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Fashion Marketing & Branding

Personal Project Stage 1: Research & Planning: FASH30004 Research Project Declaration

This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and primary and secondary sources of information have been properly attributed. Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the University's regulations on assessment contained in its handbook. signed .................................................................................................................... date .......................................................................................................................


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THE WORLD OF ZOOGLIES PERSONAL PROJECT STAGE 1 - RESEARCH AND PLANNING BETHANY BRANDON-BLATCH


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INTRODUCTION/ ................................. CHAPTER 1


CONTENTS

INTRODUCTION p12 ............................................................................................. Zooglies is an online character based world ............................................................................................. for children incorporating clothing, mobile ............................................................................................. and tablet apps, augmented reality, games, ............................................................................................. play, learning and interactivity. The Zooglies ............................................................................................. concept, with the right positioning has the ............................................................................................. potential to become a global brand, becoming ............................................................................................. an attractive opportunity of licensee’s. The ............................................................................................. Zooglies target market is 5-12 year olds. ............................................................................................. ............................................................................................. The Zooglies clothing and app are due to ............................................................................................. launch in July 2013 and the online world in ............................................................................................. September 2013. The key to Zooglies success ............................................................................................. is creating influxes of online traffic resulting ............................................................................................. in large numbers of app downloads, children/ ............................................................................................. parents subscribing to the online virtual world ............................................................................................. and building brand awareness to sell the ............................................................................................. clothing and associated merchandise. ............................................................................................. ............................................................................................. The Brand p14 ............................................................................................. ............................................................................................. Aims and Objectives p14 ............................................................................................. ............................................................................................. Methodology p16 ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ..............................................................................................

CHAPTER 1 p18 ............................................................................................. In this chapter I will thoroughly examine the ............................................................................................. new generation of digital natives and analyse ............................................................................................. their habits and uses of new technology and ............................................................................................. aim to understand to what degree their lives ............................................................................................. are now online or offline. ............................................................................................. ............................................................................................. Marketing to Children p20 ............................................................................................. ............................................................................................. Target Consumer p20 ............................................................................................. ............................................................................................. Playground Etiquette p26 ............................................................................................. ............................................................................................. Becoming a Craze NOT a fad p28 ............................................................................................. ............................................................................................. Communicating the Brand with the ............................................................................................. Consumer p30 ............................................................................................. ............................................................................................. Digital Natives p32 ............................................................................................. ............................................................................................. Ethical practice: Education p36 ............................................................................................. ............................................................................................. Ethical practice: Advertising p38 ............................................................................................. ............................................................................................. Ethical practice: Children’s Online ............................................................................................. Safety p40 ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ..............................................................................................


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CHAPTER 2 ......................... CHAPTER 3


CONTENTS

CHAPTER 2 p42 ............................................................................................. This chapter will explore the current online ............................................................................................. virtual worlds aimed at children from 5 to 11 ............................................................................................. years. I will analyse current competitors in ............................................................................................. the market and dissect their communication ............................................................................................. techniques, advertising campaigns and methods ............................................................................................. of promotion. I will also explore how Zooglies ............................................................................................. can position themselves within the market ............................................................................................. to gain a competitive advantage against their ............................................................................................. competitors. ............................................................................................. ............................................................................................. The VW and MMO Market p46 ............................................................................................. ............................................................................................. Perceptual Maps p48 ............................................................................................. ............................................................................................. Closest Competitors #1: Moshi ............................................................................................. Monsters p50 ............................................................................................. ............................................................................................. Closest Competitors #2: Bin Weevils ............................................................................................. p52 ............................................................................................. ............................................................................................. Closest Competitors #3: Club Penguin ............................................................................................. p54 ............................................................................................. ............................................................................................. What can be learnt from the closest ............................................................................................. competitors? p56 ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ..............................................................................................

CHAPTER 3 p58 ............................................................................................. The final chapter will focus on the importance ............................................................................................. of utilising several different platforms in ............................................................................................. developing an omni-channel brand presence. ............................................................................................. The emphasis within this chapter will explore ............................................................................................. the best combination of communication in a ............................................................................................. new media landscape ............................................................................................. ............................................................................................. Beyond the Virtual World p60 ............................................................................................. ............................................................................................. Collaborating with Other Brands p62 ............................................................................................. ............................................................................................. Experiential Marketing p64 ............................................................................................. ............................................................................................. TV Advertising p68 ............................................................................................. ............................................................................................. Magazine Advertising p72 ............................................................................................. ............................................................................................. Online Advertising p74 ............................................................................................. ............................................................................................. Children’s Clothing p76 ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. RECOMMENDATIONS p78 ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ............................................................................................. ..............................................................................................


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APPENDIX


CONTENTS

APPENDIX p82 ........................................................................................................................... ........................................................................................................................... PESTLE p84 ........................................................................................................................... ........................................................................................................................... Pilot Interview p86 ........................................................................................................................... ........................................................................................................................... Focus Group: Children p87 ........................................................................................................................... ........................................................................................................................... Focus Group: Parents p91 ........................................................................................................................... ........................................................................................................................... Competitor Profiles p94 ........................................................................................................................... ........................................................................................................................... List of Images p108 ........................................................................................................................... ........................................................................................................................... Bibliography p112 ........................................................................................................................... ........................................................................................................................... Consent Forms p124 ........................................................................................................................... ........................................................................................................................... ........................................................................................................................... ........................................................................................................................... ........................................................................................................................... ........................................................................................................................... ........................................................................................................................... ........................................................................................................................... ........................................................................................................................... ...........................................................................................................................


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THE BRAND Zooglies is an online character based world for children incorporating clothing, mobile and tablet apps, augmented reality, games, play, learning and interactivity. The Zooglies concept, with the right positioning has the potential to become a global brand, becoming an attractive opportunity of licensee’s. The Zooglies target market is 5-12 year olds. The Zooglies clothing and app are due to launch in July 2013 and the online world in September 2013. The key to Zooglies success is creating influxes of online traffic resulting in large numbers of app downloads, children/parents subscribing to the online virtual world and building brand awareness to sell the clothing and associated merchandise.

AIMS & OBJECTIVES In order to create an in-depth research report that will create the basis of an online and offline marketing strategy to launch the Zooglies virtual world, it is essential that I gain a thorough understanding of how to communicate with children both online and offline. I will need to consider the ethical implications that can be associated with marketing brands that are aimed at children. Using a combination of both primary and secondary research I will create a clear profile of the different target consumers for an online children’s game, exploring the consumers routine, habits and interests.

I will then move to expand my knowledge of the children’s online gaming and virtual world market and the current competitors in the market.Through a comprehensive market analysis I will find where the Zooglies brand will fit into the market and how they can stand up against the competition with a unique selling point. I will explore the children’s app market and create a deeper understanding of how the consumer accesses app ready platforms. I want to then assess the opportunities in the children’s wear market as Zooglies plan is to launch a clothing line parallel to the launch of the website, to both promote the virtual world via a retail presence, and in turn promote the clothing line via the virtual world. Finally I will examine the different channels of communication to both advertise and promote the World of Zooglies. I will look at the opportunities presented by TV, print and online advertising to promote the brand on a platform that the target consumer is already familiar with in addition to the opportunities of experiential marketing techniques to stimulate word of mouth publicity around the launch of Zooglies.


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METHODOLOGY The collection of primary research was divided in two parts in line with the two-consumer group’s Zooglies will need to satisfy, children and parents. Primarily I conducted focus groups with children between the ages of 5-11. I spoke to 20 children in groups of three or four, asking questions relating to play time and use of computers, tablets and games consoles. I asked for feedback on the Zooglies concept to see how children related to the product and allowed them to speak freely amongst themselves while I observed to gain an insight of ‘their world’. Before conducting the focus group I conducted a pilot interview with one child to assist me in creating a workable framework for the focus groups. The pilot interview enabled me to grasp how long the groups should last and what topics to discuss with the children. The focus groups however were not rigid, as I wanted to allow the children to talk freely and naturally while I directed the conversation. After the groups I observed the children’s playtime in a bigger group together to gain further insight. Although this is a very raw insight into the subjects tastes, opinions and even through processes, it must be noted that as my focus group were conducted in groups of three or four, and there was often one peer (with the strongest personality) amongst the group that was dictating the context of the research (Jones, p28), with the other subjects conforming to his/ her views. This appeared to be more apparent in groups with a female majority.

The second element of my primary research was a focus group with parents investigating the parental feeling towards marketing to children and their children’s buying pattern. I also directed the discussion to gain a sense of their attitude towards their children’s use of online gaming sites. I asked 6 parents of children at different ages and stages to discuss different topics and observed their opinions. I have taken these opinions into consideration whilst still recognizing that there will be a bias in demographic as all participants were from the same geographical and social backgrounds. Secondary research will allow me to apply my findings into a wider spectrum. Secondary research has come from a wide variety of sources. I have looked at online websites, influential bloggers, governmental statistics, books based on child centric marketing and ethics, journals on the topics of marketing and child development, consumer insight reports, news articles related to technology and children, online video lectures from tastemakers and big thinkers and lots more detailed in the bibliography. The secondary research has allowed be to gain a balanced, holistic perspective of the subject area and allowed me to form opinions and give recommendations in relation to ‘The World of Zooglies’ brand.


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MARKETING TO CHILDREN Selling a brand to children is not like marketing to adults, no single set of rules apply across the board. “Children are fickle and open-minded” (Jones, VI), they have not yet formed strong opinions that will dictate their behaviour. It is vital for a marketer to understand the child consumer and their world. Many brands fall into the pitfall of speaking to them like children and not peers, in this section I will look into the children’s world and aim see the world through their eyes. I will consider the range of different ages that fit into the target consumer category as well as establishing the lifestyle of the target demographic. I will question the language a brand needs to use to be relevant in the children’s world and investigate how a child expects a brand to communicate with them. Striking a cord with children and becoming the latest craze within their world is only half the battle in the children’s game market. Brands must ensure that the parents are happy with their children using the products they consume; after all, they are the customers paying for it. I will explore the difficulties of pleasing two consumers with contrasting demands from a product. I will thoroughly examine the new generation of digital natives and analyse their habits and uses of new technology and aim to understand to what degree their lives are now online or offline. Finally, this chapter will look at the role of ethics when creating an online gaming world for children. I will specifically look at the responsibility of brands to

........................................................ “What do you call a ........................................................ consumer who wants to buy ........................................................ everything you have, doesn’t ........................................................ care what it costs and is ........................................................ less than five feet tall? A ........................................................ marketer’s dream? Nope. You ........................................................ call them kids.” (AdRelevance ........................................................ Intelligence Report, 2000) ........................................................ enrich children by creating an educative environment to nurture learning and creativity. I will also look at the concerns around children’s online safety and the arguments for and against advertising to children and the negatives connotations of ‘pester power’.

TARGET CONSUMER Like us, children are bombarded with brand messages from birth. Bright coloured packaging in supermarkets, free toys in McDonalds and product placements are all trying to make their mark in the child consumer’s minds. Children are recognising logos and requesting brand specific products as soon as they begin to speak (Annick-France, 2008). This generation has been tagged as the ‘age of compression’ and has been called KGOY (Kids Getting Older Young) generation (Lidstorm, p 23). When looking at the consumer habits, it is important to recognise what they aspire to be as well as who they are.


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Conducting focus groups with children between the age of 5 and 12 gave a big insight into age disparities. There was a clear hierarchy with the oldest at the top being the coolest and the youngest at the bottom emulating the actions and behaviours of the ‘big’ girls and boys.

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Zooglies target consumer is between 5 and 12 year olds. Within this group the disparities between subgroups are huge, both between gender and in age groups. Generally speaking, “every child aspires to be older that he or she is, there is no bigger put down that being perceived as a ‘baby’” (Jones, p.18). Whilst it is stating the obvious that a 5 year old cannot be compared with a 9 year old, manufactures and marketers frequently ignore this. Creating a brand that a 5year old will love and a 11 year old wont think is ‘babyish’ alone is a massive feat, but Zooglies want to accomplish this on top of designing a virtual world that will appeal to the gentle, feminine and decorative side of girls whilst not alienating the high energy gamers in boys.


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THE CONSUMER AGE 5-­‐6  YEARS  

7-­‐8  YEARS  

 

BOYS • Brands  dominated  by  heroes   and  movement  reflective   their  high  energy.   • Little  focus  on  one  task  plays   with  several  toys  and  games   at  once.   • Watches  TV  with  little   understanding  that  there  is  a   difference  between   entertainment  and   advertising.  Commercials  and   television  programs  watched   with  equal  attention.     • Associative  play  where   friends  play  similar  or   identical  activities  but  have   little  group  direction  or  group   interaction.   • Happy  to  play  with  boys  and   girls  alike,  little  division  on   the  playground   • Pocket  money  spent  on  small   things  such  as  sweets,   magazines  and  toys.   • Unsophisticated  and  childlike   • Lack  of  concern   • Enjoys  watching  TV,  playing   sports,  playing  with  friends  &   games  consoles   • Positive,  central  family   relationships   • Sibling  rivalry   • Brands  dominated  by  sports   and  heroes,  according  to   latest  trend.   • Spends  pocket  money  on   small  things  like  sweets  and   toys.  

GIRLS • Brands  dominated  by   princesses  and  pink.   • Enjoys  creative  imaginative   games  such  as  dress  up  &  arts   and  crafts.   • Watches  TV  with  little   understanding  that  there  is  a   difference  between   entertainment  and  advertising.   Commercials  and  television   programs  watched  with  equal   attention.     • Beginning  to  play  cooperatively   and  in  sync  with  friends  well.     • Happy  to  play  with  boys  and   girls  alike,  little  division  on  the   playground   • Pocket  money  spent  on  small   things  such  as  sweets,   magazines  and  toys.  

• Teachers  and  parents  delight.   • Happy,  conscientious  and   family  orientated.   • ‘Getting  older  younger’   • Enjoys  watching  TV,  playing   with  friends.     • Music  and  fashion  beginning  to   show  signs  of  influence.   • Loves  family  time,  especially   with  mum.   • Siblings  provide  lots  of  fun  but   also  frustration  and  hurt.   • Group  orientated  play  but  toys   still  present.   • Spends  pocket  money  on  small   things  like  sweets  and  toys.  

Sources (Jones, p17-20), (ThinkBox, 2013), (Annick-France, 2008)


AGE 9-10 YEARS

BOYS • Loves ‘escapist technology’ (Inc. TV, games, computer) • Signs of independence and rebellious attitude. • Enjoys watching TV, playing sports, & playing with friends. • Most time spent with family but beginning to seek out favorite websites and social media. • Group oriented play; sports and dominating brands are bonds. • Spends pocket money on relatively small purchases such as DVD’s and console games.

11-12 YEARS • •

• • • • • •

 

GIRLS • Displaying signs of adult interests such as music, clothes and make up. • Friends are important, resulting in a careful approach to school. • Interests based around friendship. • TV is more influential than before. • Family relationships still positive, but more time with friends and on social networking sites. • Mobile phone becomes fare more prevalent. • Play is centered on friends and toys left behind. • Music and TV brands are important. • Pocket money is spent on sweets, make up, fashion accessories and CDs. Least sociable group, friends • Difficult stage for girls as they are important but slightly try to find there own oblivious to peer pressure. personalities but are anxious about friendships and Biggest transition between vulnerable to peer pressure. child and adult is in teen • Interests dominated by friends, years, so this group is in limbo; still dependent on becoming aware of make up parents, but with hesitant and fashion. attitudes towards peer • TV is important, but the groups. computer and mobile is key to Begins to spend more time communication with friends. with friends, less with family. • Socializing replaces imaginative Interested in sports, games play. consoles and TV. • Brands are dominated by Mobile phones begin to play a trends in celebrity and music. key role. • Increasing pocket money is TV, movies, sports and spent on CDs, DVDs, gaming, replaces play. magazines and make-up. Brands dominated by sports clothing but peer and fashion pressure begin to creep in Increasing pocket money is spent on DVDs, games consoles and sports equipment


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Research conducted at the University of Westminster has identified the following eight types of virtual world players. Being aware of these types of consumers can assist Zooglies in understanding the type of experience the Zooglies consumer is expecting to have within the world (Gaunlett and Jackson, 2008).


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“Children define themselves and others by their gender and age.” (Jones, p20) They do not hide the fact that the wish they were older and aspire to be like the girls in the ‘year above’. When branding products it is important that Zooglies is not blatantly obvious with their positioning to avoid being too general (for example, pink for girls, blue for boys). However gender and age are crucial in positioning and as Zooglies is unisex brand it must be conscious of not isolating one gender to gratify another, it should strike the right balance and encapsulate imaginative play, social networking and escapism that appeals to both girl and boys. Additionally Zooglies must have elements of play that will appeal to both genders independently. For example, the focus groups highlighted that girls enjoy decorating rooms and aspire to be homemakers, whereas boys like to impress others with trophy pieces and are more interested in action based games. This could be reflected equally for boys and girls when they come to customise their Zoogly or their home on the game, allowing both the boys and the girls a different playing experience that appeals to them more.

........................................................ “Children define themselves ........................................................ and others by their gender ........................................................ and age.” (Jones, p20) ........................................................ and climb the social ladder on the playground. Martin Lindstorm attempted to make sense of the playground jungle when dividing children into four groups: Edges, Persuaders, Followers and Reflexives (Lindstorm, p 15). Edges are the independent and rebellious ones, they tend to break the rules, partake in extreme sports, dismiss the norm and in no way classify themselves as ordinary. While they would say they are antibrand, they often identify with brands that reflect their rebellious nature. Edges are perceived as independent trendsetters. This group try products and brands long before everyone else, they make brands seem cool to other children.

TARGET CONSUMER: PLAYGROUND ETIQUETTE

Persuaders are the most popular group. What they say goes, and others will generally adopt the decisions of the persuaders by copying their behaviour. Marketers compete to connect with this group, as their influence of peers is invaluable to any product. This group is admired in part, due to their quick uptake on new trends. Unlike the edges, this group is more accessible and easier to replicate. They are image conscious and noticeably more mainstream than Edges.

In every consumer category, the children live independently away from Mum and Dad for several hours each day. Playground etiquette is miles away from life at home, they are forming their own clear opinions about brands, working out what is, and isn’t cool and striving to better their reputation

Followers represent the mainstream and form the majority on the playground. They listen and watch Persuaders behaviour closely and are never first to try anything. They do not consider themselves particularly cool are not as confident as the persuaders.


Reflexives are constantly trying to increase popularity and acceptance amongst their friends, often without much success. Like followers, they too are heavily influences by persuaders in their quest to be cool.

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Lindstorms model closely resembles Rogers innovation adoption curve (see diagram) that demonstrates how a successful innovation will go through a period of slow adoption before experiencing a sudden period of rapid adoption and then a gradual levelling off. Rogers model focuses on targeting opinion leaders with the prediction that a combination of brand championing and word of mouth will lead to an innovation trickle-down effect (Stanford, 2003). Lindstorms model allows us an insight into the hierarchy on the playground, which largely relates to the relationship children have with brands and the rate at which children adopt new brands. The model recognises that the consumers peer group acts as the main source of inspiration for the consumer. During the focus groups, the influencing power the persuader had within the group was even more apparent during female only groups. They had the ability to direct the group’s opinions and answers in any direction they wished. Once the group persuader has given the ‘cool stamp’ to a brand, the majority of peers were significantly more likely to embrace it. Persuaders generally pick up on trends first online, in magazines or on the television. As a new brand on the market, Zooglies must grab the attention of the persuaders from offset online and offline; they must appear cool and relevant to be championed on the playground.


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BECOMING A CRAZE NOT A FAD ........................................................................................ Children are innately fickle and have small attention ........................................................................................ spans, if something is not constantly evolving and ........................................................................................ changing to keep them engaged, they get bored ........................................................................................ and move on. Children will not wait out of loyalty ........................................................................................ for a brand to keep up; they have enough forms ........................................................................................ of technology with a growing choice of alternative ........................................................................................ games to essentially have what they want, when ........................................................................................ they want it. When a brand is not evolving, and ........................................................................................ does not quite manage to take a longer-term hold ........................................................................................ on the mass, it can be called a fad. “Fads take their ........................................................................................ lead from the here and now: what is going on in ........................................................................................ kids lives at home and in school. Some last no time ........................................................................................ at all, and others catch on and get passed on. Some ........................................................................................ go away and then return again. It is when the fad ........................................................................................ starts to spread beyond the school gates and gets ........................................................................................ some momentum that it can be considered to be a ........................................................................................ craze” (Retail Insight, 2010). ........................................................................................ ........................................................................................ Zooglies needs to evolve its marketing approach ........................................................................................ with children’s fast changing tastes, it needs to ........................................................................................ create a personality that relates to the consumers ........................................................................................ world, creating news that the children can take on ........................................................................................ to the playground to talk about amongst their peer ........................................................................................ group. The persuaders of the group need content ........................................................................................ that will impress the peer groups they lead. This will ........................................................................................ enable Zooglies to keep a hold of the consumer ........................................................................................ group’s interests and allow the brand the longevity ........................................................................................ that will transform a Zooglies fad into a Zooglies ........................................................................................ craze. ........................................................................................

