtual world advertised to kids in the months, and years, ahead. What used to be a vital part of toy promotion is now expanding to the virtual world as well.

When toy companies talk about new toy products, there’s often a lot of discussion around a toy’s play patterns. What is it about the toy that resonates with a child? What play patterns will the toy tap into? Will the play pattern extend across age and gender differences?

Sometimes answering play pattern questions like these are pretty straight forward, other times their answers are not as clear cut. Potentially even more complicated is describing the play pattern around a toy product tied to a virtual world or online experience. What kind of play pattern are we talking about now? How does the play experience through an avatar in an online world differ from that of a child playing with a physical toy in the real world?

These are hard questions to answer, but they are ones I’m betting more and more people will be asking in the world of youth marketing.

The 2008 American International Toy Fair was a big year for virtual world toy products. Unlike years before, 2008 saw many virtual world product announcements, a first for the show. Some of the biggest announcements came from the likes of Disney and Techno Source with Pixie Hallow and Clickables, iToys with the Me2 Universe, Ty with Beanie Babies 2.0 and TyGirls, and 10Vox with Tracksters and KooKeys. Each of these companies offered a virtual play experience through the purchase of a tangible toy product—the business model of preference being one in which the consumer buys a tangible product that grants access to an online world.

Fast forward to 2009. It seems almost every few days we learn of a new virtual world for kids. While a number of virtual worlds were announced on the show floor during the 2009 Toy Fair, even more were announced outside of the walls of the Javits Center. What was surprising was the number of new product announcements, not just updates to old products launched a year or two prior. Take note for the future: February could very well become the product announcement month of choice in the virtual world space. Such announcements started in 2008 and today appear to be picking up steam.

As you can imagine, any announcement attached to a toy industry event will include some tangible toy product as part of the virtual world offering. Most often plush toys are the vehicle of choice for promoting virtual worlds to kids, but changes are underway within the toy-related niche of the virtual world space. Just about anything these days can include a password key on a piece of paper to allow access to an online destination. Also added to the mix are new solutions that include USB thumb drives that plug into your computer and become the keys to playing in these online destinations.

When I look back on the last two years of tangible toy/virtual world product announcements, I notice two trends, in particular, related to the software portion of the announcement:

1. At the time when a company first makes a virtual world announcement, the virtual world is generally far from completion. If the virtual world has been in development for a long time and is in the process of a sizable public beta effort (meaning many actual consumers are testing the virtual world to flush out problems and improve the quality and stability of the product), this is a good thing. A sizable public testing effort should be the norm with all such products, but sadly it is not. As a result, first-year launches can be challenging for both the companies that make the products as well as the children who use them, typically resulting in poor reviews out of the gate.
   
   
2. After a product has officially launched, it tends to be improved and expanded upon as sales grow or as web traffic proves what is working and what is not within the virtual world. These sorts of improvements are generally seen with products that have been in the marketplace for at least two years.

As it relates to the overall offering of both the physical and virtual parts of the product, I have these additional observations related to the buying and selling of these items that can lead to consumer success:

• How “giftable” is the product? For example, one of the things I love about Webkinz is that the current line of plush toys makes for a great gift idea. They are priced right and are easy to give. Also, the cost to get online is attached to the purchase of the tangible item. This removes the burden from a child of figuring out how they may have to pay for the online experience.
  
  
• Related to cost, are there any hidden fees to gain access to the online world? Sometimes the purchase of the tangible product will not allow full access online. Some virtual worlds can be tiered or gated in a way that premium content is restricted until a credit card is used. A number of different financial models exist related the sale of such products. Be sure to ask if the purchase of the tangible good is the only fee involved or if other fees are part of the online experience.
  
  
• What kind of tangible toy selection is possible? Are there only a small number of items at one specific cost or are many SKUs available across a variety of price points? A variety of products and pricing options can be of benefit to sales.
  
  
• Is there more to the virtual world than just game play? Few of the latest virtual world announcements offer an experience beyond games. Two products to watch that offer something more include Jacabee’s The Jacabee Code, which promotes a unique approach to learning history and Tales 4 Tomorrow, a destination that is all about animal conservation (with plush toys from Fiesta).
  
