The LEGO Group and Universal Music Group have debuted LEGO Vidiyo, a new music video maker brand that uses an array of LEGO elements, minifigures, music, augmented reality and an app.

LEGO Vidiyo gives children the opportunity to direct, produce, star in, and share their own music videos, using tracks from across the globe, including hits from UMG artists.

Kids can choose a song from the app and create a band from a vibrant collection of new, physical minifigures. The band can then be customised and brought to life in AR via the Vidiyo app.

Users can add special effects to their videos thanks to decorated 2×2 square LEGO elements called BeatBits that can be scanned to unlock digital and audio effects like confetti showers and saxophone solos.

Music videos and performances can be uploaded to the app feed and shared, but only once the content has passed moderation.

New music, challenges and content will be added regularly to the App to keep gameplay fresh and encourage children to continue developing their creative skills.

“We want to feed the imagination of the next generation of creatives, providing a new canvas for kids to creatively express themselves,” said Julia Goldin, Chief Product and Marketing Officer at the LEGO Group.

“Research shows over three quarters of parents globally wish their children had more creative confidence, so we’re launching LEGO VIDYO to help make that happen. We know children are always chasing new ways to experiment creatively, and LEGO VIDIYO is here to help all kids with a passion for music unleash their creativity through LEGO building and music video production. We can’t wait to see what they come up with!”

Olivier Robert-Murphy, Executive Vice President at Universal Music Group and Brands added: “Through this innovative global partnership – with the power of music and play harnessed to support early development of creativity – children around the globe will be able to express themselves as they stage, direct, perform, and share their music videos. LEGO VIDIYO is a great way for millions of kids to discover new music and get closer to their favourite artists while learning and connecting through play.”

The first LEGO VIDIYO products will be available in most countries around the world from March 1st.

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Launching in 2021, the still-to-be-revealed range will look to reinforce child development and ‘harness the mental and creative benefits of music and LEGO play’.

“We know music is a huge passion for so many children, it has an incredible ability to engage and unite children and their families, just like the LEGO brick,” said LEGO Group CMO, Julia Goldin.

“This partnership will see us celebrate the power of merging music and the LEGO System in Play, providing children with a whole new way to creatively express themselves by bringing to life music in their own world, their own way.”

Olivier Robert-Murphy, Global Head of New Business at Universal Music Group, added: “Music plays an integral part in every child’s life from the moment they are born and throughout their development. Across the decades, children have continued to explore this passion via vinyl, radio, cassette, music videos, CDs and streaming. Now through the partnership between the LEGO Group and UMG, we will provide a new interactive way of inspiring the next generation of fans and creative visionaries.”

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Touted as the world’s first music streaming card game, MusoDJ sees gamers take on the role of DJs, playing songs based on specific categories (like Disco Divas or Guilty Pleasures) via streaming services such as Spotify, Apple Music or YouTube. 

The brainchild of Adam Hollywood and Andy Walker, the game enjoyed a successful Kickstarter campaign back in 2017, and is now being distributed in the UK by Asmodee UK.

We caught up with Hollywood to find out more about the origins of the game, and learn how the tabletop space compares with the industry he has spent most of his career in: the music business.

For those who may be unaware, what is MusoDJ?
MusoDJ is the world’s first music playlist card game. We have 150 unique playlist cards to inspire great song choices from the millions of tunes on Spotify, Apple Music and YouTube.

The DJ plays a song inspired by the playlist cards and the other players win points by naming the artist, track and guessing the playlist card category. If any player fancies performing, bonus points are on offer for best performances, be lip-syncing or dancing!  The game transforms any get-together into a party!

Where did the idea for MusoDJ come from?
When playing music at home with friends or family get-togethers, somebody would always suggest playlist ideas (‘I Know All The Words’/’Kings of Pop’/’Disco Divas’/’Hit When I Was A Kid’/’Dad’s Favourite Song’ etc).

After a while, we discovered that all our friends did similar things at home when playing music and having a few beers, so the idea of creating a game around how people use streaming music services came naturally to us. We also realised it would be a lot of fun researching the music and designing the game.

What’s your history in the game design space?
Well, I come from the music business, so have plenty of experience in directing design for artist campaigns (sleeves/posters/in-store/advertising).

I did create one game however in the late Nineties – Trivial Pursuit: The Music Master Game. It was a similar game to MusoDJ, but back then there was no streaming, so we had to licence 99 clips of songs and popular culture spoken words and edit them onto a CD! It was quite a licensing and logistical challenge, but the package worked really well and we sold approximately 500k copies across three different editions!