........................................................................................ As a craze the brand will have endured the first ........................................................................................ hurdle of introducing a new concept to the ........................................................................................ children’s market and in turn have more consumer ........................................................................................ confidence than current fads. They will benefit from ........................................................................................ consumer recognition and trust, “they will be able ........................................................................................ to talk directly to the consumer and withstand ........................................................................................ children talking back”(Jones, p13). Even as a craze, ........................................................................................ content and marketing needs to continue to ........................................................................................ develop involving and captivating the consumer, ........................................................................................ there is constant threat that if the content becomes ........................................................................................ stagnant or monotonous, children will get bored ........................................................................................ and quickly forget about the Zooglies craze. ........................................................................................ ........................................................................................ Angry Birds is an example of a brand that has ........................................................................................ successfully gone from a fad to craze.When launched ........................................................................................ there was scepticism whether the brand would fall ........................................................................................ into the pitfall of most app-based games, where ........................................................................................ consumers quickly get bored and head to the App ........................................................................................ store to download the next big thing. Angry Birds ........................................................................................ however evolved the game to keep the attention ........................................................................................ of its consumer, bringing out new variations of the ........................................................................................ Angry Birds concept that tied in with seasons such ........................................................................................ as Halloween and Christmas. They also licenced out ........................................................................................ the brand allowing it to weave its way into every ........................................................................................ area of the consumer’s life. ........................................................................................ ........................................................................................ ........................................................................................ ........................................................................................ .........................................................................................


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COMMUNICATING THE BRAND WITH THE CONSUMER

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............................................................................................................. ‘Kids today want to be heard and they will make sure corporations ............................................................................................................. listen. Kids are empowered, and they are experiencing the world ............................................................................................................. from the bottom up, rather than the top down … Kids are ............................................................................................................. knocking on the worlds door and saying speak with me- not at ............................................................................................................. me” (Sutherland & Thompson, 2011, p 178) ............................................................................................................. It has been established how children are generally fickle in nature, they may accept a brand one week, and disregard it the next. This essentially means that the targeting and message delivery becomes ever more crucial. It is easy for a brand to pass blame and responsibility on to licensees, who in turn pass responsibility back to the brand owner to create the demand for product. This attitude takes away any ambition to create innovative campaigns and products. “There’s no need for these because our work is done for us; we have the product tools designed and developed. All we need to do is put the character sticker on it and, presto, a line of toys in conjunction with the licensor” (Jones, p 22). This attitude goes someway in explaining why the growth of the electronic game market that has mirrored the decline in the toy market (Ekathimerini, 2012). Unlike the toy market, the electronic game market has invested in creativity, innovation and development with the end user in mind. Zooglies must take head of this when selling licensed product to the consumer. A brand must find creative ways to promote, advertise and sell to the child consumer. In order to create creative, relevant campaigns to target the consumer, the brand must understand the scenario the consumer is receiving the marketing message in. Children are unique in their ability to differ their behaviour dependant on their environment, and different behaviour

requires different methods of communication and interaction (Jones, p 25). Whilst a children’s TV advert may appear with children’s graphics, energetic noises and a patronising voice over, that can work, as the children are sitting at home with Mum and Dad and are therefore in an environment where they are ‘the kids’. The problem however arises nowadays when the nuclear family scenario of the children watching TV with Mum and Dad, rarely exists. Children today are encouraged to be more independent from an early age; this is demonstrated in their ownership of TV’s, computers, video games, mobile phones, tablets, iPods and other devices that are enabling children to freely express themselves (Ofcom, 2012). As children have become independent in consuming media whether it is online or offline, a brand needs to speak to them as independent children, not as ‘kids in a kids environment’. Marketers need to understand how their message will be conveyed to the consumer and how it is received, taking care not to appear patronising. A successful communication campaign will ensure that the transferability from a home environment to subsequently be discussed with peer groups in various independent environments is at the heart of the communication strategy (Jones, p26).


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DIGITAL NATIVES

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........................................................ “When I noticed how my own ........................................................ children were effortlessly able ........................................................ to use all this sophisticated ........................................................ technology, at first I thought, ........................................................ ‘My children are prodigies!’ ........................................................ But then I noticed all their ........................................................ friends were like them, so ........................................................ that was a bad theory.” ........................................................ (Tapscott, 2012) ........................................................ The Internet of the 20th century was for the presentation of content, todays Internet is a platform for computation, it has evolved into a global computer that relies on users to programme it with every search, upload and account. For digital immigrants, those who grew up in the analogue age, this is an amazing feat in the digital revolution. But for digital natives there is no fear of technology, to them it is not there, they have been bathed in connecting technology from birth making it as normal to them as a refrigerator is to their parent (Tapscott, 2009). Three main names in circulation that have been given to this generation are the Net Generation, Digital Natives and Millennials. John Palfrey, author in the field of emerging technologies summarised the Digital Native: “Digital Natives live much of their lives online, without distinguishing between online and offline, Instead of thinking of their digital identity and their real space identity as separate things, they just have an identity (with representation in two,

three or more spaces). They are joined by a set of common practices, including the amount of time spent using digital technologies, their tendency to multitask, their tendency to express themselves to one another mediated by digital technologies and their pattern of using the technology to access and use information and create new knowledge and art forms. For these people, new digital technologiescomputers, cell phones, sidekicks- are primary mediators of human-to-human connections…. They feel as comfortable in online spaces as they do in offline ones. They don’t think of their hybrid lives as anything remarkable.” (Palfrey, p5) Digital natives have not known anything but a world where everyone can be globally connected, where information can be attained so easily, DVD’s and games can be brought in one click from you bed, this is the natives norm. Natives are as comfortable making friends virtually as they are in reality, they have grown up in a world of social networks and where collaborations both creatively and politically are possible within a matter of clicks. Young people that have grown up surrounded by new technology are developing a natural aptitude and high skill levels in relation to the new technologies, resulting in a second nature approach to new technologies such as online worlds, tablets and smartphones (Bennett, 2010). A brand such as Zooglies must recognise this in every application of their gaming world, their consumer is a Digital Native that expects information to gathered effortlessly, merchandise to be brought with one-click and a friendship to evolve quickly. A recent report from Mintel has shown that 88% of parents with children between seven and fifteen have a laptop device in the house (Mintel’s


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The opportunity of a cross platform experience can be strengthened when paired together with Mintel’s findings on children’s usage of second screens. The term ‘second screen’ essentially means, “…You are on your mobile or tablet while the main screen, TV, is on but hasn’t fully captured your attention” (Belam, 2012). Mintel found that 64% of children use second screens to do their homework and 42% of children who play games on their second screens also use a smartphone every day (Mintel’s Children’s Media, 2012). Opportunities lie here to tie in adverts and enticing promotions on TV, with an instant consumer action on the users ‘second screen’, creating a cross platform experience.

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Children’s Media, 2012) and 76% of parents live in a home with a smartphone in it (Mintel’s Digital Trends, 2012). This demonstrates how accessible technological platforms are to the majority of children across all income levels. Interestingly, laptop penetration in highincome families was identical to that seen in low-income families (Mintel’s Children’s Media, 2012). For Zooglies these are promising statistics that show the potential for Smartphone usage to advertise the online world via an app based game, or QR codes in magazines and on merchandise. Opportunities also open up for a cross platform experience where a online world on the laptop could interact with the GPS features on the users smartphone for example to personalise the virtual world for the user.


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ETHICAL PRACTICE: EDUCATION At the 2009 Games Developers Conference a marquee panel posed the question of whether game makers have an ethical responsibility to use the medium for the greater good via educational enrichment (Game Hunters, 2009). Many responses to this question have been very hesitant to say, ‘yes, games should be educational tools’ due to the limits this places on creating products and programs for children. UK children‘s television producers have however agreed that instead of saying their work shall be narrowly educational, it will be educative. Thus meaning that children should be exposed to content as a form of public good, with an emphasis on learning through play, addressing children’s developmental needs, building confidence and a sense of community (Buckingham, 2011, p183-196). Leading professor of education, Seymour Papert discussed using games to enhance education. He said, “Forget about making games to teach children multiplication or spelling or any of those old-fashioned basic skills. The really basic skill today is the skill of learning, and the best use of games is to leverage their tendency to enhance it” (Papert, 1988). This echoes the attitude that games should be create an environment to encourage skill based learning rather than be educational. The rise in new technology has had a big impact on teachers and the educational institution, with critics arguing that they have a responsibility to recognise and respond to the visible demands of a new generation of learners. Vice Chancellor of the Open University commented on this issue, “Most of our students, moreover, are part of what we now describe as the Net Generation. This is a generation who think IM, text and Google are verbs not applications! “They expect to be engaged by their environment, with participatory, sensory-rich, experiential activities (either physical or virtual) and opportunities for input” (Jones et al, 2010). He goes on to discuss the importance of recognising that the net generation prefer to learn by doing and discovering knowledge rather than being told. This is evident in virtual worlds and online games similar to the Zooglies concept. There is definitely scope for Zooglies to create a learning environment and complement a child’s learning journey, enhancing key skills such as reading, writing, independence and self-learning. Zooglies can provide a space for children to take on challenging games via missions and to encourage creativity through personalisation elements of the game. This will in turn make the game more appealing to parents who respond to buzzwords such as ‘creativity’, ‘discovery’ and ‘fun’ (Thompson 2007).


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ETHICAL PRACTICE: ADVERTISING & PESTER POWER “Ask any parent, and they will tell you in detail just how much of their disposable income goes towards satisfying their children’s need, wants and desires. But children are more than just end-consumers. Children command a substantial disposable income of their own” (Lindstorm, p. 46) For the past decade marketeers have seen the concept of ‘pester power’ as synonymous with children’s marketing, and in turn it has been blamed for many ‘ills’ in the parent-child relationship. Pester power has since become a banished notion in children’s marketing due to the backlash from critics who attributed heightening family poverty, child obesity, failing educational and social standards and parental guilt to ‘pester power’ (Jones, 2009, p 35). Marketeers are now more inclined to celebrate what they see as increasing child autonomy and greater say in family decision making, rather than championing ‘pester power’ (Sutherland and Thompson, 2001). Critics and campaigners however, argue this is “a further intrusion of unwarranted commercial forces into the intimate family relationship” (Buckingham, 2011, p152). The Advertising Standards Authority (ASA) prohibits advertisers from actively encouraging children to ‘pester’ their parents for products. In 2011 a television advert from Morrisons was banned by the ASA for encouraging children to ask their parents to visit the supermarket in order to win tickets to Disneyland Paris (Campaign, 2011). An article in the ‘Young Consumers’ journal described the motivation behind many critics as a ‘growing perception, among the general public that it is the visibility, colour and intensity of advertising that evokes the ‘must have’ philosophy in children” (Dresden and Barnard, 2003). However interestingly a paper published by the Dublin Institute of Technology highlighted a poll carried out by Marketing Magazine that showed, ‘less than half the adults think there should be a ban of food and drink advertising to children’ (Kleinman, 2003)’ (Nash and Basini, 2005). This suggest that whilst there is a lot of negativity surrounding advertising that encourages pester power in children spurred on by campaigners, parents are not as resistant as critics may claim. Of course pester power does not only come from advertisers, there is also a great influence from the playground in the form of ‘peer pressure’ as discussed earlier in the chapter under the heading of playground etiquette. Zooglies will need to closely pay attention to any advertising materials they release and think carefully about the impact they will have on the parent-child relationship. They must not be seen to be encouraging children to persistently ‘nag’ their parent for Zooglies products. They will potentially be able to counter argue criticism they receive on this matter, as advertising will initially encourage registration in the virtual world, which is a free to play service. It is only further upgrades and memberships that require purchasing.


........................................................ “Ask any parent, and they ........................................................ will tell you in detail just how ........................................................ much of their disposable ........................................................ income goes towards ........................................................ satisfying their children’s ........................................................ need, wants and desires. But ........................................................ children are more than just ........................................................ end-consumers. Children ........................................................ command a substantial ........................................................ disposable income of their ........................................................ own” (Lindstorm, p. 46) ........................................................

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ETHICAL PRACTICE: CHILDREN’S ONLINE SAFETY Keeping children safe online has been under the spotlight since revelations that another network - Habbo Hotel - had been used by paedophiles (BBC News, 2012). This is a hot topic for any company planning to enter this market and the main concern for parents. My focus groups highlighted that parents fear for what their children are doing online, where they feel they have no control over what their children are exposed to. It is essential that Zooglies are aware of the importance of the online safety of children (7 years old and under) and tweens (8-12 years old) and how they can be protected from online predators (Santa, 2008). The European Network and Information Security Agency (ENISA) have highlighted four main areas of concern including bullying, harassment, illegal content and child abuse. Zooglies will need to invest in and implement safe guards for children to mitigate these dangers within the world. The first stage of this is to gain the parents consent for their child’s registration into the world, in order for the parent to be able to moderate their use from home. Whilst the Data Protection Act 1998 does not itself directly discuss obtaining consent from children, the Information Commissioner has written the following in the good practice note: “Websites that collect information from children must have stronger safeguards in place to make sure any processing is fair. You should recognise that children generally have a lower level of understanding than adults, and so notices explaining the way you will use their information should be appropriate to their level, and should not exploit any lack of understanding. The language of the explanation should be clear and appropriate to the age group the website is aimed at. If you ask a child to provide personal information you need consent from a parent or guardian, unless it is reasonable to believe the child clearly understands what is involved and they are capable of making an informed decision” (Seqlegal, 2008) The majority of market competitors ask for a parents email address during the registration process. This sends an email to the parent with a link for them to follow to give their consent. Technical solutions can be used to increase the child’s safety online. Automated moderation is one text filtering solution that recognizes specific words patterns and URLs. Sophisticated filters include AntiGrooming Engines (AGE); these filters detect specific grooming tactics (Santa, 2008). It is important that the site displays a clear policy on how to report inappropriate behaviour and unwanted contact. Reporting or flagging buttons should be clear and prominent within the site to ease parental concerns. Trained moderators, both active in game and silent should be present to monitor playing and to check all post that are made within the game. Zooglies must take note of what competitors such as Club Penguin are doing in relation to safety as they have been praised for their efforts and investment in online safety, which includes the employment of 200 moderators (BBC News, 2012).


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.................................................................................................................... “A well-designed game will seamlessly weave the user into .................................................................................................................... the fabric of a virtual experience. As one becomes more .................................................................................................................... experienced, awareness of physical control melts away. I know .................................................................................................................... what I want and I’ll do........................................................................... it, no buttons to push, no leavers to ........................................ pull – just the game and........................................................................ me. My fate and the world around me ........................................... is in my hands” (Perry, 2008) .............................................. ..................................................................... “The average person growing up today in a country with a strong gamer culture, will have spent 10,000 hours playing online games by the age of 21 … Compare that with the 10,080 hours a student in the USA with perfect attendance, spends from 5th grade to high school graduation; gaming is a parallel education” (McGonigal, 2010). Online virtual worlds similar to Zooglies form the beginning of this education for most children, a social networking site with training wheels; thus Zooglies will be a platform to teach children the guidelines both in terms of decorum and safety, of online games. Michael Gladwell, author of Outliers, established the ‘10,000-Hour Rule’, claiming that the key to success in any field is, to a large extent, a matter of practising a specific task for a total of around 10,000 hours (Gladwell, 2008). On this basis, there will be an entire generation of virtuoso gamers with skills in collaboration, problem solving, selfmotivation and a hard working attitude towards goal-specific aims (McGonigal, 2010). Games like Zooglies are creating these gamers and nurturing

these skills. “Games on the surface seem like simple entertainment, but to those who look a little deeper, the new paradigm of video games could open new frontiers to creative minds that like to think ‘BIG’” (Perry, 2008). Virtual Worlds aimed at children command a great amount of there time and attention, they have a responsibility to foster creative thinking and encourage skill learning as virtual worlds are playing a significant role in raising the net generation. The following chapter will explore the current online virtual worlds aimed at children from 5 to 11 years. I will analyse current competitors in the market and dissect their communication techniques, advertising campaigns and methods of promotion. I will also explore how Zooglies can position themselves within the market to gain a competitive advantage against their competitors.


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STAGE 1

The VW’s and MMO’s market is a massively growing industry that globally has 66.4 million users between the ages of 7 to 13 (Kzero, 2012). Active users are defined as users that have a created user account and have logged in at least once in the 4th quarter of 2012 (Kzero, 2012). The table below demonstrates the big opportunities in this industry within the Asian markets that are driven by China, India and Indonesia. Regions in the Western world of North America and Europe also play crucial roles in the 66.4million user count.

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THE VIRTUAL WORLDS (VW) AND MASSIVELY MULTIPLAYER ONLINE (MMO) MARKET

(Kzero, 2012)

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The Info graphic here gives an overview of all of the current competitors in the children’s market of VW’s and MMO’s categorized by ages range. The clear front-runners in the market include; − − − − − − −

Neopets with 73m users, however Neopets was established in 1991 and may therefore have a large number of inactive members Webkins who have established 21 million users since 2010 Poptropica who have accumulated 225million users since late 2008 Bin Weevils with modest 13million users since mid 2009 Moshi Monsters who have grown to 70 million since mid 2008 Club Penguin with 170m users since 2005 (135 million since the beginning of 2010) Wizard 101 with 27 million users since late 2009

In the Appendix you can find detailed reviews of all of the above worlds that I have put together after testing each interface individually. From this research I have created the perceptual maps below and identified Moshi Monsters, Club Penguin and BinWeevils as the three main competitors for ‘The World of Zooglies’ based on the target market, type of content, price point and game concept.

(Kzero, 2012)


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PERCEPTUAL MAPS The perceptual maps identify a pricing trend that shows that virtual worlds starting price per month is between ÂŁ4.50-5, this is where Zooglies will be positioned in terms of price, offering similar member benefits to Club Penguin, Moshi Monsters and BinWeevils including access to new areas of the VW, higher level missions and games, exclusive in game products, a currency allowance and more.

The 2nd map identifies a gap in the market for games that actively encourage user creativity, other than Tinkatolli (who have a very young target consumer) where users can upload offline creativity for online rewards and build items for their online home from scratch. Zooglies can exploit their games ability to allow users to customise real products and upload offline creativity, to appeal to an older consumer market than Tinkatolli.


The final map positions Zooglies along side big players Moshi Monsters, Club Penguin and BinWeevils, these are brands with big fan bases and significant shares in the market and therefore, will represent a notable barrier to entry in the market. The fickle nature of children discussed in Chapter 1 however, is a positive indicator that children will happily switch to new games that manage to catch their attention.


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CLOSEST COMPETITORS #1: MOSHI MONSTERS

“When you create a TV show, it’s almost like a ‘one size fits all’. Thomas the Tank Engine is for preschool kids, and so is Dora the Explorer. But when you create a web property, kids can experience it in different ways.” (BBC News, 2011) Like Zooglies, Smith’s business plan from the beginning was to carefully create a wider brand outside of the Internet, with a range of products tied in to the characters children already cherished. Although Moshi Monsters do have a big selection of clothing targeted at children between 4-11 that currently retail at Tesco, BHS, M&S, Primark, Matalan, Debenhams and Asda to name a few, they do not give the site users any in site options to customise and order any products. This therefore will be a key point of difference when trying to tap into the Moshi Monsters target audience. Moshi Monsters began with one million pounds in start up funds and the site was launched in March 2008 (Entrepreneur, 2012). Within the first seven months of launching they had hit one million registered users and by April 2009 they had expanded to reach to 2 million users. Acton Smith has stated that, “Two million seems to be a magic number,” after this point he described a noticeable word of mouth factor that was taking off (Hart,

2009). A pivotal part of their initial campaign launching them into the market was a television advertising campaign, which was a brave move considering the ability for TV adverts to absorb huge amounts of advertising budgets, costing in the region of £40-£100 pounds per 30 second advert on Nickolodeon (Guerillascope, 2010). Acton Smith however, said there TV ad campaign was very successful, with specific URL’s and landing pages they were able to track the Ads conversion and were ‘very happy’ with the cost per action (CPA) of the advert (Hart, 2009). Adverts have continued to be a big aspect of Moshi’s advertising and still play a big role in attracting more customers 5 years on. Social Media sites such as Facebook (527,000) and Twitter (12,000 followers) play a fundamental role in promoting the site to the older consumers and parents, but it is the Moshi blog and associated forums that attracts the majority of the target market driving Moshi Monsters having one of the most read children’s online blogs in the world (Biz, 2010). Social media sites are excellent at clearly defining key metrics and evaluating the success of each campaign. You can easily see when you are enjoying success, who is responding to posts and importantly where you are not getting a great reception. Social media sites including Twitter and YouTube have been used by Moshi combined with an above the line ‘Hey Moshi’ TV campaign that encouraged children to submit many hundreds of home movies. This campaign drove traffic from YouTube, TV and social media to a landing page with a streamlined registration page to ‘”reduce friction for new players wishing to sign up for the game” (Biz, 2010). This case study demonstrated the opportunity to run a campaign via many different channels that seamlessly integrate to drive traffic to the site.