  
• How deep is the online experience? How many activities and how much content is available? What is the mix of games to creativity tools? Newer sites may not have as much depth as sites that have been on the market for some time.
  
  
• Who does the product appeal to, boys or girls? Historically, very few of these virtual world offerings have had an appeal to boys 9 years old and older. However, this too is changing. New destinations with a greater appeal to boys include products like the car-centric Tracksters, Revnjenz (Revnjenz) and KizMoto (KizToys); and the dinosaur-themed Webosaurs (Reel FX) and Xtractaurs (Mattel).
  
  
• What about younger users? While it may be surprising to find even younger users interested in similar online destinations, many of the social and communication tools available to older users are just not of interest to younger users. Age-appropriate products for young users have been in short supply. However, Ganz recently announced a younger version of Webkinz called Webkinz Jr., and since 2007, Gigapals has offered an eponymously-named site with related toys for the same audience: ages 3 to 6. When thinking up products for younger children, consider the amount of reading and audio instruction provided within these worlds. This demographic may be computer savvy enough to get to your site, but they may still be challenged by the inclusion of too much text once they arrive there.
  
  
• If the online world allows its users the ability to communicate with one another, is the method of communication “canned chat,” “filtered chat” or “open chat”? In addition, what kind of monitoring is provided to prevent inappropriate conversation or cyber bullying?

It’s hard to easily describe the appeal of online worlds for kids. An answer may be found with the sense of independence or a feeling of being in complete control over the digital universe. There might also be an aspirational component to these worlds, as well, that is hard for an adult to fully understand. Part of this new play experience may be an extension of pretend play we’re all so familiar with, related to kids and toys in the real world. One thing is certain, virtual worlds are an expanding part of a child’s play options, however you choose to define the play pattern. And because new virtual worlds are being announced more frequently, chances are there’s one that’s a perfect fit for any girl or boy, or maybe even the child at heart.

Young fans of Webkinz have many pets in their collection. Sometimes many more than you think possible! Above is a photo of most of the Webkinz in my daughter’s collection. (Click image to see larger photo.)

She received her first Webkinz as a gift from me while I was doing research about the ever expanding online world for kids. After this flagship friend was received, a small number of birthday parties resulted in a few more as gifts from friends. A couple were even earned for successfully completing challenging at-home clean up requests. However, a majority of the Webkinz in her collection were purchased by my daughter, through diligent savings of her small weekly allowance.

If you have young children in your home between the ages of 6 to 10, chances are you’ve already heard the Webkinz buzz. While there are many tangible pets to choose from, and too many features online to count with many more being added regularly, let me pull back the curtain of this online destination to show just one small part of this universe. One central online activity includes the ability to build out a virtual home for your newly acquired animals. The more pets your child acquires, the bigger this virtual home becomes.

Illustrated translations of tangible Webkinz toys in the virtual world.

As many parents will probably already know, every Webkinz plush comes with a card that includes a secret code to gain entry into the Webkinz site. One of the very first activities you child will participate in online is decorate a place for your new pet to live. Your child will receive one “starter” room to decorate. Additional rooms can be added by either a.) saving up KinzCash by playing online games/activities to purchase additional rooms, or b.) through buying additional Webkinz in the real world. My daughter pointed out that you only get an additional room for the first ten Webkinz you buy. After that, no more free rooms. The rest can only be purchased online with KinzCash.

This map, stitched together from multiple screen captures taken within the Webkinz World, shows all of the rooms that have been purchased and designed within my daughter’s collection of Webinz online. She started with just one room and built out this large living space for all of her pets. Clicking on any one of the squares from this map within the Webkinz World will bring you into an orthographic view of the individual room itself. Note the different sizes and themes to each room. (Click image to see larger photo.)

Rooms can be decorated with a wide selection of items for purchase through the WShop, the online equivalent of a home furnishings store. There are plenty of items available to spark a child’s decorative imagination. Chairs, beds, games, TVs, wall paper, you name it. Also, some of the items you can acquire are considered “exclusive” and are only made available from “adopting” your 10th, 15th, 20th (etc.) pet. (Translation of adopting — the purchase of additional Webkinz in the real world.)