Having had a career in the music business, how does the board game industry compare?
I have been amazed at how welcoming and encouraging game creators, manufacturers and distributors have been. We’ve learnt a hell of a lot about design, copy, rules, manufacturing and promotion from people who freely gave their time and advice for ‘outsiders’ like ourselves.

I suppose successful game creators and execs in the games trade have to be enthusiasts and kids at heart! I must say, it’s a lot less self obsessed than the music industry!

Can you talk us through the development of the game? Did it take many forms before landing at what’s on shelves now?
Myself and my co-designer, Andy Walker, were inspired – like I imagine many games creators – by the success of Cards Against Humanity and the way they re-imagined the ‘after dinner’ social game. We wanted a game where conversation flowed, gameplay was fast and simple, with the focus on fun just as much as on the desire to win. Music is about emotions and memories, so it had to be fluid and start conversation and debate.

Apart from developing the rules through gameplay, the game hasn’t changed that much from the first mock up. The playlist cards were the most creative challenge, but once we got going and delved into Spotify’s massive catalogue, they came thick and fast.

It’s handy that I used to create compilation album trackless, so have a pretty broad knowledge of most music genres. We printed and cut them out hundreds of cards by hand at vast expense at our local Prontaprint, made a box and, through many a late night playing music, wrote the rules.

We then playtested it with friends and family of all ages and realised it worked really well; everybody had a great time. I think the best thing is that the cards break the Spotify/Apple algorithms that tend to serve up more of the same music, rather than encouraging musical discovery.

Investigating how Cards Against Humanity launched, we decided to go via Kickstarter to test the demand both in the UK and Internationally. Kickstarter gave us a template to work from in terms of creative tools, marketing, PR, social media and promo video. By the time we launched on Kickstarter, we had refined the offering and were ready to sell to potential buyers around the world.

It really helped that my partner, Andy, is an amazing designer with an eye for future trends in design and brand development. We wanted the game to jump out of the shelves and represents how a modern, music-based game should look.

Within three weeks reached our funding target on Kickstarter. That funded the initial print run (via Cartamundi) and we fulfilled our orders before Christmas. Since then we have virtually sold our entire initial manufacture run via our website, Amazon UK and Rough Trade Records in Hoxton, Bristol and Nottingham.

Recently, we’ve concentrated on the second edition, honing gameplay and design to maximise player involvement and inclusivity. MusoDJ v.2  is now ready to go and Asmodee have come on board as our global distribution partner. We couldn’t be in better hands to reach our next goal of a broad retail presence, both on the high street and online.

Looking ahead, have you got any plans for future games, either tied in with the MusoDJ brand or outside of it?
We are focusing on MusoDJ right now. 2019 will be critical both in the UK and internationally. We want to make sure we listen to the professionals in the business over the next few weeks and months, to make sure we deliver the most compelling MusoDJ game to retail this AW 19.

We have some exciting ideas for expansion packs, co-promotions with streaming services and themed editions around music genres, demographics and even specific artists.

Streaming is now how most people enjoy playing music. Already in the UK, 9 million people have Spotify or Apple accounts (many with family subscriptions). This means that virtually every home in the UK can play our game with just one phone, tablet or laptop.

As the world becomes more and more online with the ‘internet of things’, consumers also want the comfort and reassurance of well-designed physical products. With the rise in ‘smart’ speakers, the ability to create ‘smart’ games – both physical and digital – is going to increase in line with our imagination and understanding of how people use those products.

Where can someone get a copy of the game if they were interested?
The last few of the original edition are available at Amazon UK now or if you are in London, Bristol or Nottingham, the game is stocked at Rough Trade Records.

For anybody in the trade with questions, please email me at adam@musodj.com, or please get in touch with the sales/marketing team at Asmodee UK.

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One of the most talked about toys at last week’s London Toy Fair came in the form of a booty-shaking llama named Boppi.

One of the first launches from Zuru’s new Pets Alive brand, Boppi dances to music, swings its neck in time to tunes and, of course, twerks up a storm.

We caught up with Zuru’s creative director, Adam Woods, to discuss the origins of Boppi, as well as delve into the firm’s ‘bold and disruptive’ creative culture.

What’s your history in the world of toys?
I’m very fortunate to make a great living, doing what I love.

After an extensive tenure as creative director at Moose Toys for 12 and a half years – where I worked closely with Jacqui Tobias to build brands such as Beados, The Trash Pack and Shopkins – I then joined Zuru 2 and half years ago to head up the Creative Department in HK and Shenzhen and work side by side with Mat Mowbray, an engineering genius.

How would you sum up the creative culture at Zuru?
Disruptive and bold.

We’re not just focussed on trying to blindly hope for the next hit. Our creative and ROI is far more strategic than that.