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Moshi Monsters founder, Michael Acton Smith, explained the key to expanding your target consumer audience when creating an online virtual world lies in having a variety of content that will appeal to a variation of users, including games and missions for a variety skill levels and different areas of the world that may appeal to different genders such as decorating a room opposed to taking your avatar to battle. Such customisation gives the user the power to tailor their playing experience.


STRENGTHS − − − − − −

− −

More that 65 million registered users. Strong retail partnerships in key markets such as US and Western Europe. Commands big kids retail space in local newsagents, WHSmith, Wilkinsons, Hamleys and other toy stores. Moshi Magazine is the market leader in children’s magazines with a 227,000 readership (Mediaweek, 2012) Loyal fan base Great brand exposure in McDonalds Happy Meal deal with marketing campaign that includes: TV advertising, in-restaurant merchandising at over 14,000 restaurants, custom packaging and branding on happymeal.com. (MCV UK, 2013) Wealth of best-selling toys, books, video games & trading cards Generated over $100 million in gross retail sales across all Moshi Monsters related product during 2011. (Sparkventures, 2012)

WEAKNESSES −

Bad reception of ‘Moshi Monsters Mouthoff’ – A very basic cartoon monster mouth that animated based on microphone input that cost 69p Latest app Busters Lost Moshling’s was then heavily criticised for severely lacking a lot of the fun that comes in the online world, although acknowledged as an improvement on the first app. Again charged for at 69p. (GeekDad, 2011) Safety concerns from parents and news articles of alleged paedophiles 'grooming' primary school children on the site and Moshi related public forums. (Mail Online, 2012) With so many users, despite moderators, it is easy for people to abuse the site and remain unnoticed.

OPPORTUNITIES −

− − − − − − −

THREATS −

 

Mind Candy is also now working on music with Sony Music to release a series of albums. Live tours could be an opportunity in the future. A TV platform with characters on screen relating to play online; giving the game another interactive dimension. Moshi Film- potential in box office and DVD sales Develop games for PlayStation/Xbox platforms, tie game into other technologies. Develop full mobile/tablet compatible version of the virtual world. Asian & Eastern Europe credible markets for potential fast growth Create educational content for primary level children Goshi Moshi partnership with Great Ormond St Hospital. Positive brand PR amongst parents.

Business is growing at an astronomical rate, operational processes need to be able to manage high traffic levels: this could effect the actual site handling high numbers of users and efficient payment systems that are flexible to support freeto-play, subscriptions and one-time payments Intense competition of current competitors (mainly from Disney’s Club Penguin) and lots of newcomers coming to the market and experience good success including ‘Little Space Heroes’. Will Moshi Monsters' young audience stay loyal? Lack of design innovation and differentiation could blur the line between Moshi and other brands- threat of looking like a ‘me-too’ product. Licensees diluting the brand by just ‘stamping’ products with Moshi branding and not considering product quality and end user. Entry in to new markets without sufficient planning, resources & back end support risks failure, too much too soon.


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CLOSEST COMPETITORS #2: BIN WEEVILS Bin Weevils was first launched in 2008 as a gaming microsite on Nickelodeon.co.uk and attracted so many followers that it was made into a stand-alone online platform. The platform now has over 2.3 million active players per month (aged 7 to 13) with each visitor spending between 25 to 30 minutes every visit (dotAgency, 2011). In 2011 Bin Weevils saw enormous growth, this was translated in the 20 licensing deals in major category areas including toys, publishing, trading cards, apparel, accessories, home wares and food. The magazine on offer from Bin Weevils is also experiencing a lot of success and is currently the 4th most read children’s magazine in the UK (Mediaweek, 2012). Critics of the brand have complained about the high levels of in game advertising that is being directed at the young consumers. One online user has said, ”Sounds harmless enough, until you take a closer look at what young children are exposed to whilst playing the game. Heavily sponsored by Innocent Smoothie, players see the logo in a number of places. They are also invited to enter the Innocent Smoothie kitchen on successful completion of a crossword“ (Guru, 2011). Despite this criticism, this is a predominant feature of the majority of VW’s. Bin Weevils has fought off of this nature stating that they are promoting a healthy lifestyle and whilst it is in the form of advertising, it is educational campaigning rather than simple product placement.

in game marketing for brands such as Nickolodeon and Cartoon Network, who in return advertise Bin Weevils on their platforms. This is a mutually benefitting deal to maximise brand awareness. The marketing strategy from promoting bin weevils largely comes from below the line (BTL) activity on social media sites, online articles, award ceremonies such as the Kid’s Vote BAFTA and above the line (ABL) strategies that involve TV advertising, in store promotion, merchandise and a series of magazine adverts. The goal for Bin Weevils in the next five years’ is to be established as a major licensed brand in the UK as well as other English speaking territories and Europe (Biz, 2009).

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For brands like Innocent, an opportunity of exposure within a virtual world to promote it’s products to young children who are largely unaware that they are being advertised to, is a unique prospect that gets high interaction levels between users and brands, and is therefore very lucrative as an in game marketing tool (Biz, 2010). Bin Weevils has similar


STRENGTHS − − − −

1.2m unique paying users in June 2012 (Licensing.biz, 2012) Bin Weevils magazine, published by Egmont, unveiled a debut of 47,011 copies in June 2012 (Mediaweek, 2012) Strong retail presence in newsagents, toyshops and supermarkets. Yinka Akindele has been appointed head of PR and comms to grow brand awareness among parents. Her previous roles include, comms for children's media brands Cartoon Network, Boomerang, Cartoonito and CNToo and publicity for television shows Peppa Pig on Milkshake, Prove It! on CITV and Taggart on ITV. Brings a wealth of experience to BinWeevils. (Brand Republic, 2012) BinWeevils won 2 children’s BAFTA for best website in 2011 & 2012, ahead of Moshi Monsters and Disney’s Club Penguin. (Blog.binweevils, 2012) A comScore survey found BinWeevils was the most popular children’s online destination in the UK, attracting 972,000 unique visitors during June. (Brand Republic, 2012) The site includes a video-on-demand service featuring popular Cartoon Network and Nickelodeon shows such as Ben10 and Spongebob Squarepants. (PR Week, 2012) Alongside the website, BinWeevils has a number of product licensing deals, including a monthly magazine, books, toys and clothes. (PR Week, 2012) Deal to offer Cartoon Network and Nickelodeon programming on a new "social video on demand" service available to members. (PR Week, 2010)

WEAKNESSES −

− −

Forums associates with BinWeevils (But not owned or run by BinWeevils) are not moderated and often contain explicit language from some contributors. Such sites may attract BinWeevils users who may be offended by the content. Parents associate this with BinWeevils. (Topix, 2011) Sites such as Topix provide a very unsafe environment for children discussing BinWeevils and may be put in vulnerable positions. Critism of heavy in game advertising designed around product placement, interactive games and virtual sponsored locations (toy world mag, 2012)

OPPORTUNITIES − − − −

− − − −

THREATS − −

− −

 

 

Plans to launch the site in the US by the end of 2013 (Brand Republic, 2012). Opportunities to push into the US and Australia market in 2013. Kid's social media world, BinWeevils.com has added Inspiration Works to its licensing portfolio. The firm will develop a range of electronic, novelty and pocket money toys, as well as accessories for its Kurio tablet. Product will in 2013. (Licensing.biz, 2012) Potential for music partnership, album release and even a stage tour- following on from moshi monsters album success that went to number 4 in UK chart (Official Charts, 2013) Film opportunities- potential in box office and DVD sales Develop games for PlayStation/Xbox platforms, tie game into other technologies. Develop full mobile/tablet compatible version of the virtual world. Opportunities for a strong future for Bin Weevils to build a long-term audience in the same way as other media platforms such as TV broadcasters. (DotAgency, 2011).

Rumours online the site will be closing along with stardoll, moviestarplanet and my world. Risks consumer confidence (Answers, 2010) Intense competition of current competitors (mainly from Disney’s Club Penguin) and lots of newcomers coming to the market and experience good success including ‘Little Space Heroes’. Will Bin Weevils young audience stay loyal? Lack of design innovation and differentiation could blur the line between Bin Weevils and other brands- threat of looking like a ‘me-too’ product. Licensees diluting the brand by just ‘stamping’ products with Bin Weevils branding and not considering product quality and end user. Entry in to new markets without sufficient planning, resources & back end support risks failure, too much too soon.


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CLOSEST COMPETITORS #3: CLUB PENGUIN

Revenue is predominantly generated through paid membership and sales of gift items through an online gift store. However merchandise include lines of soft toys, books, clothing, trading cards, Club Penguin Nintendo DS and WII games and

more, and according to co-founder Lane Merrifield all items launched were developed at the request of their child fans (Mega Child Studies, 2012). When Club Penguin launched they relied almost entirely on word-of-mouth advertising to increase the membership (SFGate, 2007), and did not run any TV adverts prior to the Disney acquisition. The key to Club Penguins huge success lies predominantly in their launch on popular children’s online game website, Miniclip.com. Access to Miniclip’s 34 million users was essential to Club Penguins explosive growth, transforming a game with 25,000 users prior to being posted on miniclip to a MMO with 2.6 million users within a year of being posted on Miniclip. What Network TV was for The Transformers, Miniclip has been for Club Penguin (Ypulse, 2007). Club Penguin however did have a huge advantage of dramatically less competition in the market at this stage, which may play a role in its huge success and early growth without above the line advertising.

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Created by three Dad’s looking for a safe place for their children to play online, Club Penguin was launched to the general public in October 2005. Club Penguin provides a safe and secure online environment, with its imaginative play, word filtering technology and live moderation (Ypulse, 2007). From a small town in Canada, Club Penguin has grown into the largest virtual world for kids aged 6 to 12 in Europe and around the world (Business Week, 2012), which in August 2007 was acquired by Disney Interactive at the staggering price of 350 million USD with an additional 350 million USD in bonuses over the next two years (Shields, 2007). At the time of purchase Club Penguin boasted 10 million registered user accounts with an estimated 10% of these being paid membership accounts (Shields, 2007).


STRENGTHS     − −

− − −

 

Disney’s  Club  Penguin  is  the  top-­‐ranked  virtual  world   for  children.  (Babble,  2013)   Club  penguin  magazine  sold  49,062  copies  in  the   first  half  2012,  great  for  brand  exposure  in  offline   retail  (Pressgazette,  2012)   Acquisition  of  Playdom  (social  gaming  company)   gives  expertise  in  the  sector.  (ADWEEK,  2012)   Competitive  advantage  of  Disney  backing  (ADWEEK,   2012)   In-­‐game  money  has  been  commented  on  as  possibly   helping  teach  children  how  to  save  money,  select   what  to  spend  it  on,  improve  their  abilities  at  math,   and  encourage  them  to  ‘practice  safe  money-­‐ management  skills’  (Chicago  Tribune,  2007)   Strong  revenue  stream  has  come  through  the   development  of  an  online  merchandise  shop  and   merchandise  in  retail  outlets  including  Toys”R”Us.   (Club  Penguin,  2008)   Leading  Nintendo  DS  and  Nintendo  Wii  game  that   have  topped  charts.  (Club  Penguin,  2008)  

WEAKNESSES   − − −

Kids  more  interested  in  playing  on  smartphones  and   tablets-­‐  Disney  has  not  caught  up  (ADWEEK,  2012)   Puffle  app  on  iPhone/tablet  not  sufficiently   promoted  (ADWEEK,  2012)   Criticism  came  from  Caitlin  Flanagan  in  The  Atlantic   Monthly:  in  relation  to  the  safety  procedures,  she   noted  that  Club  Penguin  is  "certainly  the  safest  way   for  unsupervised  children  to  talk  to  potentially   malevolent  strangers—but  why  would  you  want   them  to  do  that  in  the  first  place?”  (Flanagan,  2007)   Lynsey  Kiely  in  the  Sunday  Independent,  who  quoted   Karen  Mason,  Communications  Director  for  Club   Penguin,  as  saying  "we  cannot  guarantee  that  every   person  who  visits  the  site  is  a  child.  (Independent,   2013)   The  game  encourages  consumerism  and  allows   players  to  cheat.  While  Club  Penguin  does  not   require  members  to  purchase  in-­‐game  products  with   real-­‐life  money  (instead  relying  on  a  set  monthly   fee),  players  are  encouraged  to  earn  coins  within  the   game  with  which  to  buy  virtual  products.  In  addition,   the  "competitive  culture"  that  this  can  create  has  led   to  concerns  about  cheating,  as  children  look  for   "shortcuts"  to  improve  their  standing,  and,  it  is   suggested,  this  may  influence  their  real-­‐world   behaviour  (NYtimes,  2007).  

 

OPPORTUNITIES   Aggressive  mobile  road  map  in  pipeline     Invest  in  new  technologies  and  content  that   makes  Club  Penguin  a  fun  and  safe  place  for   kids  to  play  online.     − In  game  charity  bake  sale  where  members  buy   cakes  with  virtual  money  set  to  raise  millions   for  charity  and  act  as  very  positive  PR  boost   amongst  parents.  (Babble,  2013)   − Potential  for  music  partnership,  album  release   and  even  a  stage  tour-­‐  following  on  from  Moshi   Monsters  album  success  that  went  to  number  4   in  UK  chart  (Official  Charts,  2013)   − Film  opportunities-­‐  potential  in  box  office  and   DVD  sales   − Develop  games  for  PlayStation/Xbox  platforms,   tie  game  into  other  technologies.   − Develop  full  mobile/tablet  compatible  version   of  the  virtual  world.   − New  online  research  released  today,  Oct.  12,  by   Disney’s  Club  Penguin  reveals  that  over  nine   out  of  ten  UK  parents  surveyed  believe  the   Internet  creates  incredible  learning   opportunities  for  kids.  (Business  Week,  2012)   THREATS     − “Club  Penguin,”  operated  at  a  loss  last   year.  (Enterprises,  2013)   − Loss  of  co  founder  Lane  Merrifield  late  2012   (Duryee,  2012)   − Intense  competition  of  current  competitors   (mainly  from  rival  Moshi  Monsters)  and  lots  of   newcomers  coming  to  the  market  and   experience  good  success  including  ‘Little  Space   Heroes’.  Will  Club  Penguins  young  audience   stay  loyal?   − Lack  of  design  innovation  and  differentiation   could  blur  the  line  between  Club  Penguin  and   other  brands-­‐  threat  of  looking  like  a  ‘me-­‐too’   product.   − Licensees  diluting  the  brand  by  just  ‘stamping’   products  with  Club  Penguin  branding  and  not   considering  product  quality  and  end  user.   − Entry  in  to  new  markets  without  sufficient   planning,  resources  &  back  end  support  risks   failure,  too  much  too  soon.   − Fan  sites  such  as  Club  Penguin  Planet,  have   been  referred  to  the  Federal  Trade  Commission   by  the  Children's  Advertising  Review  Unit.   Despite  the  fact  the  fan  site  is  not  owned  by   Disney  and  not  officially  affiliated  with  the   company  or  the  site,  it  still  tarnishes  Club   Penguins  reputation  relating  to  safety  for  kid’s   in  the  eyes  of  parents.  (Business  Week,  2011)   − −


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WHAT CAN BE LEARNT FROM THE CLOSEST COMPETITORS? − A reoccurring theme that has come up in nearly every successful virtual world I have researched is that content is king. A well thought out range of games, regions and in game features to playing need to work together to offer the user a seamless playing experience that can offer different players different experiences. This variety may come in the form of a variety of games or an eclectic assortment of in game accessories for the users avatar, or both. Either way, the game creators need to acknowledge that a 5-year old girl will want to play the game in a completely different way to a 9-year old boy and they must cater for both of these players needs accordingly. − “Two million seems to be a magic number”. Persistence is key when launching a virtual world and the first two years can seem very slow. Driving traffic to the site is no mean feet and until the 2million mark, where a word of mouth power seems to take off, growth can appear to be vey arduous. − The power of TV advertising in this market has proved to be very affective for brands such as Moshi Monsters and Bin Weevils who have both boasted CPA’s in relation to Television advertising (Hart, 2009). This supports the second screen trend discussed in Chapter 1’s Digital Natives that highlighted that 64% of children use second screens (laptop/computer) to do their homework whilst watching the television (Mintel’s Children’s Media, 2012). This places children in a position to respond instantly to a TV ad whilst it is fresh in their mind. − Social Networking sites such as Facebook, Twitter and Blogs are key to communicating with audiences and despite the audience predominantly being to young for sites such as Facebook and Twitter, they are vital for communicating with parents. They allow the brand to communicate developments and successes both online and offline, listen to feedback from users and parents and measure Key Performance Indicators (KPI) such as reach geographical reception and the virality of each campaign. − Licensed merchandise needs to be well thought out and cleverly developed to ensure the range is brand-relevant, beautifully designed and good quality. Lazy label slapping will not be enough to attract the attention of fans and is not enough to compete in the market (Licensing. biz, 2009).

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− Publishing games on Miniclip can give you access to Miniclip’s 65 million unique visitors each month, putting you in direct contact with an audience who not only have a passion for great games, but are amongst the most likely to spread the word about your game and are eager to live within your virtual world (Miniclip Corporate, 2010).


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.................................................................................................................... “The landscape for children’s media is becoming significantly .................................................................................................................... more digital in nature. eBooks are increasing in popularity on .................................................................................................................... tablet devices, often with music, games or video built into the .................................................................................................................... storyline. Many popular children’s magazines have branched .................................................................................................................... out online, even as internet-based franchises try to extend .................................................................................................................... their reach through television and into tablet applications. .................................................................................................................... It is becoming increasingly clear in this sustained period of .................................................................................................................... change that a cross-platform presence is becoming not only ........................................ ........................................................................... useful, but almost necessary to widespread success.” Samuel ........................................... ........................................................................ Gee, Technology Analyst (Mintel’s Children’s Media, 2012). .............................................. ..................................................................... The final chapter will focus on the importance of utilising several different platforms in developing an omni-channel brand presence. The emphasis within this chapter will explore the best combination of communication in a new media landscape. I will look into the use of television as an unsurpassable broadcasting tool, alongside a strongly branded social media presence and a well-constructed interactive digital environment in order to increase long-term engagement and user loyalty. I will explore the opportunities advertising in magazines offer, and the ability to invite a reader to interact with a print advert turning readers into digital users. I will study the variety of different forms online advertising presents including SEO and AdChoices as well as opportunities to reach the

target consumer via social media sites including Twitter and YouTube. Offline methods of advertising experientially will also be analysed in terms of their ability to stimulate word of mouth publicity around the launch of Zooglies. Additionally this chapter will delve into the children’s wear market, looking at the future prospects for the Zooglies clothing line that will be launched alongside the virtual world as a method to promote the online platform. I will look at the buying motivations of parents and children and the decision making process behind their purchasing behaviour in addition to the key players that dominate the children’s wear market.


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STAGE 1

CHANNELS OF COMMUNICATION: COLLABORATING WITH OTHER BRANDS ........................................................ “Brands will need to become ........................................................ more malleable so that they ........................................................ can respond to consumers’ ........................................................ growing appetites for ........................................................ personal expression. In short ........................................................ this means brands must ........................................................ collaborate” (Nadea, 2007, ........................................................ p.30) ........................................................

Collaborative marketing (also known as collaborative promotion) is a partnership of equals where a company uses another company’s sales force in addition to its own to promote the same brand or range of brands (LinkedIn, 2000). Cobranding also enables one brand to benefit from the “halo of affection” that belongs to another (Mckee, 2009), for example partnering with a luxury brand may put your product in a luxury light. Collaborative marketing allows a brand to change consumer perceptions or enhance and develop a brands image. It will encourage a brand to stand out in a competitive market, setting them apart from the competition. For a successful collaboration a brand should create a partnership with another company who is successful at serving the needs of their target consumer. A brand can communicate with their consumer to gain an insight into what type of brands they are interested in and excited by.