The front step to the WShop which displays all the different categories of home furnishings you can buy within the Webkinz World. Selecting a category will bring you deeper into the store, showing the store visitor pictures of the item they may wish to place within one of their pet’s rooms. (Click for larger individual images.)

There are three different room sizes and a small number of different themed rooms. For example, you can purchase themed rooms that reflect a certain holiday, like Halloween, or if your pet lives underwater you can purchase a water room. Your pet moves around the room by clicking on an invisible tile matrix that covers the floor of the room. Large rooms are made up of a 10 x 10 grid. There are also medium sized rooms, 7 x 7, and small rooms, 5 x 5. This grid system also helps with the positioning of items purchased from the WShop within the room.

There are three main room sizes available in Webkinz World and a variety of different themes as well. If one of your Webkinz is a fish, chances are you will want a water room. Ask your child what happens when a non-water animal enters a water room. (Click for larger individual images.)

I’m fascinated with the technical logistics of this room making activity within Webkinz. There are a number of individual parts that need to work perfectly together, and need to scale just right with every new addition to your child’s collection. If your child is a Webkinz fan, ask them how many pets they own. Ask your child’s friends as well. You may be surprised at the answer! I’m amazed at the number of Webkinz my daughter’s friends own. Just this week we met a new friend that had over 20 Webkinz in her collection. One boy in the neighborhood who she sometimes plays with boasts owning 46 Webkinz! What sorts of stories about Webkinz do you hear from your children? What do they like best about Webkinz? How many pets do they own? Thanks for reading and for sharing your comments below!

Montage photo of Times Square event. (Click image to see larger photo.)

There were many things to do and see, as well as announcements to hear. The outdoor celebrations included personalities from Radio Disney and the Disney Channel. Entertainment included guest star appearances, many dance numbers on stage, and even a visit from Club Penguin co-founder, Lane Merrifield who thanked everyone for making Club Penguin such a huge success. The event was simulcast online through the Club Penguin website and also projected on the ABC Jumbotron! Nearby, a custom decorated tent, doubling as an igloo, looked like it jumped right off the webpages of the Club Penguin website. Tasty treats were on hand for all

A look inside the igloo. (Click image to see larger photo.)

the little ones and an amazing 3rd anniversary cake was made in honor of the celebration!

Across the street, inside the Toys R Us store, many additional surprises awaited which includeda number of new Club Penguin books (I think I saw four different books), plush penguins (I’m going to guess about 12

Online and offline anniversary cake. (Click image to see larger photo.)

different characters), and many new Club Penguin toys. Computers were set up for kids to try their hand at Club Penguin for the first time and additional tables were nearby so visitors could play the latest games now available including a Club Penguin branded Mancala and a card game called Fast Flippers. Users could even test out the soon to be released Club Penguin Nintendo DS title called Elite Penguin Force. The official Club Penguin blog also announced a series of Club Penguin trading cards that will be available sometime this coming November.

So, what’s noteworthy here? Well, aside from the party, a number of things. After watching the Club Penguin business for more than a couple of years, I am impressed with how Disney has proceeded after the acquisition of Club Penguin. I had a fear that the sweetness and innocence of the Club Penguin site would be lost through this acquisition and would soon become a site cluttered with advertisements. I am thrilled to report that the Club Penguin site is even better today than it was before the Disney acquisition. The only visible change is a separate webpage with information on where Club Penguin toys can be purchased. This is, however, located outside the Club Penguin world.

Also, the folks at Disney and Club Penguin have spent a lot of time trying to determine how best to grow this virtual world beyond the sizable user base they already have. First, you can see the Club Penguin website has just become international, with the inclusion of Portuguese as a language option in addition to English. Not an easy undertaking considering the live monitors needed to watch the site’s activity very closely. I’m betting you’re going to see more languages added here soon. Second, instead of the typical revenue approach offered through monthly subscriptions often used with other virtual worlds for kids, Club Penguin is extending revenue support through physical product that include numerous ties back to the website. The new products announced at the anniversary celebration include special physical “coins” attached to the plush penguin dolls and codes woven into games and books that unlock unique Club Penguin rewards. For example, within the Club Penguin world, an activity can ask for the special word found on page 46 paragraph 2 word 14 of one of the new books, and once this word is entered into the activity, prizes await. Also, it’s been stated that coins collected in the new Nintendo DS game can be transferred into a child’s online account too. Pretty cool! Now the cynic in me might say this is too much consumerism, but I have to acknowledge the amazing commitment to quality and careful thought put into these new products. A child does not have to be a paid subscriber of the site in order to take advantage of these rewards.