There’s a great blend of innovative trend lines like Rainbocorns, Bunch O Balloons and Fidget Cube – and long term evergreen brands like X Shot, Robo Alive, Pets Alive, Max and Metal Machines.

It’s this unique portfolio that challenges our team creatively and compels us to conceive products that are both imaginative and ones that shake up stodgy categories.

There’s method behind the toy madness. We definitely have fun, making fun. However there’s a constant respect to deliver quality product and value to the retailer and consumer.

The wonderfully named Boppi, the Booty Shakin Llama was a big hit at London Toy Fair. Where did this idea for a twerking Llama come from? And why do you think it’s caught the attention at Toy Fair?
We were able to identify the Llama trend early. So instead of just making another talking pet that you’ve seen a million times before, we took the opportunity to add something different. A shaking booty! That’s why it’s been noticed.

It took many meetings where I was literally shaking my bottom in front of slightly disturbed colleagues in boardrooms to get the creative right. Our engineering and PD team is world class and the movement they have achieved creates that emotional connection that all good electronic toys evoke.

We were a little unsure about how buyers would react to Boppi’s bouncing booty. BUTT (pun intended) the reception has been astonishing and we are supremely confident kids and parents will relate to the humor. The world needs a laugh or two right now.

Boppi is one of the first in the new Pets Alive brand – what can we expect from the brand and what will it bring to the pet toy sector?
Without giving too much away, Boppi has subsequently encouraged us to keep exploring uncharted territory with on trend, electronic pets that have irreverent features.

Pets Alive also offers the aforementioned value we strive for, so the range will also include proven sellers such as puppies and kittens with a touch of our unique humour.

Have you got any tips for fuelling creativity?
Travel a lot; always explore things you aren’t inherently interested in. And most of all – listen. Listening means you are learning and thinking. Thinking leads to creation. It’s a great way to discover amazing stories, which you can then shape into great ideas.

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Michael Tougher first got Soundbops recognition back in 2016, when he won the Royal Academy of Engineering Launchpad Competition with the concept; a toy that simplifies music education through note-based building blocks that can be arranged into songs and chords.

Two years later, and the product is now set to hit the market this Christmas, having successfully funded via Kickstarter in a campaign which still has a few weeks left running (you can check out the project here).

And in addition to getting the backing from Kickstarter supporters, Tougher has also received a €50,000 investment from Belgian-based Meusinvest and its LeanSquare initiative, which specialises in supporting start-ups of ‘the new economy’.

We caught up with Tougher to find out more about the origins of Soundbops and how it looks to lift any barriers for young children to pick up and learn an instrument.

Where did the idea for Soundbops stem from?
I have been an inventor since I was young, but I have also loved music. Soundbops came from combining my two loves. The design originated from university. I was testing small keyboards with children. They would only play the white notes, they would only play one note at a time and they could only play it on their own. I had the idea that if each key became a building block then we could solve all of these problems, as well as make it much more engaging!

Can you talk us through some of the key design decisions behind Soundbops?
The key feature is the ability to stack notes and to play a chord easily in a single press. There has been a lot of hard work to make this work reliably.

Our previous prototype had a row of silicon buttons for the controls. When we tested these with children they found it hard to understand and very rarely used the controls. We have improved the user experience significantly by creating two dials for the controls. It is easier to understand what option you have selected and what options you can choose. It is also more engaging.

Our previous prototype was square shaped. We found through play testing that Soundbops is a very social play experience. We changed the shape to a longer rectangle so that it is easier to play together. It also helps with moving on to a keyboard. We are continuously improving our play experience.

Why opt to launch via Kickstarter?
Kickstarter allows us to build a brand. It allows us to build a community and by talking directly with our customers we can gain incredibly valuable feedback and improve our product. It also gives us full control to make something truly exciting.

How do you assess the state of creativity in the musical toy sector at present?
I would say that it’s improving but there is too much emphasis on shrunken traditional instruments. Music is hard and a child’s first experience with music can put them on a path to a very musical life with lots of benefits. We need to make it as easy, engaging and exciting to play and learn music at a young age. There are amazing musical apps but there is a lack of innovative physical music toys.

Now that the campaign has passed its Kickstarter goal, looking ahead, do you have further plans for SoundBops in the way making it a fully-fledged toy brand?
Our Kickstarter is just the start. Soundbops’ goal is to empower music learning in children. We have a range of our musical innovations we are working on that will take a child through their musical journey and on to traditional instruments. We are looking for the right partnership that will allow us to grow.

How do you stay creative?
I constantly challenge and question myself to check if we are providing as amazing an experience as we can be. This is on all aspects of business as well as our products. With a lot to juggle sometimes taking time out to reflect works the best!

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