“The key to running a successful cross promotion is to partner with a business that targets a similar customer as you do, but that offers a product or service that doesn’t compete with yours,” (Schenck, 2013). This approach was taken in the collaboration between Pizza Express and Moshi monsters, two brands with a cross over in their target consumer. Pizza Express is a family restaurant where children are regularly dining with their parents and Moshi Monsters has a target demographic of children between 7 and 12. As part of the collaboration children where encouraged to upload images of their own monster themed ‘Pizza Art’ at Pizza Express’s website, a Moshi Monsters themed activity book was given to every child who visited the restaurant and the restaurant was incorporated into an online game featured in the Moshi World. As a result children were more encouraged to get there families to visit Pizza Express rather than other restaurants, whilst parents were grateful for an activity to occupy, entertain and educate their children whilst they were eating out. Pizza Art was the main focus of the campaign that was designed to engage Pizza Express with a youthful customer base, it was essentially a creative play experience which encouraged kids to develop their understanding of food and kitchen craft (Malone, 2012). Moshi Monsters benefited from the collaboration as it allowed them to reach new potential consumers in an environment where there activity book was highly engaging and in some cases became a talking point at the dinner table between the children and their families.


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EXPERIENTIAL MARKETING Experiential marketing allows customers to engage and interact with brands, products, and services in sensory ways that provide the icing on the cake of providing information (Experiential Forum, 2013). Campaigns incorporating experiential marketing give the customer more than information, it gives them an experience and a story they can pass on and share to their own networks. Live brand experiences can put a human face to the brand - at exhibitions, out on the street or by creating live events. Live campaigns set a brand away from their competition as they give consumers the chance to not only hear the brands message but also to engage with it, experience it and participate in it. Children are exposed to a large amount of advertising and marketing messages across lots of different media and have been for as long as they can remember. Although children are captive audiences, they are to some degree desensitised to traditional forms of advertising. In order to capture the attention of this audience, it is crucial to offer them a positive social experience, creating something that is unique, innovative and most importantly, fun (Durcan, 2012). During the focus groups, one nine year old boy recounted to group and myself his experience of the 2012 Olympics where he was given ‘free Coke by the cool man from Coke … he let me hold the Olympic torch and took pictures of me with it, then I was given a VIP Coke card with a code and I could go to the website to get the pictures’. It was

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remarkable to witness the enthusiasm at which the boy narrated this story to his friends and how they all consciously took note of it, recognising the ‘cool man from Coke’. Encouraging children to use their imagination and creativity can add value to a brand. A brand experience gives children short stories to recount, using contextual settings and content based on an informed and responsible understanding of the audience. Live campaigns are able to create spontaneous emotional bonds between the brand and those who were impacted by the message and the activity.


EXPERIENTIAL MARKETING CASE STUDIES NICKOLODEON: MEET SPONGEBOB & DORA. WHAT? Develop an exciting and rewarding experience for families to engage with Nickelodeon characters, increase brand loyalty and drive consumers online to desirable digital content WHY? Engage new consumers and drive traffic to the website. WHERE? 14 day nationwide shopping centre road show giving kids the chance to meet their favourite Nickelodeon characters, SpongeBob SquarePants & Dora the Explorer!

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HOW? Kids were photographed with their hero and given a flyer pointing their parents to the Nickelodeon website where all the event photography could be viewed. Drive purchase of Nickelodeon products with promotions in conjunction with various retailers in each shopping mall RESULTS? • Consumer interactions in shopping malls 100% of consumers interviewed stated that they would go on to tell someone about their experience • 250,000 unique visitors viewed campaign photography online • 1.5 million+ page impressions (ID EXPERIENTIAL, 2012)


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RIBENA: ‘PICK YOUR OWN’ WHAT? 5 week sampling campaign in 10 cities across the UK as part of Ribena’s integrated ‘Pick your Own’ marketing activity WHY? Increase awareness of the wider flavour range, and increase frequency of purchase WHERE? High St locations close to Ribena’s retail partners Boots and Greggs

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HOW? Created a ‘Pick your Own’ fruit farm with high-quality, natural materials – an unusual sight on the High St. Selections of visitors at each location were asked to complete a detailed questionnaire, giving Ribena some valuable qualitative research data as well. RESULTS? • 160,000 samples in 1-2 minute consumer engagements, • 500,000 opportunities to see

(TRO GROUP, 2012)

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FRUIT SHOOT: A JUICE CREW ROAD SHOW WHAT? Create an immersive road show experience, encourage 100,000 7-9yr old children to learn new skills and audition to become one of the stars in Fruit Shoot’s new television commercial. WHY? Create brand exposure, attract and new customers and increase traffic to www.fruitshoot.com.

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WHERE? A four-week experiential road show touring shopping malls across the UK specifically profiled to reach a family audience during the Easter school holidays. HOW? Children were taught a simple trick or skill (e.g. juggling, skipping, hula-hoop, plate-spinning) and were asked to perform one of the skills as a filmed audition for the chance to star in the Fruit Shoot 2011 TV commercial. Shortlisted auditions were streamed on www.fruitshoot.com where the public could vote for the four lucky winners.

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RESULTS? • 103 days of activity • 56 venues • 110,000 consumer interactions • 67,000 kids learnt new skills • 5,500 auditioned • 1 million+ hits to the Fruit Shoot website • Each parent told on average 11 people about the experience • 82% of engagers said they would go on to purchase (ID Experiential, 2011) IMAGE 48


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TELEVISION ADVERTISING ........................................................ “Television is a high impact ........................................................ medium of advertising, ........................................................ it delivers immediacy, ........................................................ mass coverage, flexibility, ........................................................ movement, colour and ........................................................ crucially, spot-by-spot ........................................................ accountability. TV ensures ........................................................ that an advertiser’s message ........................................................ reaches a chosen target ........................................................ audience in an effective but ........................................................ cost-efficient way” (Thinkbox, ........................................................ 2012). ........................................................

The recent switch from analogue to digital TV in the UK has significantly altered children’s broadcasting and increased the audience of digital TV from providers such as Freeview, Sky and Virgin Media. The latter two offer access of 20 dedicated children’s channels, creating greater opportunities for brands to connect with children (Mintel’s Children’s Media, 2012). Whilst this is an expensive avenue of advertising, it is an incredibly potent way of reaching out to children of all ages. Thinkbox recently hosted “TV on a shoestring,” a conference that explored the opportunities TV advertising can offer companies that only invest small budgets into TV.The conference demonstrated that with as little as £30k TV advertising could still deliver significant business success. TV advertising has been a tool implemented since inception from key competitors Bin Weevils and Moshi Monsters who praised its CPA results. In total, the UK watched 719 billion TV adverts

during January to September 2012, matching the record high during the same period in 2011, consuming on average 49 TV adverts per person per day. There are 26 million households and over 57 million individuals in the UK’s TV population, with 6.6 million of those being children between the ages of 0-14 (Thinkbox, 2012). This is a huge opportunity to directly reach 90% of Zooglies target demographic. In 2011 children aged 4-15 watched an average of 17 hours and 9 minutes of television per week peaking in the early morning (Between 07.00-09.00), with a smaller peak in the late afternoon (17.00-19.00) (Stakeholders.Ofcom, 2012). Additionally at the weekend, children account for 30% or more of the total viewing audience between 07.00 and 10.00 and remained at 15% until 13.00 (ACMA, 2007). The focus groups with both parents and children were particularly informative in terms of what children were watching on commercial TV. Boomerang, Cartoon Network, Cartoonio, CITV, Nickelodeon and The Disney Channel all came out on top as the most popular channels amongst the children. The data from BARB (right) echoes those findings with the channel share of the top commercial programmes for children. This also gives a strong indication of where the Zooglies brand would need to be shown to fully utilise TV advertising, reaching their target audience. TV can represent the key driving force of an advertising campaign and when used in conjunction with other media the overall effect can be much greater. Leading Marketer Rory Sutherland said, “Bad integration is using about 10 medias and doing the same in all of them rather than saying here’s an opportunity to play to the individual strengths.” TV advertising can act as the platform where a brand can find their consumers, from there a brand can direct them to a non-linear space to truly engage them.


Source BARB

your ad here

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LOW BUDGET TV AD CAMPAIGN CASE STUDIES (THINKBOX, 2011) LEGOLAND & JETIX TEAM UP FOR HERO’S WANTED Campaign Objectives: Raise awareness of and create interest about the exciting developments as well as drive footfall to the event and to the parks across the summer holidays. Target Audience: Kids 4-12 and their families

Campaign Shape: The central TV and online promotion started at the end of June with a message refresh after the Legoland Live event at Legoland Windsor on the 19th of July. 8+ TV spots a day ran for 6 weeks with the online content and support media remaining live for a further 3 weeks until the beginning of September and back to school.

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Budget: £40,000

TV Usage: 30” promo ads – 2 versions, 10” sponsorship credits – 6 versions, ≤ 5” accreditations and 60” marketing comp spot integration.

Channels Used: Jetix (Jetix +1)

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Media Mix: On air, online and on the ground.


NINTENDO CONVEYS POKEMON FUN Campaign objectives: Drive attendance at the Pokemon Summer Day Camp events and make Diamond and Pearl the must have games of the summer.

Budget: ÂŁ30,000 Campaign shape: A mix of 30-second ads and sponsorship was used on TV across the Cartoon Network, CN Too and Boomerang to drive the message home to kids aged 4-10-years old.

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Target audience: 4-10-year-olds

The ads ran from July 23rd to August 20th across all three stations while the sponsorship ran across Cartoon Network and CN Too for a month from August 16th. TV usage: 30-second ads, Sponsorship credits

Channels used: Cartoon Network, CN Too and Boomerang

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Media Mix: TV, online


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MAGAZINE ADVERTISING The love of magazines begins at an early age. A survey of magazines for children aged 2-11, by Diagnostics for PPA (Consterdine, 2005), found that magazines are read and re-read by children to the extent that they are often almost known by heart. Children build a personal relationship with their magazines and once they have finished ‘devouring’ them the magazines are often kept as part of cherished collection. Magazines are a good way to gain awareness amongst your target consumer in an environment that blends entertainment with information, providing the reader with a visually pleasing ad that communicates very effectively (Cowley, 2003). Traditional full-page advertisements however may not suffice, as children are likely to skip past obvious adverts to the more engaging aspects of a

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magazine. The net generation demands innovative and interactive content, as this is what they have been accustomed to as a result of new digital medias. Creative solutions including advertorial board games, quizzes and craft pages that will increase the interactivity of the advert and in turn the ability to engage the target audience (Egmont, 2013). Advertorials cost between £2500-£3500 in a magazine such as Ben10 with a readership of 58,529 of boys between 5 to 7 years (Egmont, 2013). When advertising in children’s magazine a dedicated cross platform presence in crucially important as children expect to interact with content in different medias. A scan-able QR, of free virtual gift code may be relevant to drive readers to the site from the advert.

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The list on this page demonstrates the number of consumers that creative magazine advertising will give access to. Moshi Monsters Magazine: 113,748 Fun to Learn - Peppa Pig: 75,786 Fun to Learn - Friends: 72,418 Disney’s Princess: 66,010 Girl Talk: 65,129 The Simpsons Comics: 64,882 Cbeebies Art: 61,327 Cbeebies Special: 60,708 Ben 10: 58,529 CBeebies Weekly: 56,644 Barbie: 53,246 Bin Weevils: 47,011 Simpsons Comics Presents: 44,728 Jacqueline Wilson: 44,136 ZingZillas: 43,237 Disney and Me: 41,006 Fun to Learn - Favourites: 40,874 Bob The Builder: 40,733 World of Cars: 50.505 Toxic: 43,003 Charlie & Lola: 39,238 Go Girl: 38,005 The Beano: 37,145 Toybox: 35,971 Mizz: 35,837 Cbeebies Animals: 35,411 Waybuloo: 34,711 Toy Story: 33,476 Thomas and Friends: 33,020 Thomas Express: 32,509 Animals and You: 32,193 Fireman Sam: 32,032 Disney Fairies Tinker Bell: 30,009 WWE Kids: 27,083 Dora The Explorer: 26,033 Play and Learn - Thomas and Friends: 25,504 Dora the Explora: 25,426 SpongeBob Squarepants: 24,945 All About Animals: 24,595 The BeanoMAX: 24,438 Animal Planet: 15,124

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(Press Gazette, 2012) IMAGE 59


STAGE 1

Online advertising comes in a variety of different forms including the following (Netset Media, 2011):

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In the past 5 years new technology has created intelligent behaviour tracking software that has led to a new era of online advertising. Marketers can now thoroughly analyse where and to whom their advertisement is exposed. This allows advertisers to narrowly target specific consumers by making well-informed decisions about where they buy online ad space. Consumers have the choice to disable their computers Display Ads cookies so their web surfing experience is completely Contextual Ads untraceable, however whilst these factors are obviously essential to maintaining the web’s neutrality, it is important to acknowledge that behavioural targeting gives the user a better online experience because it results in the delivery of information that is relevant to the user (iMedia Connection, 2007). Tailoring adverts to the readership allows advertising to be more effective and in turn increase ROI.

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ONLINE ADVERTISING

• Display ads featured in various sizes throughout websites, they can be can be static images, flash, video and expandable.

• Search Advertising (Pay-Per-Click Advertising) is where the advert appears to a user in response of the customers search keywords. This is via Google Pap Per Click Ads AdWord‘s and is highly effective to compete directly Online Video Ads with competitors on Google. This advertising model only charges you when someone clicks your ad, so the more targeted you make your marketing message, the better. • Online videos can make the service more real to users experiencing the brand and are an effective way to drive traffic to the website. The key video hosts are YouTube and Vimeo.

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• Contextual Advertising, which gives you the ability to target a specific demographic, advertising only on websites that match your customer profile to find new customers.

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• Of course Social Networking cannot be ignored as a form of online advertising. Sites such as Facebook and Twitter have opened the door to the rise of virtual ‘word of mouth’ referrals, which can be instrumental in many consumer-buying decisions. Social media requires a well thought out strategy and can act as the hub of an advertising campaign sharing news from blogs, recent news relating to the brand, updates, competitions and more. It is important here to consider legislation that will affect a brand such as Zooglies advertising to children. The Data Protection Act 1998 and Privacy and Electronic Communications (EC Directive) Regulations 2003 specifically outlines that a company “must have explicit parental consent to collect personal data from children under 12” (Check.UK, 1998). Targeting adverts to children based on there behavioural data is a grey area of the law due to the fact that some data collected and processed, particularly in the online environment, may be considered personal even in circumstances where you cannot identify a person in the real world. Practical difficulties here can arise for marketers as the age and identity of a user is often unknown, even if there behavioural data is known. Check UK state under their guidelines that third parties (e.g. advertising networks, agencies) delivering online behavioural or interest-based advertising should not create or employ ‘interest/audience’ segments with the sole purpose of targeting children under the age of 13 years (Check.UK, 1998). Additionally sites such as Facebook tackle this issue by simply not allowing users to register if they are under the age of 13. However, this should not rule out the prospect of advertising online as the housewives with children consumer segment is highly valuable in communicating brands between themselves and with their children. Additionally SEO (Search engine Optimisation) and Pay per Click Advertising simply targets users that are searching for specific keywords on Google and are not based on the collection of behavioural data. Below are a list of potential keywords Zooglies could invest in to improve their brand exposure and drive traffic to their website.

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CHILDREN’S WEAR ........................................................................................... ........................ “Children of today are digital natives and tomorrow’s key .................................................................................................................... online shoppers, hence it is vital for young fashion brands .................................................................................................................... to connect with these young tech-savvy consumers. With ................................................................................................................... almost all children now surfing the web either at home or ................................................................................................................... at school, and an increasing number using other devices ................................................................................................................... such as smartphones, the Internet becomes a platform .................................................................................................................... with enormous potential to engage with this audience. The .................................................................................................................... addition of fun, interactive elements, such as fashion- themed .................................................................................................................... challenges, specifically tailored to appeal both to pre- and .................................................................................................................... early-teens and to win the approval of parents, will help .................................................................................................................... young fashion retailers........................................................................... to start to sow the seeds of brand ........................................ loyalty from a young age.” Emma Clifford, Clothing & Fashion ........................................... ........................................................................ Analyst (Mintel’s Childrenswear, 2012) .............................................. ..................................................................... Zooglies plan to launch a clothing line in conjunction with the online gaming world. It is unusual for a virtual world to have a retail presence so early mainly due to the ability to get licensees on board at such an early stage. Zooglies however plan to manufacture and retail the clothing lines through parent company, Microbrandsone. The UK’s children’s wear market has been considerably more resilient during the economic downturn than other sectors of the clothing market, predominantly due to the frequency of children outgrowing clothes and requiring replacements within their wardrobe, this is echoed by Mintel’s finding that 55% of parents admit to having cut back on buying clothing for themselves, but not for their children (Mintel’s Childrenswear, 2012).

In 2011 the UK children’s wear market was valued at £5.7 billion and is expected to grow by 20% to £6.8 billion by 2016 (Market Line, 2012).This growth may be in some part due to the trend for mothers to have children at an older age (with the average age for women to have their first child standing at 30 in 2010) when they are more financially secure and better poised to provide for their child, which would encourage a rise in spend per capita on children’s clothing (Mintel’s Childrenswear, 2012). The key retailers in the market are largely supermarkets (led by Asda) dominating 33.5% of the overall market share, closely followed by clothing multiples (including Next) with a 26% share and value retailers (including Primark and Matalan) with a 19% share (Mintel’s Childrenswear,


“Children today are digital natives and tomorrows key online shoppers, hence it is vital for young fashion brands to connect with these young tech savvy consumers.” Emma Clifford, Clothing & Fashion Analyst (Mintel’s Childrenswear, 2012). This heavily supports the concept of Zooglies and validates the opportunities that connecting fashion

and digital will open up in terms of promoting both the clothing line and the online world. It follows a similar business model to competitor Webkins (See Appendix: Competitor Profiles), who link plush toys sold in store with an online world where you can adopt a virtual version of your toy. Webkins incorporates secret codes and offers on the plush toys to use within the virtual world in a similar way that Zooglies will to drive traffic to the site from the clothing and merchandise available in store. Business Insider have suggested that Webkins revenue is approximately $750 million a year, thus implying it is a successful business model (Business Insider, 2008).

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2012). These retailers have benefitted from the trend for consumers to trade down to less expensive stores as they adopt a more cautious approach to shopping in response to squeezed disposable incomes. Responses from both children and parents throughout the focus groups implied that price together with child’s need for the ‘cool factor’, are the two driving forces in purchasing children’s wear.


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RECOMMENDATIONS Throughout this report my key findings can be summarised into three points: Firstly care and attention must be taken in the branding of all promotional aspects of the launch campaign to invite and appeal to the consumer. Whilst Zooglies target audience is children between 5 and 11, this research report has indicated that the core audience of the brand will be children between 6 and 9 years. Zooglies must adopt innovative, interesting and creative ways to capture this audiences attention through their launch campaign playing on brand features that encourage creativity, imaginative play, social networking and escapism; all features that appeal to both genders. Secondly a continuous stream of interesting content is vital in keeping the brand fresh and keeping the user engaged. This will create a talking point around the brand, encouraging a word of mouth buzz that will in turn increase online virality and traffic to the site. A planned strategy and timeline will be integral in the launch to ensure consistent content. Finally it is essential that Zooglies create an Omni channel presence that utilises different platforms, playing to their individual strengths. The campaign must tie all of these channels together in a way that engages and excites the customer. Future licensing opportunities that may arise within the first 5years should also be explored, to see how they could impact on the Zooglies brand, bringing the online offline in an Omni-channel approach.


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...................................................................................... PESTLE OF CHILDRENS ONLINE GAMING ...................................................................................... MARKET (UK) ...................................................................................... POLITICAL • • • • •

Increased legislation on marketing to children: Most pressure is currently being directed at junk food brands. (Foster, 2013) Increased emphasis ethics and responsible action in marketing to children (Jones, 2009) Increased legislations on children’s food consumption (Ofcom, 2008) Reduced Child Benefit (Cavaglieri, 2013) The Federal Trade Commission is expected to announce Wednesday new rules that close loopholes that currently allow companies to gather information despite a 1998 law that was supposed to protect kids’ online footprint (Troianovski, 2012)

Reduced child benefits will put a strain on parent’s disposable income and may have an affect on the amount they have to spend on behalf of their children on brands such as Zooglies. Legislation against junk food advertising also must be recognised by brands such as Zooglies when they are looking at advertising partners and brands they are collaborating with.

ECONOMIC • • • • •

In 2011 the world’s population of children (0-14 year olds) was 241 million stronger than it was in 1980. 231 million of these extra children live in the Middle East and Africa, neither of which is considered a core toy markets. (EuroMonitor, 2012) On average people have a disposable income of £273 a week, according to Office for National Statistics (ONS). (BBC News, 2012) Children’s expensive spending culture (Designer brands & iPads) (Yahoo, 2011) If trends over the last half-century continue, then parents of the future will probably not be married and will likely have fewer children. (BBC News, 2011) Kids and teens have an increasing influence on what their parents purchase on their behalf and play a key role in determining what type of foods and entertainment will be purchased for the family household. (MINTEL, 2010)

Children’s growing influence in parental purchases creates big opportunities for brands such as Zooglies as it represents an audience that wants to and has the ability to spend money on their products. Expensive children’s tastes and their taste for new technologies such as smartphones demonstrates that if brands want to attract this audience their products mush be compatible with their online world.