The solitary subscription model and in-world advertising approach to grow a children’s virtual world is looking like an outdated thing of the past. Club Penguin and Disney are positioned to capitalize on it’s consumer product strength to grow Club Penguin numbers like no other virtual world offering for kids can. Waddle on Club Penguin! Waddle on!

Video of the Club Penguin anniversary event in NYC’s Time Square.

Social networking, social media, virtual worlds; the Web 2.0 world is on fire, and sites that touch on some part of social media are rapidly growing. Sites that allow individuals to come together, form online communities, and share thoughts and different media types in a virtual way are feeding this ever-changing way to engage with others online.

Plain and simple, people are social creatures. It’s wired into our being. The concept of social networking is not new. It’s been part of our DNA since the dawn of time. Some researchers think that our desire as humans to socialize is an instinct that plays a part in our survival. Only recently has the term “social” been applied to interacting online, allowing individuals to become virtually engaged with others who share common interests across the street or around the globe. And social network destinations are not just for adults and business people, they’re of great interest to kids. Many adults may first have become aware of social networking sites through high profile business acquisitions with noteworthy online companies like MySpace or Club Penguin. Kids, on the other hand, often learn about child-friendly equivalents by word of mouth, from friends at school or the playground.

But just what are the current growth trends? What is the makeup of existing social networking sites today and how—and better yet, why—are kids interested in them? Where are the new opportunities yet to be explored by future businesses? How can a traditional toy business better integrate these new virtual play patterns into existing physical products?

Worlds worth watching

One way to begin chipping away at these questions is to take a look at the wealth of social network products available on the market today. There are literally dozens of sites that people young and old use.

In fact, once a list of social networking sites is identified, a clear demographic split can be seen, and two distinct user groups emerge. One group includes children ages 12 and under; the other includes teens between the ages of 13 and 18.

What is this age group distinction about? In part, the separation has to do with privacy laws that protect young children online. Another factor is that each group comes to these products with a different set of social interests. There are also differences in communication style across the age groups as well as access to and understanding of different technology types.

Before building our list of sites, it’s important to identify the critical social networking features these destinations have in common. The criteria used for this article includes features that allow its user base to communicate with one another in a real time or a delayed manner using open chat, filtered chat, or canned chat —the three main methods of communicating online through such sites. The ability to communicate with other members in these sites is usually, though not always, accomplished through interacting in a virtual world. First, let’s take a look at a list of destinations that appeal to children age 12 and under.

Next, a similar list can be created for popular social networking services that appeal to users between the ages of 13 and 18. The method of communication in these sites for older users tends to be more open-ended and less likely to be monitored or filtered when compared to sites for their younger counterparts.

When the above two sets of data are mapped out over time and placed on top of each other, adding up the number of new social network products launched within each year for both age groups, some interesting trends present themselves.

[NOTE: This line chart above showing the two sets of historical data layered on top of one another did not make it into the magazine article. I am adding it here to the blog post only. -ST]

It’s impossible to ignore the recent growth in new social networking products launched each year that target children ages 12 and under. In 2007 alone there were at least 13 such products announced for this demographic. And 2008 is shaping up to be a banner year for new announcements. During this year’s Toy Fair, I counted 12 new social networking and virtual world announcements, products that have, for the most part, yet to go live. What’s surprising is that over the same time frame, social networking products that appeal to teens have remained somewhat steady in new business starts and consistent year over year. Yet, both demographics are experiencing significant activity in new membership growth and Web traffic month after month. So why is it that the younger demographic is experiencing a greater surge in business startups? Let’s explore a few theories that may answer this question.

