What I've learned about making toys by making video games
A few months ago, I decided to take a leap and move out of the toy business over to our virtual worlds group making social games on the Internet. I come from a software background and have done lots of websites and apps before moving into electronics and then into toys. So while I have a lot of adjacent experience and I've worked with video game companies in the past, I can't say I'm a video game guy. Its a really fun gig and I'm learning a lot.
One of the things that's really interesting is how its making me think about the last few years I spent in toys and how it applies to the world of games. Both are types of play, but the people, the approach, and the philosophies are very different.
While there's always a danger in generalizing, I think its safe to say that games have inherited a lot of their mental model from their software roots. Many game designers have backgrounds as engineers and so its natural for them to think in terms of mechanics and systems. And a lot of times, the mechanic is where game designers start.
Toy making is kind of a blend of high concept filmmaking and consumer packaged goods. It tends to be very marketing driven in its mindset. The reason for that is that toys, unlike games which have a lot of tech behind them, generally don't do very much. To be fair to my toy inventor friends, there is tons of innovation in the toy space and toy designers are constantly coming up with new creative ways for toys to entertain. But fundamentally, most toys are molded pieces of plastic with a few clever magic tricks and even the highest tech ones don't often come close to the power of your first iPod.
Because of this, most of the value of a toy is the emotional content that is invested into it. And that emotional content is what transforms the toy into more than molded plastic. My friend Tom McGrath is very eloquent in his insistence that the key to most toys is aspiration and certainly you see that play out in the toy aisle every day. Kids fantasize themselves as a superfast race car like Lightening McQueen, or as a superhero who saves the day, or as a fashion model with an endless closet. Through toys, kids play out their dreams and through their play, try to understand the world around them. If Spiderman can take on the bad guys and overcome adversity, maybe I can too.
And kids don't need a lot of context for their imaginations to come out. Give a kid a cardboard box and within minutes they will build a little house or a fort. Give a boy a used cardboard tube and within seconds, its a pirate sword. These are not the uses for which these things were intended, but kids invest them with the emotional content that transforms them into tools of fantasy. What toy makers often do is just give kids a little more context and a running start.
If you Google me, you will find lots of links on tech toys - robots or toys that connect to the Internet - a genre with which I am closely associated. But the dirty secret is that the best selling things I have been involved with in my career, the things that touched the most people and were an indelible part of their childhoods, had no technology in them at all. No circuits. No code. Together, the Cars die cast, the Disney Princess fashion dolls, and the Toy Story action figures have sold more units than anything else I have done or maybe ever will do. People like to say that toys are dead, that iPads and game consoles are going to dominate play. While I am a huge proponent of the technology-based play - heck, I changed careers to get closer to it - I am here to tell you that the traditional toy is alive and well and is never going out of style because nothing satisfies the desire to, for example, style hair like a doll. It ain't complex, but its powerfully satisfying.
I used to tell my Toymorrow group - the team I set up to look at the merger of physical and digital play - to remember that the most powerful technology a kid has at their disposal is their own imaginations. Any time a technology has tried to replace that and automate the play for the kid, it has failed.
If you go back to John Nash's game theory that has heavily influenced a lot of modern games, its not about fun, its about behavior. Its really a big sociology exercise that has been coopted and turned towards amusement. Through games, we, in a sense, hack ourselves and the other playing with us. But that hack is fundamentally a mental hack based heavily on who we are, how we see ourselves, what our value set is, and who we are prentending to be. In other words, the game assumes our emotional content as a variable in its equation.
If I took Halo, and took out all the space soldiers and guns and cool alien settings, and gave you the same game with a bunch of gray boxes doing the same stuff, it would probably be the biggest video game failure of the year. But why? Its the same game right? Its all that context, all that stuff that immerses you and makes you project yourself into a different situation as a different person, a person you aspire to be, that makes the game have meaning.
So the lesson that I am taking from my years in toys is that emotional content - how something makes us feel, what it means to us, how it represents our hopes and dreams - is just as important as what it does. And its given me a stronger appreciation of how toy makers pull off that mental hack oftentimes without the aid of technology so defty.