SOCIAL-CULTURAL • • • • •

Young parents are somewhat more likely to always give in to pressure from children. Growth in children’s population Peer pressure Pester power of children Children growing older younger


• •

Change in family structures Changing families may affect the amount of disposable income the child has control over.

The role of children in the home needs close attention as children are predominantly growing up in one-parent families, which may affect their level of independence within the family unit. This may lead to more time spent unsupervised at home or more household responsibilities due to the main parent having more less time to spend with child as has to run the household alone or work longer hours.

TECHNOLOGY • • • • •

Increased use of the Internet by children- 40% of parents say they worry about the amount of time their kids spend on the Internet. (ITV News, 2012) Increased use of social websites, e.g. Facebook. Use of game websites. Increased use of mobile phones/smart phones. Moshi Monsters, the social network for children, is developing a full mobile version of the platform. (BBC News, 2012) Global growing rate in the use of internet, 2405 million worldwide users, a rise of 5% over the past 2 years to 34%(June 12) of the worlds population (Internet World Stats, 2012).

There are massive opportunities for products that incorporate new technologies. Innovation of new technologies is happening at an alarming rate however so businesses will need to invest consistently in R&D of new technology compatible products to keep up with competition.

LEGAL • European union regulations on children’s marketing (EU Audiovisual Media Services Directive): - Product placement not allowed - Children’s program may have commercials only if program is longer than 30 minutes • -Shall not directly encourage minors to persuade parents to buy product (European Commission, 2013) • In America, NARC (2007) banned advertising food high in salt, sugar, and fat during programs • Children’s online Privacy Protection Act in 1998 passed by congress in USA Every care will need to be taken to ensure Zooglies is inline with all legislation associated with providing a safe environment for children inline with UK, EU and US law.

ENVIRONMENTAL • • •

Greener world Ethical and social responsibilities of companies Recycling

As an online game this will not be a pressing issue, but there is scope to teach and encourage better environmental practices throughout the virtual world, that can translate into children’s offline lives.


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....................................... FOCUS GROUPS ........................................ PILOT INTERVIEW ............................ Adaya – Aged 7 ............................ What is favourite toy? Moshi Monster figures Do you play Moshi Monsters online? Yes

What is your favourite part of the game? I can buy stuff and decorate my room

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How long have you been playing MM for? 2 years

Do you have a membership? Once I had a membership for 6 months, I would have one again if my Mum or Dad would buy me one. It’s on my Christmas list to Santa. What was good about your membership? I could change my Moshi colour and go on missions. Once, on a mission I met Justin Bieber and went to his gig. If you could have any, what Moshi Monster toys/clothes/games/stationary would you have? I would like Moshi monster clothes; lots of my friends have Moshi Monster pants. Other than the figurines, do you have anything else made my Moshi? I have the Moshi magazine. I get that a lot. Do you know where you buy the toys? WH Smiths Other than MM, do you play any other online games? I love i-Dress-Up. I play because I love fashion, I can design clothes, decorate rooms and make your own shows. When do you get to play on the Internet? After dinner for about 20 minutes a night. Does anybody supervise you when you’re on the Internet? Not really, sometimes Dad has a look at what I am doing, but they know they are kids websites. Do you talk to people on the Internet? You can talk to Moshi’s that you are friends with; I sometimes talk to my friends. If you could invent your own game what would it be like? I would like a virtual world where I can be myself and my own decorate room!


FOCUS GROUP: CHILDREN All the groups followed a similar process where I sat the group down and explained what I was doing and why I wanted to speak to them. I explained that I was going to ask them a series of questions and they were free to ask me any questions. I went on to explain to them that it was informal and there were no right or wrong answers, I just wanted to know what the children thought. ........................................... Group #1 Participants: ............................. ............. EvaAged 5 ............................. ............. Seb-Aged 7 ............................. ............. Freddy-Aged 7 ............. ............................. HarryAged 5 ........................................... When you get new clothes who buys them for you? And do you choose what you want?

Eva “My Mum gets mine, I don’t really mind, but I like purple clothes” Freddy “My mum gets mine too, I like cool stuff but she knows what to get”

What are your favourite toys?

Eva “I love my Moshis and my Barbie house I play with them together” Freddy “Where’s Wolly is great”

Do any of you play on games on the Internet?

Freddy “Well sometimes, it’s because I am a little bit older and I don’t really go on computers anymore, I mostly just use my iPod and my tablet now.” Seb “I do all the time, my older sister gave me her old laptop, so I can play games whenever I want” Eva “I play on the Wii and my DS but I play on Moshi too.”

What games do you play on your tablets?

Freddy “I play skiman and angry birds” Harry “I like the puffle game” (Club Penguin App)

When you play on the computer, what are the best website? Eva “ I like the cBeebies website, Moshi and iDress up” Freddy “I go on Club Penguin but I don’t like the Bin Weevils one” Where do you hear about new games?

Seb “You can see them on the app store or in the shops, like WHSmiths… And on the Tele” Eva “My friends tell me about games at school sometimes.” Freddy “Adverts on CITV, Cartoonio, Nickelodeon and The Disney Channel always show them”


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Have you got any toys that are related to games you play online?

Eva “I have the MM figures and a MM teddy.” Freddy “I have a Puffle, a club penguin teddy” Seb “I cant remember what MM stuff I got, I got loads.”

Do you have memberships for any online games?

Eva “I just got a long one for Moshi Monsters for Christmas” Freddy “Mine have run out, I want another one but mum said I have to save up for it”

........................................... Group #2 Participants: ............................. ............. FloAged 11 ............................. ............. MollyAged 10 ............. ............................. EllaAged 11 ............................. ............. AmeliaAged 8 ........................................... What did you ask for, for Christmas?

Molly “I asked for a laptop or an iPad” Ella “I asked for the new Samsung phone”

What games do you play on the Computer?

Flo “I used to play Moshi Monsters and Club Penguin but I don’t really anymore” Amelia “I like Moshi Monsters”

What are the best parts of games online? Ella “I like getting to buy stuff and decorating the room.” Amelia “I like that you buy seeds, and have to get to know combinations of seeds to make pets on Moshi.” Flo “I wish they didn’t have the bits you have to pay for.” What is the best thing about paid memberships?

Amelia “You can get better seeds, do missions and buy better stuff ” Ella “You can just do more, and you feel like you can play the game properly, you get bored if you don’t have one”

Where do you find out about new games?

Ella “You can see the adverts on TV, like MM say ‘Go on now with code to get free moshi” Amelia “People talk about games at school sometimes that I don’t know of ” Flo “Adverts on Nickolodeon and Disney Channel always have really good stuff in” Molly “And there is Cartoon Network, I also watch E4 all the time aswell”

Do any of you ever get magazines for the games?


Amelia “YES! In the mag it tells you how to get more Moshling’s [for Moshi Monster] and how to get more rocks to buy stuff with. I’ve got loads of Moshi magazines.” Molly “They show you how to get stuff and hints to do stuff on the game and pass missions”

When you are on the computer, does your mum monitor you or say when you have to get off?

Flo “Not really, I have my own laptop; I’m on it all night sometimes because it’s in my room.” Amelia “Not really, I can go on for however long but sometimes I have to get off if someone else is waiting to use it.”

What other websites do you play games on?

Amelia “I like Miniclip.” Flo “Club Penguin, Moshi Monsters, Go Girls, CBBC”

When you get new clothes who buys them for you? And do you choose what you want?

Flo “My mum buy my clothes, but I have to go with her because she has no idea what I like, we usually go to Primark or New Look” Molly “Same as Flo, I am picky about what I wear, I like H&M too”

........................................... Group #3 Participants: ............................. ............. Nathan Aged 9 ............. ............................. Paddy Aged 9 ............................. ............. Harry Aged 10 ............. ............................. Owen Aged 8 ........................................... Elliot Aged 8 ........................................... Do any of you play games on the Internet?

Nathan “yes, loads!” Harry “Not really but I play my iPod” Elliot “I have a tablet I play on. And sometimes I do club penguin”

What are your favourite games online?

Nathan “It has to be a million percept Roblox, you can make friends with people and you can see what game their playing and go on their game, but has to be one that not a lot of people are playing because of the servers. I play Club Penguin and Moshi Monsters too.” Paddy “Roblox is my favourite, Moshi Monsters is for babies!” Elliot “I like playing on Miniclip”

What other websites do you like?

Elliot “ I like YouTube I always use that” (Lots of talk between the boys about YouTube videos) Paddy “I like the Lego website there are games on that, I used to play Lego Universe” Nathan “I go on Miniclip”


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Does your mum check how long you are on the Internet?

Paddy “I can go on for about an hour I think, but sometimes they don’t even check”

Have you had memberships?

Nathan “On Roblox I had one, You can change your body, make your own games on Roblox Studio, I had one on Moshi Monsters too, get to be a superhero and do missions”

When you get new clothes who buys them for you? And do you choose what you want?

Paddy “My mum get mine, but I choose, I don’t wear stuff I don’t like” Nathan “Sometimes I get stuff I hate, I would never wear so my mum has to take it back, they’re like babies stuff ”

Have you ever had an experience where you got free stuff or been involved in activities in a shopping centre?

Paddy “I have at when the Olympics were on I got free Coke by a cool man from Coke, It was really good, he let me hold the Olympic torch and took pictures of me with it, then I was given a VIP Coke card with a code and I could go to the website to get the pictures later” IMAGE 73


FOCUS GROUP: PARENTS ......................................................... Paddy – 1......................................... boy (9), 2 girls (15,17) ............... Kerry – 1 Girl (5), 1 Boy (7) . .......................................... ............. Amerie – 1 Boy (9), 1 Girl (15) ............................. ............................ Mel – 1 Boy (10), 1 Girl (11) ............................ ............................. Claire – 1 Boy (8), 1 Girl (11) ............................ ............................. Bart – 2 Boys (7,5), 1 Girl (8) ............................ ............................. Do you think TV Advertising or friends has a bigger influence on what your child wants? Kerry “I think my daughter (5) is more influenced by the TV and my son (7) by friends.” Claire “I find my son (8) is influenced by friends” Mel “Yeah that’s my son (10). I think the older kids; make up their minds by being influenced by their friends.” Paddy “I find my sons are influence by their friends more when they are in Primary School than my daughters were (15, 17), the girls are influenced more now they are is in Secondary School” Bart “If there is an advert for something on Nickelodeon or The Disney Channel, its safe to say my kids (5,7,8) want it!” Do your children ‘pester’ you for products straight after a TV ad has been on, or do they tend to refer to it later?

Kerry “Generally for toys, it’s after they have seen the advertisement, with regards to food, (10 year old) they may remind you when you are going shopping.” (5,7) Mel “Yeah, don’t forget to get that box of Rice Krispies, the one with the gift!” (10) Claire “If they’re not going shopping with you, they’ll remind you ‘don’t forget to get me….” (8) Paddy “I remember last week, there was one particular magazine and my son (9) saw the ad, when the ad finished, my son said, “Dad, that’s a really nice magazine”. Then we went shopping this week and the first thing he said, “Dad, can we get that magazine?”

If you say ‘no’ to buying something, does your child’s behaviour deteriorate? If so, how? Kerry “I want that”. “Will you get me that?” Mel “Will you bring me home a surprise because I ate all my dinner this week.” Amerie “Saying no is not enough; you have to give them an explanation as to why you are saying no, I end up just saying I haven’t got any money.” Claire “Mine are sweet talkers until it’s a definite no then they walk around with a grumpy head on!” Kerry “Have you seen a child create a scandal in a supermarket and everybody’s looking at them? They’re mine” Paddy “I saw one boy in the fountain in a shopping centre, he jumped in. He wanted to buy something and his mother wouldn’t give in, so he jumped straight in!” How do you feel about your child playing Games on the Internet where they can interact with other people? Claire “I hope my kids would know what to do if something didn’t seem okay, I have spoken about talking to people they don’t know but really I am not monitoring them so it can be worrying.” Kerry “It scares me, how much I don’t know, it always looks okay but you hear horrible stuff.”


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Bart “I have safety settings on the computer, but I don’t really know how reliable they are, like on club penguin forums, I know some of those sites aren’t checked, I trust the big ones but it’s the fan sites that concern me.” Amerie “It’s my lack of knowledge that worries me most, I really don’t know what my kids are doing on the Internet most of the time, because I just don’t understand these children’s sites.”

When do your children play on games online, and is there a time limit to play? Paddy “Mine are on straight after school, they set up the laptop in front of the Tele and they are done! I stop them for dinner and they aren’t allowed on after dinner” Amerie “I have a timer so they are allowed half an hour each a day, that’s it. But I am more lenient at the weekend” Kerry “They have a laptop they share, and its kind of up to them how much they play, the only time I set limits is when there is an argument about who goes next, it is usually after school they go on.” Mel “Sometimes mine play before school and sometimes for a little bit in the evening, I don’t really limit them but tell them to get off if it seems like they have been sat there for ages, usually they are bored before it comes to that.” Bart “Mine are allowed 2 hours of TV and the computer a day, that’s the rule, but they are always on for longer and get away with it” What are the considerations when you buy clothes for your children?

Amerie “My son (9) is a nightmare! It has to be cool like something Bruno Mars would wear or one of the One Direction boys” Claire “Mine are like Amerie’s, I have to find something cool but at the same time make sure I am not spending a fortune- I love H&M for that.” Mel “As long as stuff isn’t babyish, its ok. Mostly I go to Primark and Next and places like that, there is no point getting expensive stuff when they grow out of it so quickly. But I do get some bits from Zara or Diesel jeans because for them for Christmas or if its an occasion.”


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...................................................... COMPETITOR PROFILES ...................................................... NEOPETS Neopets is a VW where users can adopt and take care of a virtual pet. Pets can be cute and cuddly non-threatening animated animals or obscure-looking aliens and monsters. USP: Price: Free Limited account or £4.50 monthly membership that enables more pets, double neopoint earning potential, super search, weekly scratch cards, no ads and monthly neopoint allowance. IMAGE 74

Target Age: 6-16 ................................................. Virtual Words.......................... Kids Ratings ....................... Graphics 3* ................ ................................. Education 4* ......... ........................................ 4.5* ..Entertainment ............................................... Features: − Neopets is set in the fantasy world of Neopia, which has its own time zone, calendar and currency called the Neopoint. − Members will soon discover that making money is the main focus of the game, which is why the world has its own stock market. New members of Neopets adopt a virtual pet to begin the game. − Users take care of their pets by solving puzzles and playing games. − Games allow players to earn Neopoints. In order to properly care for their pets, players buy them food, clothing, shelter and household items. − If a player doesn’t properly take care of their pet falls ill. − Members are able to interact with their pets; play games; send their pets on missions; or train them to battle other pets − Members are able to interact with their pets; play games; send their pets on missions; or train them to battle other pets

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Point of Difference: Neopets has been around since 1999, giving the site plenty of time to perfect and evolve what they do. This shines through the mass of games and in game activities on offer for the user. Safety: − Neopets has done an above-average job of promoting online safety. − Although the site collects personal data, it discourages unacceptable behaviour and silences those users who have IMAGE 76


− −

broken the terms and conditions of membership Moderators known as The Neopets Team (TNT) are active and plentiful on the website, forums and chat. The site requires the parents of children age 13 and under who wish to participate in forums to fax in a signed consent form.

Positives: − Members are able to interact with their pets; play games; send their pets on missions; or train them to battle other pets − Innocent looking site with no adult content − Neopets offers children the opportunity to care for and nurture a virtual pet. Children will learn the basics of what it takes to be responsible – not only with a pet, but with money. − Younger players will like the pets; older players will like playing with financial rewards.

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Negatives: − Neopets is a very busy website. There is always something moving, blinking, fading, popping or zooming. This is very distracting. Although the advertisements have something to do with this, most of the fault lies with how the website is programmed. − Neopets features an abundance of advertising which accounts for a lot of the revenue, it is clear that a marketing expert was in on the design of this website. − Shows that the value of money is more important than a social conscious. − Lots of merchandise that children could be swayed into buying on the website’s shopping mall. Marketing: − The company doesn’t advertise, but relies instead on word of mouth to increase its audience. − Social media such as the log in with Facebook option will share it on a users facebook stream.

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Founded: launched in November 1999 by an independent web designer and a marketing specialist. Viacom currently owns the website in association with Nickelodeon. CEO Says: “When we started in April 2000... it was still possible to spend your way to success with advertising. We felt if the site experience isn’t engaging enough to draw people, then the problem is with the interface.” (Rodgers, 2004) ............................................................................................................................ WEBKINS Webkins is a VW where the members can adopt and take care of a virtual pet that resembles stuffed toys. IMAGE 79


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USP: It is based on a real plush toy that comes with a code to adopt a virtual version online. It is a highly effective strategy of connecting an online service to an offline product. Price: Very limited free account. The price to buy the toy is the only requirement for membership. Target Age: 6-12 ................................................. Virtual Words.......................... Kids Ratings ....................... Graphics 2.5* ................ ................................. Education 3* ......... ........................................ Entertainment 1.5* .. ............................................... Features: − Enter the Secret Code found on the plush toy − The member earns KinzCash (the website’s currency) by adopting their pet, successfully completing online games and answering skill-testing questions. − Acquiring things for their pet is the main focus of the game − To properly care for their pets, players buy them food, clothing, shelter and household items. − Members can interact with other members in a social chat room, make friends with other owners, send friends ‘gifts’, invite friends over to play board games and host a party with other Webkinz. − Members can buy secret codes to unlock accessories for the virtual pet (clothing, KinzCash, new rooms, home accessories, etc).

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Point of Difference: There are no membership fees Safety: − KinzChat (pre-constructed words and phrases) and KinzChat Plus (members type in their own words and phrases which are filtered through the Webkinz dictionary). − Parents must grant access to KinzChat Plus.

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Positives: − Innocent-looking website that will appeal mainly to children age 10 and under who are interested in making friends and still have an interest in plush toys. − There are absolutely no adult themes in the game or on the website. − Offers children the opportunity to care for and nurture a virtual pet. − Children will learn the basics of what it takes to be responsible not only with a pet, but with money. IMAGE 82


Negatives: − The high level of advertising on Webkinz is cause for a lot of concern. Parents can turn of adds for 30 days at a time. − Parents are encourages buying all the accessories for the plush toy that will allow the child to purchase the accessories for their virtual plush toy, this is likely to annoy parents as there is no end to being asked for more things. Marketing: − Push toys sold in high-street toy stores − TV adverts and magazine ads simultaneously advertise the real toys and online world. − Social media such as the Webkinz Day Twitter Party Founded: April 2005 by Canadian plush animal company Ganz.

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CEO Says: “We try to focus on what the child is doing, not what they are saying. You can really learn a lot from the actions a child is taking, or more often not taking.”(360kid, 2012) ............................................................................................................................ POPTONICA Poptropica is an educational game for kids, it exists in an educational format where children play games, travel and communicate with each other only at a safe level. USP: Poptropica stands apart from competitors by focusing on “storytelling with a gaming literacy”, it is a game that gives educational aspects priority whilst still appealing to the target market. Price: Limited free access or monthly membership for £2.50 gives early access to new islands, extra customisation of character, can save looks in a wardrobe to wear again and ability to buy invisibility cloaks or special powers

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Target Age: 6-15 ................................................. Virtual Words.......................... Kids Ratings ....................... Graphics 4* ................ ................................. Education 5* ......... ........................................ Entertainment 4.5* .. ............................................... Features: − New members create and customize an avatar to use as their virtual personality. − Players begin to interact with one another through pre-scripted chat in multi-player rooms − Players acquire items for their avatar by visiting the Poptropica IMAGE 85


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store. − Items are visual (costumes) or special powers (allowing the avatar to become smaller). − Focus is to travel through islands that are released throughout the year − Mini-adventures that follow a plot, involve players solving puzzles, riddles and clues from past historical events that are educational in some manner. Point of Difference: Many Islands are only around for a limited amount of time, meaning that content is continuously changing and evolving. Safety: − There is no online chat. When a virtual world says it moderates chat, they are never able to catch all the inappropriate behaviour. Poptropica eliminates this. − The safety policy is prominently displayed and written plainly.