Not all social networking products that are appealing to teens are developed specifically for teens. These destinations are often developed to appeal to audiences over the age of 18, but have found success with users between the ages of 13 and 18. Conversely, almost all sites for kids ages 12 and under are intentionally developed for these younger audiences.

It’s possible that older users of social networking products are more loyal to a specific social networking site, whereas the younger demographic is more transient in its social networking choices, preferring to use multiple sites over time instead of staying with just one.

The younger demographic may have greater turnover in users and shorter life cycles (churn) with social networking products that target them than their older counterparts. In the children’s magazine space, for example, it’s not uncommon to hear that an audience base and related subscriptions changes every 18 months. The same could be true for an online world created for younger audiences.

Many younger social networking services are tied to consumer products like plush toys or are affiliated with on-air television programming, whereas services targeted at older users are usually not. While an older demographic has more expendable income than the younger, it may also be a harder group to sell a specific consumer product to in a social networking manner based on ever changing consumer tastes.

Social network destinations that appeal to our older group may see significant growth in add-on services like widgets and other related micro businesses and technologies, whereas the younger social networking destinations do not have the ability to tie in other, similar business extensions.

While both age groups use avatars to represent themselves in an online world, the younger services rely more heavily on avatar use than services for older users. Representing oneself with an avatar online may have greater appeal with younger users.

Services targeting older users take advantage of additional forms of social engagement, like media exchange (photos, music and video). These are offered in addition to engagement through written communication. Few destinations for younger audiences offer the same opportunity to share different media types.

Social networking services for older users do not need to mask a user’s identity, though identities can be hidden, changed and altered at will. Younger services hide all possibility of making oneself identifiable online. The need to protect the identity of young users is a clear distinction that separates the two groups.

Revenue models differ as well. The services for older users rely heavily on ad-driven models. Some younger services also rely on “in world” advertisement but can also take advantage of tangible product sales and/or monthly subscription models.

A number of toy companies have taken steps into the online social networking world for kids, resulting in varying degrees of success. Some companies simply offer an online destination alone while others offer a tangible product (like a plush toy) together with a virtual product, each touching on a different play pattern or desire. Webkinz World and Club Penguin are often cited as exemplary successes in the kids’ space. Others, less so.

Almost, but not quite right

An offering like Mattel’s Barbie Girls is a high profile example of a site that hit kids’ engagement levels correctly but fell short with the related MP3 product that tied into it. It was a case of a strong online solution with a weak tangible product. Ty’s Beanie Babies 2.0 has the opposite problem. Ty’s plush toys are loved by many a child but its online offering falls short in ongoing engagement after its initial use.

It’s easier to correct an online shortcoming by continuing to evaluate, test, build and expand such sites than it is to correct a problem with a tangible consumer product once it’s in the marketplace, but getting both virtual and physical products correct from the first day of launch is vitally important. In the early days of Club Penguin, before the official launch of the site in October 2005, an earlier iteration of Club Penguin called Penguin Chat existed for a couple of years. It was extremely limited compared to other social networking products offered today. But the creators of Club Penguin continued to build and add to this first step with additional features and games. The same is very much true for Ganz’s Webkinz World. Both sites’ initial offerings were smaller than they are today, built largely on a shoestring budget, sweat equity and love, but both offered an acceptable level of quality content, quality experience and user engagement with kids right from the start.

Looking towards 2009, we will continue to see even more ways to engage in virtual worlds, resulting in unique and specialized methods of socializing and participating in communities online. Some technology products for holiday 2008 will connect to the Web via USB ports. Additional connectivity through cell phones or other mobile technologies could provide ongoing social opportunities when access to a computer is not available. Stay tuned for more innovation and opportunity in this ever-changing, ever-expanding online world for children, teens and adults alike.

Opening

During the opening keynote, speaker Andy Berndt, managing director of Google’s Creative Lab, described how almost everyone can remember a favorite toy when they were young (link to audio of presentation.) Andy shared his favorite play activity, that being a creative experience which involved the process of inventing new bicycles. When he was a child, what he did was take apart many different bicycles, and because bicycle parts for the most part are standardized in terms of their bolt sizes and screws used to make them, he was able to recombine different bicycle parts into unique, unusual, and exciting combinations. One could say that Andy’s open ended experimentation with bicycle parts was on par with play experiences found in Legos, K’Nex, Lincoln Logs, Erector Sets, and the like. What is it about Andy’s creative experience that can lead to insights on how best to help facilitate a love of learning? Read on.