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Positives: − Poptropica is an educational website that will appeal mainly to children from age 7 to 15 − The absence of graphic violence and non-safe chat appeals to parents − The educational component uses humour, light-heartedness and a sophisticated but understandable plot. Negatives: − Commercial factors of acquiring merchandise for their avatars and toys outside the game may be an issue. Marketing: − Merchandise in store − Books and Annuals − Comic Book − TV ads − Social networking sites − Press Releases

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Founded: launched in September 2011 by the Family Education Network. CEO Says: “The minute it smells like school, it’s not going to work. This is a consumer brand.” ............................................................................................................................ BIN WEEVILS Bin Weevils the bug themed virtual world for kids USP: Caters for a wide variety of different ages due to its eclectic IMAGE 88


selection of games and missions that vary is difficulty. Price: Free limited Access or £4.95 per month for exclusive rewards, tycoon status, VIP party invites, a monthly dosh allowance, create a business, expand garden and work on missions for the Secret Weevil Service. Target Age: 7 to 13 ................................................. Virtual Words.......................... Kids Ratings ....................... Graphics 4.5* ................ ................................. Education 4* ......... ........................................ Entertainment 5* .. ............................................... Features: − Create and customize a cartoon insect similar to a boll weevil to use as their virtual personality. − Character enters the virtual world known as the ‘bin’ and begins to have adventures by playing online games, solving puzzles and meeting other weevils. − Successfully completed games, allow user to advance to the next level. − Levels are increasingly difficult, but the more levels a weevil successfully completes, the greater amount of ‘mulch’ (the website’s online currency) they can accumulate to upgrade their membership. − Bin Weevils need to be taken care of. Keeping it fit, fed and happy by exercising it, feeding it and buying it accessories allows the weevil to move faster. − Members are able to safely chat with other members using pre-selected words and phrases Point of Difference: Content deals with Nickelodeon and Cartoon Network have allowed BinWeevils to create an integrated video on demand service directly from the site- advertising of this on Nickelodeon and Cartoon Network are major marketing tools.

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Safety: − Online chat is limited to pre-selected phrases and filtered language, the worst part of online safety that worries most parents has been scaled back significantly. − Bin Weevil’s safety message is displayed prominently, concisely worded and strongly enforced. − All communications are filtered and moderators are watching the site twenty-four hours a day. − Time bans and expulsions are applied to users that do not conform to the game rules Positives: IMAGE 91


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− Children from 6 to 13 will find Bin Weevils entertaining and fun to play. − The main reason behind this wide appeal is the design of the website. − The game has elements for all ages with difficulty levels that correspond with a users ability level. − There are no adult themes in the games or on the website. − Games are predominantly logic bases − Strictly moderated; language is not only pre-selected, but pre- screened; and bad behavior is disciplined. Negatives: − There is a big reliance on buying things to make people happy. − Heavy sponsorship influence Marketing: − Membership cards being sold at variety of high-street/local retailers − Strong retail presence with physical product − Magazine − Books & Annuals

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Founded: in 2010 by Bin Weevils Inc., based out of the United Kingdom. CEO Says: “At the end of the day, in terms of engaging with a kids audience, it’s still strong creative and character development that counts; content is king.” ............................................................................................................................ MOSHI MONSTERS Moshi Monsters is a VW where players can adopt and take care of a virtual pet.

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USP: It includes some games that are well constructed, quick, and fun enough to disguise the fact that kids are actually learning. Price: Free limited Access or £4.95 per month for personal Moshi passport and access to all areas, more friends, more quests as a super Moshi, submit artwork, more options to customise Moshi and home and more. Target Age: 7-12 ................................................. Virtual Words.......................... Kids Ratings ....................... Graphics ................ 3* ................................. Education 4* ......... ........................................ Entertainment 3* .. ............................................... IMAGE 94


Features: − Pets appear in the form of cute and cuddly non-threatening monsters – much like cuddly stuffed animals. − The site also offers games to play, a chat room and branded merchandise. − Puzzles allow players to earn rewards call ‘Rox’. − ‘Rox’ is currency that players use to purchase things for their monster. − In order to properly care for their monster, players buy them food, clothing, shelter and household items − Players can sell items they own to earn more ROX

Point of Difference: The job of a child in this game is to take up a monster and tend to his needs. Safety: − All chat is moderated and heavily vetted − There is a large and prominent button featured on the home page for parents. − Moshi Monsters offers a comprehensive safety message aimed at parents. − It encourages an open discussion with children about their online activity − Child’s picture or personal information is never displayed online. Positives: − Moshi Monsters is a subdued website that will appeal mainly to girls 10 and under who are interested in nurturing and making friends. − Most of the monsters are non-threatening − There are absolutely no adult themes in the game or on the website − Offers children the opportunity to care for and nurture a virtual pet.

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Negatives: − Forums and chat pages where members post messages may mildly offend some younger members − Privacy may be an issue for some parents, as the site collects the birth date, gender and country of origin of the player and the email address of the parent. − Parents may be concerned with the high level of merchandising; the marketing strategy targets members to browse and purchase goods from the online store. − This website is mainly an entertainment portal and marketing tool for the company’s related products. Marketing: − Social media channels such as facebook and twitter − Press releases on mummy blogs IMAGE 97


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Youtube viral channel Strong branding on array of merchandise TV campaign Popular magazine Branded sweets

Founded: April 2008 by the British media company Mind Candy. CEO Says: With Moshi Monsters, we aimed to design a unique, sleek, humorous but most importantly fun and social brand experience. ............................................................................................................................ CLUB PENGUIN Club Penguin is massively multi-player online role-playing game (MMORPG) with a typical Disney look and feel that was launched in October 2005.

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USP: A safe to use, fully moderated, advanced chat room and new friends list makes Club Penguin’s chat safer and the friend experience more socially meaningful. Price: Limited free access or paid membership for £4.95 per month gives access to member only areas, exclusive gifts, more customisation, pets and secret agent missions. Target Age: 6-14 ................................................. Virtual Words.......................... Kids Ratings ....................... Graphics 4* ................ ................................. Education 4* ......... ........................................ Entertainment 4* .. ...............................................

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Features: − A winter virtual world where children choose an avatar in the form of a cartoon penguin to be their online personality − Home for their penguin is an igloo that users can decorate − Players can also own pets called Puffles. If not taken care of, they run away and must be replaced. − Club Penguin Times is a virtual newspaper where players can submit writing, art and jokes. − Players arrive in ‘The Town’, which host’s typical stores found in any town. − Themed parties such as Christmas or Halloween happen once a month and are available to members only. − Players need to earn coins by playing games; coins buy their avatars food, clothing, shelter and household items. − Members can chat about their penguins with other members in a chat room and make friends with other players. IMAGE 100


Members can go on a series of secret agent missions and level up after each mission gaining coins, items and experience.

Point of Difference: The Coins for Change program is an online charity where players donate their ‘coins’ for various real-world charitable causes. Safety: − Ultimate Safe Chat allows only pre-scripted phrases. − Standard Safe Chat blocks all profanity and inappropriate behaviour even if users try to get around the filters. − Words not previously approved go into a queue for review before they are posted. − Moderators are plentiful

Positives: − Innocent website that will appeal mainly to children well below age 10 who are interested in friendship with other children and simple games. − There are no adult themes in the virtual world or on the website. − The games use maths and reading to enhance a child’s basic skills. − Very comprehensive chat system is able to remain very safe.

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Negatives: − Age range that Club Penguin is going for seems to be a bit out of touch with the graphics. − Parents may find an increased level of consumerism, as players that move through the game will learn how to acquire things for their avatar and their home. Marketing: − The game was posted on Miniclip and experienced explosive growth. − Magazine − Club penguin TV on Youtube − TV show on Disney 365 − Strong retail presence

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Founded: October 2005 CEO Says: We think kids are pretty awesome. And we believe that every child should have a safe place to play. So everything we do stem’s from our values and commitment to safe and fun online play. ............................................................................................................................ SPACE HEROES UNIVERSE Space Heroes Universe is a virtual world for kids and families and is the IMAGE 103


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flagship game project of Bubble Gum Interactive. USP: Set in space, children are on a path to inspire kids to be the best heroes they can be. Price: Limited free access. £4.50 monthly membership offering access all areas, monetary bonus, extra customisation, more quests, pet adoption and more. Target Age: 8-10 ................................................. Virtual Words.......................... Kids Ratings ....................... Graphics ................ 4.5* ................................. Education 3.5* ......... ........................................ Entertainment 3.5* .. ............................................... Features: − Players team up with their friends to search for clues about the missing Glows and the hiding place of the dastardly Lord Shadowbot − First task is to become a master at using their Jet Pack, Bubble Blaster and Star Jet − Engaging storyline packed with quests, missions and discoveries. − Children can customise their character, adopt a virtual pet glow and decorate their homes − Basic free version very limited in how far you can develop within the game and areas you can access − Unique feature of the virtual world lies in the different navigational skills needed to explore the various locations; users can travel by walking, flying around on jet pack, blaster and jet − Gems can also be collected throughout the virtual world, which encourages players to explore the vast locations. Point of Difference:The game is available in various languages – including English, French, German, Spanish, Portuguese, Dutch, Italian, Polish, Indonesian, Vietnamese, Hindi, Mandarin and Japanese.

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Safety: − Recieved certifications and safety ratings from online rating websites and watch groups like FamilyFriendlyVideoGames. com, PEGI (Pan European Game Information) and ESRB (Entertainment Software Rating Board). − The open chat system blocks improvised words, numbers, email addresses, rude language and even some common words that might potentially be “abused” to form rude sentences. Positives: − Passionate about story telling and want to give kids a place where their imaginations can flourish. − Combines a lot of key features found in other earlier virtual IMAGE 106


− − − − − −

worlds like Club Penguin, Wiglington and Wenks and Chobots while maintaining a very strong identity Number of locations is simply impressive and is definitely one of its top features. Graphics are all animated making the game more exciting Parents can only activate the open chat feature. Otherwise, canned chat option is available. Open chat is highly moderated and does not allow for fake/ swear words. Pop Ups in the VW explain basic science concepts like friction and energy in simple ways that are illustrative to young kids. Gem collecting came during loading screen stops children getting bored when the VW is loading.

Negatives: − Simple characters that may be too cute for kids. − There is room for more in world games. − There is little to no easy instructions. Marketing: − One of the fastest growing VW’s and is on pace to deliver faster subscriber growth than both Moshi Monsters and Club Penguin with an expected 4 million users by the end of 2012, its first full year. − Preview games before launch, free downloads of craft related PDFs Inc. colouring sheers, masks, bookmarks and more. − Feature on ABC Spawn Point focused on the game design process. − Entered lots of competitions Inc. Pixel Awards, National Parenting Publication Awards, Parents Choice − Youtube Teaser Trailer − Press features − Competitions to win memberships on ‘mummy blogs’ − Focus is to develop mobile games and animated cartoons − Hopes to create a franchise experience, which develops characters and their stories into, merchandise.

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Founded: December 2011 CEO Says: “Space Heroes Universe is all about adventure, discovery and friendship. Children are encouraged to work together as they go on quests, play mini-games and solve mysteries. Learning the art of team-play and sharing, socialising and communicating are cornerstone elements of Space Heroes Universe.” Phil Mason, CEO. ............................................................................................................................ TINKATOLLI Tinkatolli is a creative virtual world for kids designed to encourage and reward creativity. IMAGE 109


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USP: Unique proposition in the face of most other virtual worlds that promote fun or education Price: £4 a month membership gives access to all Tinka features, Access to more locations, free items, monetary allowance, unlimited scrapbook entries. Target Age: 7-14 ................................................. Virtual Words.......................... Kids Ratings ....................... Graphics ................ 5* ................................. Education 3.5* ......... ........................................ Entertainment 3.5* .. ............................................... Features: − Design your very own ‘Tinka’ with many customising tools − Polished game engine and graphic − Instructions and tips pop out intuitively − Everything on screen is interactive − Graphics are colourful, fun and edgy − When you are running low on energy, Tinka’s need to be fed berries − Quests involving task fulfilments or problem-solving are rewarded − Rewards include powers, items and the discovery of new locations such as ‘teleporter’ − Players can level up once they have collected enough experience − Experience earned playing game online and via being creating offline − Offline creativity rewarded with experience when a picture is uploaded to scrapbook − Players can create items for their homes by collecting raw materials and building in virtual workshops. DIY tutorials dotted around the island assist children in this process.

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Point of Difference: Tinkatolli is the first VW for children actively encouraging children to leave their computers to make, think, move and give. Offline creativity is rewarded after children write about what they have done or after they have uploaded a photo or a video to their online scrapbook. Safety: − Undercover moderators who are always hovering nearby to take care of the kids. − Two levels of chat – the open chat and the emoticon-only chat − To make the open chat safe, Tinkatolli is using Webpurify – a profanity filtering system, which detects when kids swear and gives them a gentle warning not to do it again. Other users will not see their friend swear. IMAGE 112


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Report button that allows kids to report offensive players Ignore button allows user to wipe an undesirable character off their screen for good.

Positives: − Encourages children to leave their computers and be creative offline − Where Tinkatolli lack in quantity, they make up for in quality − Promotes creativity − Encourages children to build things for themselves rather than pay for products − DIY tutorials are educational as well as fun and entertaining Negatives: − With 11 games in Tinkatolli, it’s a little short on quantity in comparison to the other virtual worlds − Lacks a ‘canned chat’ feature − Confusing to know where you are in the virtual world exactly- Map with location pointer would be useful − Educational or environmental messages accompanying games would encourage the children to learn whilst playing

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Marketing: − Minimum budget has meant primarily only free marketing via Facebook and Twitter was possible. − Free TinkaMaker iPad/iPod app helped spread awareness − Featured on BBC’s ‘Click’ Founded: 2010 CEO Say’s: ‘creativity as the No. 1 leadership competency of the future’ IMAGE 114

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IMAGE 1. !Spot!Kids!Speech!(n.d.)!Children.![image!online]!Available!at:! http://spotkidsspeech.com/yahoo_site_admin/assets/images/istock_gro up_of_children.211164747.jpg![Accessed:!20!Jan!2013].! IMAGE 2. Collection!of!own!images!taken!during!focus!groups!(4th!January! 2013)! IMAGE 3. Unknown.!(n.p.)!Children)in)face)masks.![image!online]!Available!at:! http://www.evasionsante.com/wpNcontent/uploads/2011/04/enfantsN masque.jpg![Accessed:!20!Jan!2013].! IMAGE 4. Unknown.!(n.d.)!Tweens.![image!online]!Available!at:! http://1.bp.blogspot.com/NPo69N WoNHpo/UCXTTsIVV3I/AAAAAAAAAAw/N 1IX6DMshAk/s1600/tweens.jpg![Accessed:!20!Jan!2013].! IMAGE 5. Unknown.!(n.p.)!Boys)vs)Girls.![image!online]!Available!at:! http://api.ning.com/files/N tz*WeY80Jb6IR*hguNSgCEKLJFs3UKAeaNjW6H60nUBnFSwyemgVIgUlO hL8vS*fsjN 8mo9rXzI78VKwhPQy45Hl1A24IdB/boysvsgirls1.jpg?width=450.! IMAGE 6. Unknown.!(n.p.)!Freed).![image!online]!Available!at:! http://www.espplay.co.uk/wpNcontent/uploads/2011/03/FREEDN 03.png![Accessed:!20!Jan!2013].! IMAGE 7. Unknown.!(n.p.)!Kids)Playground.![image!online]!Available!at:! http://faithacademyhomedaycare.homestead.com/phKidsPlayground.jpg! [Accessed:!20!Jan!2013].! IMAGE 8. Unknown.!(n.p.)!St)Mary's)Playground.![image!online]!Available!at:! http://stmarys.mgfl.net/wpNcontent/uploads/2011/05/DSCN56171.jpg! [Accessed:!20!Jan!2013].! IMAGE 9. Unknown.!(n.p.)!Pet)Rock.![image!online]!Available!at:! http://www.thepetrock.20m.com/images/yourock.jpg![Accessed:!20!Jan! 2013].! IMAGE 10. !Unknown.!(n.p.)!Bracelets.![image!online]!Available!at:! http://rohitbhargava.com/images/old/6a00d8341c4f1253ef0133ef5df0 ed970bNpi.jpg![Accessed:!20!Jan!2013].! IMAGE 11. !Unknown.!(n.p.)!Furby.![image!online]!Available!at:! http://thestylishnest.com/wpNcontent/uploads/2012/09/IMG_2770N 1024x1024.jpg![Accessed:!20!Jan!2013].! IMAGE 12. Unknown.!(2013)!Angry)Birds.![image!online]!Available!at:! http://images3.wikia.nocookie.net/__cb20120622150126/angrybirds/im ages/7/7f/Loading_screen.png![Accessed:!20!Jan!2013].! IMAGE 13. !Unknown.!(n.p.)!Angry)Birds)Rio.![image!online]!Available!at:! http://www.wired.com/images_blogs/gadgetlab/2011/01/ABNRio_NKeyN Art.jpg![Accessed:!20!Jan!2013].! IMAGE 14. !Unknown.!(n.p.)!Angry)Birds)Heikki.![image!online]!Available!at:! http://images5.fanpop.com/image/photos/31900000/AngryNBirdsN HeikkiNangryNbirdsN31914412N1920N1080.jpg![Accessed:!20!Jan!2013].! IMAGE 15. !Unknown.!(n.p.)!Child)with)shopping)bags.![image!online]!Available! at:!http://www.allNwallpapers.net/wpNcontent/uploads/2013/01/ChildN ShoppingNBagsNHappiness.jpg![Accessed:!20!Jan!2013].!


IMAGE 16. !Unknown.!(n.p.)!Kid)Playing)iPad.![image!online]!Available!at:! http://www.psfk.com/wpNcontent/uploads/2010/12/kidNplayingN ipad.jpg![Accessed:!20!Jan!2013].! IMAGE 17. !Unknown.!(n.p.)!Wii)U)Launch.![image!online]!Available!at:! http://cdn.cnet.com.au/story_media/339342632/wiiNuNlaunch_1.jpg! [Accessed:!20!Jan!2013].! IMAGE 18. !Unknown.!(n.p.)!Second)Screen.![image!online]!Available!at:! http://images.smh.com.au/2012/12/04/3862022/artNSecondNscreenN 620x349.jpg![Accessed:!20!Jan!2013].! IMAGE 19. !http://3.bp.blogspot.com/N 5b9xJqJLdDw/T81zAIrN71I/AAAAAAAAAyM/6eWok_l9_WQ/s1600/570 9857490_31a5f922c3.jpg! http://images.smh.com.au/2012/12/04/3862022/artNSecondNscreenN 620x349.jpg![Accessed:!20!Jan!2013].! IMAGE 20. !MDG!Advertising!(2012)!Kid)Tech)According)to)Apple) [Infographic].![image!online]!Available!at:! http://www.mdgadvertising.com/blog/kidNtechNaccordingNtoNappleN infographic/![Accessed:!20!Jan!2013].! IMAGE 21. !Unknown.!(n.p.)!Digital)Kids.![image!online]!Available!at:! http://www.causata.com/sites/default/files/images/digitalNdeliverN kids%20copy.jpg![Accessed:!20!Jan!2013].! IMAGE 22. !Unknown.!(2013)!iPads)in)Education.![image!online]!Available!at:! http://3.bp.blogspot.com/N Wx1f5N9lgz8/UGPPvDrTOlI/AAAAAAAAASE/UVK9CZi8gMc/s1600/JTEd it_iPadEducation_EditorialOnly_iStock_19262213.jpg![Accessed:!20!Jan! 2013].! IMAGE 23. !Unknown.!(n.p.)!Brand)Baby.![image!online]!Available!at:! http://25.media.tumblr.com/tumblr_mbwha4USat1qe31lco4_r1_1280.jp g![Accessed:!20!Jan!2013].! IMAGE 24. !Unknown.!(n.p.)!Pester)Power.![image!online]!Available!at:! http://netasbitsandpieces.blogspot.co.uk/2010/05/chilrensNpowerN pesterNpower.html![Accessed:!20!Jan!2013].! IMAGE 25. !Unknown.!(n.p.)!Safety.![image!online]!Available!at:! http://sphotosNa.xx.fbcdn.net/hphotosN ash4/392799_325823980839384_1856987993_n.jpg![Accessed:!20!Jan! 2013].! IMAGE 26. !Unknown.!(n.p.)!Bubble)Bread)101's)Moshi)Monster)drawing.! [image!online]!Available!at:! http://moshimonsters2009fire15.files.wordpress.com/2011/05/bubbleb read101.jpg![Accessed:!20!Jan!2013].! IMAGE 27. !Unknown.!(2013)!Children's)virtual)world.![image!online]! Available!at:!http://tbivision.com/wpN content/uploads/2012/10/club.jpg![Accessed:!20!Jan!2013].! IMAGE 28. !Unknown.!(2013)!Girl)with)iPad.![image!online]!Available!at:! http://4.bp.blogspot.com/N eUFSUOG8juM/T4xDrgciSSI/AAAAAAAAQNo/oQlrLJ8KqGY/s1600/1249 +SeriousNGames.jpg![Accessed:!20!Jan!2013].! IMAGE 29. !Unknown.!(n.p.)!Moshi)Monsters.![image!online]!Available!at:! http://4.bp.blogspot.com/NJopxsEDo5rU/Tjrqh8SVijI/AAAAAAAACb8/nN


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1lNCXrlEI/s1600/Moshi+N+millionsofmonsters.jpg![Accessed:!20!Jan! 2013].! IMAGE 30. !Unknown.!(n.p.)!BinWeevils.![image!online]!Available!at:! http://blog.binweevils.com/wpN content/uploads/2010/07/wallpaper01_1024x768.jpg![Accessed:!20!Jan! 2013].! IMAGE 31. !Unknown.!(n.p.)!Club)Penguin)O)Miniclip.![image!online]!Available! at:!http://www.alexa.com/siteinfo/clubpenguin.cc![Accessed:!20!Jan! 2013].! IMAGE 32. !Unknown.!(n.p.)!Club)Penguin).![image!online]!Available!at:! http://stuffpoint.com/clubNpenguin/image/54403NclubNpenguinN penguinNheroes.jpg![Accessed:!20!Jan!2013].! IMAGE 33. !Unknown.!(2013)!Club)Penguin)Puzzle.![image!online]!Available!at:! http://1.bp.blogspot.com/N UKl5E_bYarQ/UE27_CjsFtI/AAAAAAAAET0/BqOX9M0CNy8/s1600/club +penguin+detail+jigsaw.jpg![Accessed:!20!Jan!2013].! IMAGE 34. !Unknown.!(n.p.)!Children.![image!online]!Available!at:! http://www.mercysuper.com.au/media/14512/istock_000007500043lar ge.jpg![Accessed:!20!Jan!2013].! IMAGE 35. !Unknown.!(n.p.)!Children.![image!online]!Available!at:! http://www.mercysuper.com.au/media/14512/istock_000007500043lar ge.jpg![Accessed:!20!Jan!2013].! IMAGE 36. !!Unknown.!(n.p.)!Pizza)Art)App.![image!online]!Available!at:! http://p.twimg.com/AsodhLvCEAAWaXs.jpg:large![Accessed:!20!Jan! 2013].! IMAGE 37. Unknown.!(n.p.)!Moshi)Monsters.![image!online]!Available!at:! http://www.maynardmalone.com/uploads/media/default/0001/01/thu mb_147_default_big.jpeg![Accessed:!20!Jan!2013].! IMAGE 38. Unknown.!(n.p.)!Pizza)Express)Logo.![image!online]!Available!at:! http://www.brandopus.com/media/case_studies/Pizza_Express_identity _RGB_NEWBLOG.jpg![Accessed:!20!Jan!2013].! IMAGE 39. !Unknown.!(n.p.)!Moshi)Monsters)Pizza.![image!online]!Available!at:! http://www.pizzaexpressnews.com/wpN content/uploads/2012/08/SquiffNglump.jpg![Accessed:!20!Jan!2013].! IMAGE 40. !Unknown.!(n.p.)!Moshi)Monsters)Pizza)Template.![image!online]! Available!at:! http://www.pizzaexpress.com/assets/pdf/Moshi_monster_templates_Po ppet.pdf![Accessed:!20!Jan!2013].! IMAGE 41. !Unknown.!(n.p.)!Coke)Olympics.![image!online]!Available!at:! http://2.bp.blogspot.com/NH6im_TrCuZM/T_sCRN ghBYI/AAAAAAAAAyY/3URvTjXeo6A/s1600/Olympic+torch+etc+005.JP G![Accessed:!20!Jan!2013].! IMAGE 42. !Unknown.!(n.p.)!Nickelodeon)Roadshow.![image!online]!Available! at:http://www.utalkmarketing.com/UTMImages/11905/28082009_115 24!6_Lakeside%20Dora%20Queue%204%20010809.JPG![Accessed:!20! Jan!2013].! IMAGE 43. !ID!Experiential!(n.p.)!Nickelodeon)Roadshow.![image!online]! Available!at:!


http://www.idexperiential.co.uk/caseStudy/Nickelodeon/images/Nick4.j pg![Accessed:!20!Jan!2013].! IMAGE 44. !TRO!Group!(n.p.)!Ribena)Pick)Your)Own.![image!online]!Available! at:!http://www.troNgroup.com.au/portfolio/ribenaNpickNyourNown! [Accessed:!20!Jan!2013].! IMAGE 45. TRO!Group!(n.p.)!Ribena)Pick)Your)Own.![image!online]!Available! at:!http://www.troNgroup.com.au/portfolio/ribenaNpickNyourNown! [Accessed:!20!Jan!2013].! IMAGE 46. !TRO!Group!(n.p.)!Ribena)Pick)Your)Own.![image!online]!Available! at:!http://www.troNgroup.com.au/portfolio/ribenaNpickNyourNown! [Accessed:!20!Jan!2013].! IMAGE 47. !Unknown.!(n.p.)!Fruit)Shoot)Juice)Crew.![image!online]!Available! at:!http://www.tapattack.co.uk/UserFiles/Image/Fruit%20Shoot.jpg! [Accessed:!20!Jan!2013].! IMAGE 48. !Unknown.!(n.p.)!Fruit)Shoot)Juice)Crew.![image!online]!Available! at:http://www.theipm.org.uk/images/Awards2011/winners/fruitshoot.j pg![Accessed:!20!Jan!2013].! IMAGE 49. !Unknown.!(n.p.)!Television.![image!online]!Available!at:! http://www.commercialNroad.com/wpNcontent/uploads/2011/09/tv.jpg! [Accessed:!20!Jan!2013].! IMAGE 50. !Unknown.!(n.p.)!Leogoland)Heroes)Wanted.![image!online]! Available!at:!http://images.richmondsNcoaches.co.uk/tour/legoland.jpeg! [Accessed:!20!Jan!2013].! IMAGE 51. !Unknown.!(n.p.)!Leogoland)Heroes)Wanted.![image!online]! Available!at:! http://www.getmemedia.com/public/ideas/Opp/4190/Picture1.jpg! [Accessed:!20!Jan!2013].! IMAGE 52. !Unknown.!(n.p.)!Pokemon)Nintendo.![image!online]!Available!at:! http://img1.livegen.fr/00/00/15/04/0000150462.jpg![Accessed:!20!Jan! 2013].! IMAGE 53. Unknown.!(n.p.)!Pokemon)Summer)Day)Camp.![image!online]! Available!at:! http://www.getmemedia.com/public/ideas/Opp/4190/Picture1.jpg! [Accessed:!20!Jan!2013].! IMAGE 54. !Unknown.!(n.p.)!Ben)10)Advertorial.![image!online]!Available!at:! http://www.egmont.co.uk/common/reskin/assets/images/magsN cubeBeNadvertorial.jpg![Accessed:!20!Jan!2013].!! IMAGE 55. Unknown.!(n.p.)!Barbie)Advertorial.![image!online]!Available!at:! http://www.egmont.co.uk/common/reskin/assets/images/magsNbarbieN advertorial.jpghttp://www.egmont.co.uk/common/reskin/assets/images /magsNbarbieNadvertorial.jpg![Accessed:!20!Jan!2013].! IMAGE 56. !Unknown.!(n.p.)!Guitar)Hero)Advertorial.![image!online]!Available! at:http://cached.imagescaler.hbpl.co.uk/resize/scaleWidth/460/?sURL= http://offlinehbpl.hbpl.co.uk/News/WMX/21CF22AFND07EN676EN AB9744EFFFB5874D.jpg![Accessed:!20!Jan!2013].! IMAGE 57. !Unknown.!(n.p.)!Moshi)Monsters)Magazine.![image!online]! Available!at:! http://www.realwire.com/writeitfiles/Moshi%20Magazine%20Front%2 0Cover.jpg![Accessed:!20!Jan!2013].!


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IMAGE 58. !Unknown.!(n.p.)!Lego)Advertorial.![image!online]!Available!at:! http://www.egmont.co.uk/common/reskin/assets/images/magsNlegoN advertorial.jpg![Accessed:!20!Jan!2013].! IMAGE 59. !Unknown.!(n.p.)!BinWeevils)Magazine.![image!online]!Available!at:! http://www.newsstand.co.uk/i2319029/Zoom/BINNWEEVILS_4.jpg! [Accessed:!20!Jan!2013].! IMAGE 60. !Unknown.!(n.p.)!Display)Ads.![image!online]!Available!at:! http://www.awdp.org/images/Display%20Advertising.jpg![Accessed:!20! Jan!2013].! IMAGE 61. !Unknown.!(n.p.)!Contextual)Ads.![image!online]!Available!at:! http://sandira.com/storage/postN images/NYTImesAdBug.png?__SQUARESPACE_CACHEVERSION=1293797 893585![Accessed:!20!Jan!2013].! IMAGE 62. !Unknown.!(n.p.)!Pay)per)Click)Ads.![image!online]!Available!at:! http://esteemwebsolutions.com/images/googleNppc.gif![Accessed:!20!Jan! 2013].! IMAGE 63. !Unknown.!(n.p.)!Moshi)Monsters)YouTube.![image!online]!Available! at:!https://www.youtube.com/user/moshimonsters![Accessed:!20!Jan! 2013].! IMAGE 64. !Google.!(2013)!Google)Ad)Words.![image!online]!Available!at:! http://www.google.co.uk/ads/adwords/?sourceid=awo&subid=ukNenN haNawNbkhp0~21011443135&gclid=CNTstdnXnLUCFQ7LtAodcDEAew! [Accessed:!20!Jan!2013].! IMAGE 65. !Microbrandsone!(2013)!Zooglies)Clothing)Line.![image]!Available! at:!Zooglies!Briefing!Presentation![Accessed:!20!Jan!2013].! IMAGE 66. !Unknown.!(n.p.)!Webkinz).![image!online]!Available!at:! http://parentclub.ganzworld.com/wpN content/uploads/2011/07/Webkinz.jpg![Accessed:!20!Jan!2013].! IMAGE 67. !Unknown.!(n.p.)!Webkinz).![image!online]!Available!at:! http://upload.wikimedia.org/wikipedia/commons/b/bf/Webkinz_kids_b y_David_Shankbone.jpg![Accessed:!20!Jan!2013].! IMAGE 68. !Unknown.!(n.p.)!Children.![image!online]!Available!at:! http://www.freegreatpicture.com/files/79/1825NinternationalN children39sNdayNspecialNcollection.jpg![Accessed:!20!Jan!2013].! IMAGE 69. !Unknown.!(n.p.)!Painted)Hands.![image!online]!Available!at:! http://www.nwtexashealthcare.com/sites/nwtexashealthcare.com/files/ 101536974_painted%20hands.jpg![Accessed:!20!Jan!2013].! IMAGE 70. http://mybebe.md/image.html?src=foto/foto_com/ac351_132895 9118_copii.jpg.png! IMAGE 71. !Unknown.!(n.p.)!Moshi)Monsters)Toys.![image!online]!Available!at:! http://www.abgee.co.uk/img/products/245%2078150/245%2078150_ 1.jpg![Accessed:!20!Jan!2013].! IMAGE 72. !!Own!image!taken!during!pilot!interview!(20th!December!2012)! IMAGE 73. !Own!image!taken!during!focus!groups!(4th!January!2013)! IMAGE 74. !Unknown.!(n.p.)!Neopets.![image!online]!Available!at:! http://smurfingit.files.wordpress.com/2011/09/tumblr_l61ozidlzv1qbxp k0o1_500.jpg![Accessed:!20!Jan!2013].!


IMAGE 75. Unknown.!(n.p.)!Neopets.![image!online]!Available!at:! http://img.gawkerassets.com/img/18blqv7jw09hzpng/original.png! [Accessed:!20!Jan!2013].! IMAGE 76. !Unknown.!(n.p.)!Neopets.![image!online]!Available!at:! http://farm4.static.flickr.com/3548/3280530000_23d2d69264_o.jpg! [Accessed:!20!Jan!2013].! IMAGE 77. !Unknown.!(n.p.)!Neopets.![image!online]!Available!at:! http://mmohuts.com/wpNcontent/gallery/neopetsNoverview/neopetsN homepage.jpg?ec9f9b![Accessed:!20!Jan!2013].! IMAGE 78. !Unknown.!(n.p.)!Neopets.![image!online]!Available!at:! http://images.neopets.com/games/pages/icons/ctp/cN507.png! [Accessed:!20!Jan!2013].! IMAGE 79. !Unknown.!(n.p.)!Webkinz).![image!online]!Available!at:! http://www.alsipnursery.com/drupal/sites/default/files/webkinz3.gif! [Accessed:!20!Jan!2013].! IMAGE 80. !Unknown.!(n.p.)!Webkinz).![image!online]!Available!at:! http://www.webkinzhub.com/images/webkinzNadoptionNcenter.jpg! [Accessed:!20!Jan!2013].! IMAGE 81. !Unknown.!(n.p.)!Webkinz).![image!online]!Available!at:! http://webkinzrock.blogsome.com/images/webkinz1.jpg![Accessed:!20! Jan!2013].! IMAGE 82. Unknown.!(n.p.)!Webkinz).![image!online]!Available!at:! http://cdn.tradebit.org/usr/topresellrights/pub/9002/181745586_AllAb outWebkinzPets.jpg![Accessed:!20!Jan!2013].! IMAGE 83. !Unknown.!(n.p.)!Webkinz).![image!online]!Available!at:! http://webkinzparents.com/wpNcontent/gallery/tutorial/newspaper.jpg! [Accessed:!20!Jan!2013].! IMAGE 84. !Unknown.!(n.p.)!Poptropica.![image!online]!Available!at:! http://3.bp.blogspot.com/NN WEujyeSHZs/T902zjbmE9I/AAAAAAAACnU/p3oTJwziNQQ/s1600/iN madeNthis3.jpg![Accessed:!20!Jan!2013].! IMAGE 85. !Unknown.!(2013)!Poptropica.![image!online]!Available!at:! http://playNfreeNonlineN games.com/listmachine/uploads/image_poptropica_6.jpg![Accessed:!20! Jan!2013].! IMAGE 86. !Unknown.!(n.p.)!Poptropica.![image!online]!Available!at:! http://cheatsandwalkthroughs4poptropica.files.wordpress.com/2012/1 2/poptropicaN152048.png![Accessed:!20!Jan!2013].! IMAGE 87. !!Unknown.!(n.p.)!Poptropica.![image!online]!Available!at:! http://poptropica.files.wordpress.com/2009/10/factNmonsterN pwnz.png?w=469&h=352![Accessed:!20!Jan!2013].! IMAGE 88. !!Unknown.!(n.p.)!Bin)Weevils.![image!online]!Available!at:! http://blog.binweevils.com/wpN content/uploads/2010/07/wallpaper03_1280x1024.jpg![Accessed:!20! Jan!2013].! IMAGE 89. !Unknown.!(n.p.)!Bin)Weevils.![image!online]!Available!at:! http://bwgangcheats.files.wordpress.com/2011/04/hats1.jpg![Accessed:! 20!Jan!2013].!


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IMAGE 90. !Unknown.!(n.p.)!Bin)Weevils.![image!online]!Available!at:! http://binweevilsfire.files.wordpress.com/2012/01/untitled.png! [Accessed:!20!Jan!2013].! IMAGE 91. !Unknown.!(n.p.)!Bin)Weevils.![image!online]!Available!at:! http://binweevilsfire.files.wordpress.com/2012/02/goldenNweevil.png! [Accessed:!20!Jan!2013].! IMAGE 92. !Unknown.!(n.p.)!Bin)Weevils.![image!online]!Available!at:! http://binweevilsbloggers.files.wordpress.com/2012/09/wheresNwallyN huntNanswerN3.png![Accessed:!20!Jan!2013].! IMAGE 93. !Unknown.!(n.p.)!Bin)Weevils.![image!online]!Available!at:! http://bwgangcheats.wordpress.com/pictureNarchivesNnew/muddNbinN party/![Accessed:!20!Jan!2013].! IMAGE 94. !Unknown.!(2013)!Moshi)Monsters.![image!online]!Available!at:! http://images2.fanpop.com/images/photos/7900000/moshiNmapN moshiNmonstersN7917143N2560N2051.jpg![Accessed:!20!Jan!2013].! IMAGE 95. !Unknown.!(n.p.)!Moshi)Monsters.![image!online]!Available!at:! http://www.animationmagazine.net/wordpress/wpN content/uploads/moshiNmonstersNpost1.jpg![Accessed:!20!Jan!2013].! IMAGE 96. !Unknown.!(n.p.)!Moshi)Monsters.![image!online]!Available!at:! http://www.pocketgamer.co.uk/artwork/naN tnia/ios_mind_candy_moshi_monsters_village_01.jpg![Accessed:!20!Jan! 2013].! IMAGE 97. !Unknown.!(n.p.)!Moshi)Monsters.![image!online]!Available!at:! http://www.mobilitysite.com/wpNcontent/uploads/2011/06/MoshiN millionsofmonsters.jpg![Accessed:!20!Jan!2013].! IMAGE 98. !Unknown.!(n.p.)!Moshi)Monsters.![image!online]!Available!at:! http://www.moshimonstersmoshlings.net/wpN content/uploads/2011/04/nenengjuwitaNmoshiNmonstersNroom.jpg! [Accessed:!20!Jan!2013].! IMAGE 99. !Unknown.!(n.p.)!Club)Penguin).![image!online]!Available!at:! http://www.cloudswave.com/images/orig/club_penguin_113539386327 56.jpg![Accessed:!20!Jan!2013].! IMAGE 100. !Unknown.!(n.p.)!Club)Penguin).![image!online]!Available!at:! http://www.freemmostation.com/wpNcontent/uploads/2012/05/clubN penguinN41.jpg![Accessed:!20!Jan!2013].! IMAGE 101. !Unknown.!(n.p.)!Club)Penguin).![image!online]!Available!at:! http://images.wikia.com/clubpenguin/images/2/24/Club_Penguin_logo_ crowded.png![Accessed:!20!Jan!2013].! IMAGE 102. !Unknown.!(n.p.)!Club)Penguin).![image!online]!Available!at:! http://images1.wikia.nocookie.net/__cb20120603063621/clubpenguin/i mages/e/e5/CPYS_Beta_Party.png![Accessed:!20!Jan!2013].! IMAGE 103. !Unknown.!(n.p.)!Little)Space)Heroes.![image!online]!Available!at:! http://assets.sbnation.com/assets/1793503/Screen_Shot_2012N11N 26_at_5.30.40_PM.png![Accessed:!20!Jan!2013].! IMAGE 104. !!Unknown.!(n.p.)!Little)Space)Heroes.![image!online]!Available!at:! http://mmohuts.com/wpNcontent/gallery/littlespaceheroesN preview/littleNspaceNheroesNpopupNparty.jpg?ec9f9b![Accessed:!20!Jan! 2013].!


!

IMAGE 105. !Unknown.!(n.p.)!Little)Space)Heroes.![image!online]!Available!at:! http://mmohuts.com/wpNcontent/gallery/littlespaceheroesN preview/littleNspaceNheroesNpopupNparty.jpg?ec9f9b![Accessed:!20!Jan! 2013].! IMAGE 106. Unknown.!(n.p.)!Little)Space)Heroes.![image!online]!Available!at:! http://www.avatargeneration.com/wpN content/uploads/2012/11/SpaceNHeroesNUniverseNSocialNBandNGameN HandNEye.jpg![Accessed:!20!Jan!2013].! IMAGE 107. Unknown.!(n.p.)!Little)Space)Heroes.![image!online]!Available!at:! http://4.bp.blogspot.com/N vHQMcWooq7I/UK2CURC79II/AAAAAAAACrI/3IGNsDIinrA/s1600/3.pn g![Accessed:!20!Jan!2013].! IMAGE 108. Unknown.!(n.p.)!Little)Space)Heroes.![image!online]!Available!at:! http://www.avatargeneration.com/wpN content/uploads/2012/11/SpaceNHeroesNUniverseNGlowNRescueN Physics.jpg![Accessed:!20!Jan!2013].! IMAGE 109. Unknown.!(n.p.)!Little)Space)Heroes.![image!online]!Available!at:! http://savegameonline.com/wpN content/uploads/2011/12/littlespaceheroesplanet.jpg![Accessed:!20!Jan! 2013].! IMAGE 110. Unknown.!(n.p.)!Tinkatolli.![image!online]!Available!at:! http://3.bp.blogspot.com/N VOVtGspvce8/Ta_sEpBDfpI/AAAAAAAADlo/fTr97y_xnmY/s1600/Tinka Maker.png![Accessed:!20!Jan!2013].! IMAGE 111. Unknown.!(n.p.)!Tinkatolli.![image!online]!Available!at:! http://i.imgur.com/j8yMV.png![Accessed:!20!Jan!2013].! IMAGE 112. Unknown.!(n.p.)!Tinkatolli.![image!online]!Available!at:! http://tinkatollitalk.files.wordpress.com/2011/10/halloweenNatN tinkatoli.png!http://i54.tinypic.com/6ztvv6.jpg![Accessed:!20!Jan!2013].! IMAGE 113. Unknown.!(n.p.)!Tinkatolli.![image!online]!Available!at:! http://www.aqnb.com/wpNcontent/uploads/2011/07/tinka4.png! [Accessed:!20!Jan!2013].! IMAGE 114. Unknown.!(n.p.)!Tinkatolli.![image!online]!Available!at:! http://tinkatollitimes.files.wordpress.com/2011/06/8NpiecesNofN glass.png![Accessed:!20!Jan!2013].! IMAGE 115. Unknown.!(n.p.)!Tinkatolli.![image!online]!Available!at:! http://tinkatollitimes.files.wordpress.com/2011/06/putNinNflower.png! [Accessed:!20!Jan!2013].!