The Importance of Play and its Relationship to Learning

The next speaker who I thought did a fantastic job of providing an overview on the importance of play and the learning opportunities that come from play was Nancy Schulman, the director of the 92nd Street Y Nursery School in New York City (link to audio of presentation.) Nancy shared with the audience that one of the best things about her job for the last 18 years was the wonderful opportunity to watch young children play. With that experience she has learned a great deal about the benefits of play not just for preschoolers, but for all ages.

Nancy expressed that educators, psychologists, and even the American Academy of Pediatrics have great concerns today about the quality of children’s play, how children play, and the quantity of time children play. Parents on the other hand express a lot of concern around wanting their children prepared for success at a very early age. Through her work, Nancy speaks with many parents. One of the greatest anxieties she hears from parents is that they want to be sure their child has every advantage, making sure that before they’re five years old they’ve mastered a second language, mastered every sport they might possibly play, and excel at playing a musical instrument as well. While child professionals are encouraging more open ended play in a child’s life, sadly most parents aren’t paying much attention to these recommendations.

When Nancy was asked “What types of skills do kids learn through play? And why is that meaningful in terms of a child’s lifelong appreciation for learning or confidence in their ability to learn?” she responded first with a quote from child development expert David Elkind of Tufts University:

“Play is not a luxury, but rather a crucial dynamic of healthy, physical, intellectual, social, and emotional development at all ages.”

Nancy then discussed each of these developmental benefits and how child initiated play can lay the foundation for learning:

• Social – “Through play, children learn to interact with others. Play prepares children for morale reasoning. They figure out how to resolve a problem with a friend independently.”
  
  
• Intellectual – “They learn to recognize and solve problems. Children get that feeling of mastery that only comes from when they’re challenged but not frustrated at the same time. In academic areas, play is linked to creativity, imagination, and problem solving skills and it lays the groundwork for successful learning experiences in reading, writing, math, and science. If you think about what children do when they play, it’s very language rich. They are interacting with words and language all the time and learning communication skills.”
  
  
• Physical – “In terms of physical development, they can develop through play fine motor skills, gross motor skills, overall strength and integration of their muscles, their brains, and their nerves. It sets apart a start in their lives for healthy living and fitness, which of course, can counter obesity as well.”
  
  
• Emotional – “Play is Joyful. It is probably one of the greatest underpinnings for later adult happiness. It can’t be underestimated how much happiness and joy have in terms of learning as well.”

Survey of Kids Opinions about Play

The next speaker who offered some additional insight into what kids think about their favorite play objects was Peter Shafer, Vice President of Harris Interactive (link to audio of presentation.) Peter shared with the audience a recent online survey conducted in collaboration with the Sandbox Summit of 1,353 US children ages 8 to 18.

There was a wealth of data to digest in this presentation that spoke to tween and teen toy preferences as well as video games and digital toy products. In general I found this data interesting in that it backs up many gut assumptions about what different age groups prefer in their toy playing experiences.

One observation, it appears the definition of a “toy” was intentionally left undefined in this survey. Did survey respondents think a toy was a traditional toy, a technology toy, or maybe even a video game? Parts of the survey appeared to suggest what the differentiation of a toy was while other questions were not as clear.

Here are a few pieces of data I found interesting to pull out of the Harris Interactive Sandbox Summit survey press release:

“How much do you agree or disagree with the following?”
Summary of Strongly/Somewhat Agree

I call your attention to a couple of specific items from the survey (colored in light blue.) For the 8 to 12 age group the most popular response for a toy product was that it should be “entertaining” whereas with the 13 to 18 year old group there is a great appeal in products that “make me think”.

Best Practices for Developing Playful Products

After the Harris Interactive presentation, Carly Shuler, a Cooney Fellow from Sesame Workshop’s Joan Ganz Cooney Center and educational technologist Carla Engelbrecht Fisher delivered a presentation called “Fun Follows Function: Ten Tips for Developing Quality Toys”. Below I briefly outline each tip, but you can download an audio recording or download a PDF copy of the PowerPoint presentation here.

1. Bridge the gap between industry and academia – This first tip strongly suggests the benefit of bringing together multidisciplinary teams (child development experts, content experts, pedagogy experts, etc.) This first tip is one my company follows frequently. There’s a great paper by Brian Winn and Carrie Heeter, both from Michigan State University, about the important balance needed (and often the necessary heated debate) that comes from working collaboratively with multidisciplinary teams. A copy of this paper can be downloaded here.)
   
   
2. Incorporate research and testing in your product development and discovery process – Any amount of testing, large or small, will have a beneficial impact on your product’s development. From informal focus and user testing groups to serious product research efforts there’s a research approach that can fit your budget.
   
   
3. Track what users do in your product – There’s lots to be learned from watching how your target audience interacts with your product either informally or through data collection. Spend time analyzing what you find.
   
   
4. Read some research – Become familiar with the basics of developmental psychology for the specific age group your developing for. Doing this will help avoid reinventing the wheel. A handout was shared at the conference with many great places to jump start your research reading list. A copy of this reading list can be downloaded here.
   
   
5. Become an observer – Watch kids at play in the real world or even on YouTube (a cool suggestion offered by Carla). Watch how kids interact with products, visit playgrounds, schools, toy stores. Note what’s on the shelf and where it’s located. Also be aware of what’s on sale, it may provide a tip for what’s not selling.
   
   
6. Break the traditional model of one child per screen – Think outside tradition single player models. Think multiple players, or better yet, how can you actively encourage inter-generational participation! Think outside the keyboard box, consider alternative input devices (dance pads, guitars, balance boards.) Consider how you could combine virtual and physical worlds in new ways (like the success Webkins achieved with dual play patterns online and offline.)
   
   
7. Leverage consumer market trends for learning – Consider user generated content, online video, or casual game approaches. Be aware of these every changing trends and you just might find one that will greatly elevate the success of your product.
   
   
8. Go beyond the “3 R’s” – Think 21st Century Skills: Creativity, critical thinking, collaboration, communication. For more on 21st Century Learning Skills, download this presentation from the May, 2008 Joan Ganz Cooney Center’s first annual symposium.
   
   
9. Become familiar with various game mechanics – There are many different game mechanics that could increase interest and engagement in your product. Some old mechanics can be made new again with the newest technologies.
   
   
10. Tap into your own childhood – Everyone has childhood experiences that can help shape your product for the better. Tap into your own experiences as well as those around you.

Note about Virtual Worlds

Kids and virtual worlds was touched on a few times throughout the day but I thought the following statement was worth calling out in its own section. Peter Shafer of Harris Interactive indicated that we will see explosive growth in the area of virtual worlds specifically for kids. The numbers cited were that there are about 80 virtual world destinations for kids today and by the end of 2010 there will be more than 150 virtual worlds to choose from. For a current list of virtual worlds available, I have the following link to share.

Takeaway

So what’s the key take away for developers, innovators and creators of playful learning products for kids, whether traditional or technological? Here’s the secret sauce that was repeated over an over again through words and through examples:

• Make the play experience as open ended as possible. Think about opportunities for vast exploration, not a limited path of play. Include opportunities to fail as well as ones to succeed. Let each child develop their own unique path to play, one that is customizable enough that it appeals to a single user and flexible enough that multiple users can find their own unique approach.
• Bring together a variety of child experts.
• Become familiar with research.
• Watch your audience, get familiar with your audience, test with your audience.
• Try something new! Break the habit of relying on the same old technology and user input solutions.
• Think 21st Century Skills

Nancy Schulman also offered this sage advice:

“If your child can’t play with a toy in at least three different ways, leave it behind.”

And one last thought for making the next greatest learning toy, digital or otherwise… Think bicycle parts.

Referenced Products and Videos

Here’s a list of digital products and online YouTube videos that were referenced throughout the Summit.