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360kid (2012) 360blog » Blog Archive » Inside the World of Webkinz – An Interview With Creative Director Karl Borst. [online] Available at: http://www.360kid.com/blog/2012/12/webkinz-interview/ [Accessed: 17 Jan 2013]. ACMA (2007) Children’s Viewing Patterns on Commercial, Free-to-air and Subscription Television. [online] Available at: http://www.acma.gov.au/webwr/_assets/main/lib310132/children_viewing_patterns_commer cial_free-to-air_subscription_television.pdf [Accessed: 23 Jan 2013]. ADWEEK (2012) Disney Gets Its Game Face On. [online] Available at: http://www.adweek.com/news/television/disney-gets-its-game-face-139171 [Accessed: 20 Jan 2013]. Annick-France (2008) Television vs Children: Target market: Children as consumers. [online] Available at: http://television-vs-children.blogspot.co.uk/2008/11/target-marketchildren-as-consumers.html [Accessed: 10 Jan 2013]. Answers (2010) Is binweevils closing down?. [online] Available at: http://wiki.answers.com/Q/Is_binweevils_closing_down [Accessed: 19 Jan 2013]. Babble (2013) Club Penguin Uses Virtual Coins to Create Real Change at Babble. [online] Available at: http://www.babble.com/dad/club-penguin-uses-virtual-coins-to-create-realchange/ [Accessed: 20 Jan 2013]. BBC News (2012) Income levels at nine-year low. [online] Available at: http://www.bbc.co.uk/news/business-19060716 [Accessed: 15 Jan 2013]. BBC News (2011) BBC NEWS | UK | Smaller families are the future. [online] Available at: http://news.bbc.co.uk/1/hi/uk/7087777.stm [Accessed: 15 Jan 2013]. BBC News (2012) Moshi Monster games go mobile. [online] Available at: http://www.bbc.co.uk/news/technology-18174051 [Accessed: 15 Jan 2013]. BBC News (2011) Look out, there are monsters about. [online] Available at: http://www.bbc.co.uk/news/technology-15017255 [Accessed: 19 Jan 2013]. BBC News (2012) Habbo firm exits after sex probe. [online] Available at: http://www.bbc.co.uk/news/technology-18415763 [Accessed: 1 Feb 2013]. BBC News (2012) Club Penguin to invest in safety. [online] Available at: http://www.bbc.co.uk/news/technology-18687249 [Accessed: 1 Feb 2013]. Belam, M. (2012) Second Screen Experience: mobiles, tablets and TVs. Media Network, [blog] 10 September, Available at: http://www.guardian.co.uk/media-network/medianetwork-blog/2012/sep/10/second-screen-experience-mobile-tablet-tv [Accessed: 11 Jan 2013]. Bennett, S. (2010) Describing or debunking? The net generation and digital natives. Journal of Computer Assisted Learning, 26 (5), p.317-320. [Accessed: 11 Jan 2013].


Biz, S. (2010) Social Small Biz Case Study: Moshi Monsters. [online] Available at: http://www.socialsmallbiz.com/2010/04/13/social-small-biz-case-study-moshi-monsters/ [Accessed: 19 Jan 2013]. Blog.binweevils (2012) Bin Weevils Wins in the BAFTA Kids’ Vote! | Bin Weevils Blog. [online] Available at: http://blog.binweevils.com/2012/11/bin-weevils-wins-in-the-bafta-kidsvote/ [Accessed: 19 Jan 2013]. Brand Republic (2012) Children's social site BinWeevils brings in comms head for brand drive - Brand Republic News. [online] Available at: http://www.brandrepublic.com/news/1160220/ [Accessed: 19 Jan 2013]. Brankin, R. (2011) boom boom design blog: Moshi Monsters Marketing Magic. [online] Available at: http://boomboomdesignblog.blogspot.co.uk/2011/11/moshi-monstersmarketing-magic.html [Accessed: 17 Jan 2013]. BUCKINGHAM, D. (2011). The material child: growing up in consumer culture. Cambridge, Polity. Business Insider (2008) Webkinz (a.k.a., Ganz). [online] Available at: http://www.businessinsider.com/companies/webkinz#ixzz270WYPwA5 [Accessed: 25 Jan 2013]. Business Week (2012) Disney’s Club Penguin for Parents and Kids - Business Exchange. [online] Available at: http://bx.businessweek.com/entertainmentindustry/view?url=http%3A%2F%2Fwww.rmnkids.com%2Fdisneys-club-penguin-forparents-and-kids%2F [Accessed: 20 Jan 2013]. Business Week (2011) Self-Regulatory Group Refers Club Penguin Planet to FTC - Business Exchange. [online] Available at: http://bx.businessweek.com/federal-tradecommission/view?url=http%3A%2F%2Fc.moreover.com%2Fclick%2Fhere.pl%3Fr4589381 407%26f%3D9791 [Accessed: 20 Jan 2013]. Campaign (2011) Morrisons ad banned after pester power complaints | Advertising news | Campaign. [online] Available at: http://www.campaignlive.co.uk/news/1100526/ [Accessed: 14 Jan 2013]. Cavaglieri, C. (2013) Cushion the loss of Child Benefit | The Independent. [online] Available at: http://www.independent.co.uk/money/spend-save/cushion-the-loss-of-child-benefit8449012.html [Accessed: 15 Jan 2013]. Check.UK (1998) Data collection & use - Marketing and Advertising to Children. [online] Available at: http://www.check.uk.com/data-collection-and-use.html [Accessed: 25 Jan 2013]. Chicago Tribune (2007) Sites aimed at preteens gaining in popularity. [online] Available at: http://articles.chicagotribune.com/2007-04-08/business/0704060624_1_creators-of-suchsites-webkinz-primer-children-create-animated-versions [Accessed: 20 Jan 2013].


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Club Penguin (2008) Club Penguin - Media Releases. [online] Available at: http://www.clubpenguin.com/company/news/102408-new-consumer-products.htm [Accessed: 20 Jan 2013]. Consterdine, G. (2005) How Magazine Advertising Worls. [e-book] London: PPA Marketing. p.19. Available through: Google Scholar http://www.ppa.co.uk/public/downloads/Marketing/Research/HMAW.pdf [Accessed: 23 Jan 2013]. Cowley, S. (2003) Benefits of Magazine Advertising. [online] Available at: http://www.ehow.com/list_6571677_benefits-magazine-advertising.html#ixzz2Ipfblk2r [Accessed: 23 Jan 2013]. dotAgency (2011) BinWeevils.com the latest high profile licensor to join LIMA | Toys 'n' Playthings. [online] Available at: http://www.toysnplaythings.co.uk/news/latest_news_2/binweevilscom_the_latest_high_profil e_licensor_to_join_lima.aspx [Accessed: 19 Jan 2013]. Dresden, B. and Barnard, J. (2003) Legal and regulatory controls on advertising and marketing to children in the United Kingdom. Young Consumers: Insight and Ideas for Responsible Marketers, 5 (1), p.77-83. Durcan, S. (2012) Experiential Marketing for Kids – The art of communicating with responsibility.Utalk Marketing, [blog] 2 October, Available at: http://blog.utalkmarketing.com/uncategorized/experiential-marketing-for-kids-the-art-ofcommunicating-with-responsibility/ [Accessed: 23 Jan 2013]. Duryee, T. (2012) Club Penguin Co-Founder Lane Merrifield Signs Off After Five Years at Disney. [online] Available at: http://allthingsd.com/20121017/club-penguin-co-founder-lanemerrifield-signs-off-after-five-years-at-disney/ [Accessed: 20 Jan 2013]. Egmont (2013) Egmont UK Ltd. [online] Available at: http://www.egmont.co.uk/default.asp?pageid=131 [Accessed: 23 Jan 2013]. Egmont (2013) Egmont Rate Card. [e-book] London: Egmont. Available through: Egmont Advertising http://www.egmont.co.uk/default.asp?pageid=131 [Accessed: 23 Jan 2013]. Ekathimerini (2012) Toy sales decline, domestic industry output contracts. [online] Available at: http://www.ekathimerini.com/4dcgi/_w_articles_wsite2_1_28/12/2012_476306 [Accessed: 10 Jan 2013]. Enterprises, L. (2013) Disney unveils own ‘Skylanders’-like franchise. [online] Available at: http://bismarcktribune.com/lifestyles/weekend/disney-unveils-own-skylanders--likefranchise/article_8139d472-60fa-11e2-96bc-0019bb2963f4.html [Accessed: 20 Jan 2013]. Entrepreneur (2012) Moshi Monsters and the Mistake That Launched the Multimillion-Dollar Business. [online] Available at: http://www.entrepreneur.com/blog/222773 [Accessed: 19 Jan 2013].


Euromonitor (2012) Global Child Population Growing, but there’s a Twist. Euromonitor International, [blog] 5 December, Available at: http://blog.euromonitor.com/toys-and-games/ [Accessed: 15 Jan 2013]. European Commission (2013) Audiovisual Media Services Directive (AVMSD) - What's new ?. [online] Available at: http://ec.europa.eu/avpolicy/reg/avms/index_en.htm [Accessed: 16 Jan 2013]. Experiential Forum (2013) Experiential Marketing Forum. [online] Available at: http://experientialforum.com/ [Accessed: 23 Jan 2013]. Financial Times (2010) Poptropica weaves its magic in America - FT.com. [online] Available at: http://www.ft.com/cms/s/0/91b2b0ee-b526-11df-9af800144feabdc0.html#axzz2IFVU9GQ4 [Accessed: 17 Jan 2013]. Flanagan, C. (2007) Babes in the Woods. [online] Available at: http://www.theatlantic.com/magazine/archive/2007/07/babes-in-the-woods/305974/ [Accessed: 20 Jan 2013]. Foster, P. (2013) We're eating our way to disaster - Telegraph. [online] Available at: http://www.telegraph.co.uk/health/dietandfitness/9796986/Were-eating-our-way-todisaster.html [Accessed: 15 Jan 2013]. Gaunlett, D. and Jackson, L. (2008) Virtual worlds – Users and producers, Case study: Adventure Rock. [e-book] University of Westminster, UK: Communication and Media Research Institute (CAMRI),. http://www.childrensvirtualworlds.org.uk/pdfs/Gaunlett_and_May_2008.pdf [Accessed: 20 Jan 2013]. Geek Das (2013) Moshi Monsters Make the Leap From the Desktop to iOS | GeekDad | Wired.com. [online] Available at: http://www.wired.com/geekdad/2011/12/moshi-monsters/ [Accessed: 19 Jan 2013]. GeekDad (2011) Moshi Monsters Make the Leap From the Desktop to iOS | GeekDad | Wired.com. [online] Available at: http://www.wired.com/geekdad/2011/12/moshi-monsters/ [Accessed: 19 Jan 2013]. Gladwell, M. (2008) Outliers. New York: Little, Brown and Company. Guerillascope (2010) TV advertising costs. [online] Available at: http://www.guerillascope.co.uk/TVAdvertisingAgency/TVadvertisingcosts.aspx [Accessed: 19 Jan 2013]. Guru (2011) media-radar: October 2011. [online] Available at: http://mediaradar.blogspot.co.uk/2011_10_01_archive.html [Accessed: 26 Jan 2013]. Hart, T. (2009) The tipping point: How Moshi Monsters hit exponential growth and has topped 6 million users - Games Brief. [online] Available at:


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http://www.gamesbrief.com/2009/11/the-tipping-point-how-moshi-monsters-hit-exponentialgrowth-and-has-topped-6-million-users/ [Accessed: 19 Jan 2013]. ID Experiential (2011) An immersive roadshow experience: Fruit Shoot & iD Experiential. [online] Available at: http://www.idexperiential.co.uk/Clients/Fruitshoot#content [Accessed: 23 Jan 2013]. ID Experiential (2012) Engaging digital with experiential to boost campaign reach: Nickelodeon & iD Experiental. [online] Available at: http://www.idexperiential.co.uk/Clients/Nickelodeon#content [Accessed: 23 Jan 2013]. iMedia Connection (2007) Intelligent behaviour: a new era for online advertising iMediaConnection.com. [online] Available at: http://www.imediaconnection.com/content/16786.asp [Accessed: 25 Jan 2013]. Independent (2013) C-c-c-click on clubpenguin. [online] Available at: http://www.independent.ie/national-news/cccclick-on-clubpenguin-120865.html [Accessed: 20 Jan 2013]. Interactive, H. (2012) Children's social site BinWeevils brings in comms head for brand drive - Brand Republic News. [online] Available at: http://www.brandrepublic.com/news/1160220/ [Accessed: 17 Jan 2013]. Internet World Stats (2012) Internet Growth Statistics - the Global Village Online. [online] Available at: http://www.internetworldstats.com/emarketing.htm [Accessed: 15 Jan 2013]. Ironico, S. (2012) The active role of children as consumers. Young Consumers: Insight and Ideas for Responsible Marketers,, 13 (1), p.6. [Accessed: 7 Jan 2013]. ITV News (2012) Expert fears for children using internet - ITV News. [online] Available at: http://www.itv.com/news/2012-07-27/what-are-your-children-up-to-online/ [Accessed: 15 Jan 2013]. Jones, C. et al. (2010) Net generation or Digital Natives: Is there a distinct new generation entering university? . Computers & Education, 54 (3), p.722–732. JONES, N. (2009). Marketing brands to children - ethically. S.l, Strategic Book Pub. Kleinman, M. (2003) Marketers back kids’ ads code of practice. Marketing (UK), Iss. September p.4. Kzero (2012) User Analysis | KZero Worldswide. [online] Available at: http://www.kzero.co.uk/blog/category/resident-data-and-analysis/ [Accessed: 16 Jan 2013]. Laughlin, A. (2012) BinWeevils launches social VOD service. [online] Available at: http://www.digitalspy.co.uk/tech/news/a284486/binweevils-launches-social-vod-service.html [Accessed: 17 Jan 2013].


Licensing.biz (2012) BinWeevils signs with Inspiration Works | Licensing Industry | News by Licensing.biz. [online] Available at: http://www.licensing.biz/news/10184/BinWeevils-signswith-Inspiration-Works [Accessed: 19 Jan 2013]. Licensing.biz (2012) BinWeevils.com smashes through million mark in July | Licensing Industry | News by Licensing.biz. [online] Available at: http://www.licensing.biz/news/9728/BinWeevilscom-smashes-through-million-mark-in-July [Accessed: 19 Jan 2013]. Licensing.biz (2009) Untitled. [online] Available at: http://www.licensing.biz/jobs/327/Licensing-Approvals-Executive [Accessed: 19 Jan 2013]. Licensing.biz (2009) THE BIG INTERVIEW: Mel Beer, Head of Licensing & Content Development, HarperCollins | Licensing Industry | News features by Licensing.biz. [online] Available at: http://www.licensing.biz/features/315/THE-BIG-INTERVIEW-Mel-Beer-Headof-Licensing-Content-Development-HarperCollins [Accessed: 20 Jan 2013]. LINDSTRĂ–M, M., & SEYBOLD, P. B. (2003). Brandchild: remarkable insights into the minds of today's global kids and their relationships with brands. London, Kogan Page. LinkedIn (2000) Co-promotion | Skills. [online] Available at: http://www.linkedin.com/skills/skill/Co-promotion [Accessed: 23 Jan 2013]. Magda Child Studies (2012) Child Studies: An analysis of the virtual world Club Penguin http://www.clubpenguin.com/. [online] Available at: http://magdachildstudies.blogspot.co.uk/2012/03/analysis-of-virtual-world-club-penguin.html [Accessed: 20 Jan 2013]. Mail Online (2012) Warning over paedophiles 'grooming' primary school children on Club Penguin and Moshi Monsters websites. [online] Available at: http://www.dailymail.co.uk/news/article-2143562/Warning-paedophiles-grooming-primaryschool-children-Club-Penguin-Moshi-Monsters-websites.html [Accessed: 19 Jan 2013]. Malone, M. (2012) Fusing Together the Moshi Monster and PizzaExpress Collaboration Maynard Malone London digital agency. [online] Available at: http://www.maynardmalone.com/fusing-together-the-moshi-monster-and-pizzaexpresscollaboration [Accessed: 23 Jan 2013]. Market Line (2012) Childrenswear in the United Kingdom - February 2012. [report] London: Market Line. Mcgonigal, J. (2010) TEDxTalks | Jane McGonigal: Gaming can make a better world. [image online] Available at: http://www.ted.com/talks/jane_mcgonigal_gaming_can_make_a_better_world.html [Accessed: 11 Jan 2013]. Mckee, S. (2009) The Pros and Cons of Co-Branding. [online] Available at: http://www.businessweek.com/smallbiz/content/jul2009/sb20090710_255169.htm [Accessed: 23 Jan 2013].


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MCV UK (2013) Moshi Monsters strike Happy Meal deal. [online] Available at: http://www.mcvuk.com/news/read/moshi-monsters-strike-happy-meal-deal/0106630 [Accessed: 18 Jan 2013]. MDG Advertising (2012) Kid Tech According to Apple [Infographic]. [online] Available at: http://www.mdgadvertising.com/blog/kid-tech-according-to-apple-infographic/ [Accessed: 11 Jan 2013]. Mediaweek (2012) MAGAZINE ABCs: Moshi Monsters puts bounce into kids sector - Media news - Media Week. [online] Available at: http://www.mediaweek.co.uk/news/1145918/MAGAZINE-ABCs-Moshi-Monsters-putsbounce-kids-sector/ [Accessed: 18 Jan 2013]. Miniclip Corporate (2000) MMOs & Virtual Worlds - Developers - Miniclip Corporate. [online] Available at: http://corporate.miniclip.com/page/view/developers/mmos-virtualworlds [Accessed: 20 Jan 2013]. Mintel (2012) Children's Media - UK - December 2012. [report] London: Mintel International. Mintel (2012) Digital Trends – UK, September 2012. [report] London: Mintel International. Mintel (2010) Family Purchases: Kids as Influencers - US, June 2010. [report] London: Mintel International. Mintel (2012) Childrenswear - UK - January 2012. [report] London: Mintel International. Mmorpg (2011) The Game Hopper - Little Space Heroes - Space Heroes Universe News MMORPG.com. [online] Available at: http://www.mmorpg.com/gamelist.cfm/loadNews/22825/The-Game-Hopper-Little-SpaceHeroes [Accessed: 17 Jan 2013]. Murray, R. (1993) `Are you kidding?'. Direct Marketing , 56 (3), p.38. [Accessed: 11 Jan 2013]. NADEAU, R. (2007). Living brands: collaboration + innovation = customer fascination. New York, McGraw-Hill. Nash, C. and Basini, S. (2005) Child Targeted TV Advertising and its influence on the ChildParent Purchase Relationship. [report] Dublin: Dublin Institute of Technology, p.2-3. Netset Media (2011) 10 Types of Online Advertising and When You Should Use Them | Web Marketing Blog. [online] Available at: http://www.netsetmedia.com/10-types-of-onlineadvertising-and-when-you-should-use-them/ [Accessed: 25 Jan 2013]. Nytimes (2007) Log In - The New York Times. [online] Available at: http://www.nytimes.com/2007/10/28/fashion/28virtual.html?_r=0 [Accessed: 20 Jan 2013].


Ofcom (2012) Ofcom | Significant rise in children’s texting and time spent online. [online] Available at: http://media.ofcom.org.uk/2012/10/23/significant-rise-inchildren%E2%80%99s-texting-and-time-spent-online/ [Accessed: 10 Jan 2013]. Ofcom (2012) Children and Parents: Media Use and Attitudes Report. [report] London: Ofcom. Ofcom (2008) Ofcom | Television Advertising of Food and Drink Products to Children. [online] Available at: http://stakeholders.ofcom.org.uk/consultations/foodads_new/statement/ [Accessed: 15 Jan 2013]. OfficialCharts (2013) 2012-04-14 Top 40 Official UK Albums Archive | Official Charts. [online] Available at: http://www.officialcharts.com/archive-chart/_/3/2012-04-14/ [Accessed: 19 Jan 2013]. PALFREY, J. G., & GASSER, U. (2008). Born digital: understanding the first generation of digital natives. New York, Basic Books. Papert, . (1988) Does Easy Do It? Children, Games, and Learning. Game Developer | Soapbox, Iss. 126 p.88. Perry, D. (2008) TEDxTalks | David Perry: Are games better than life?. [video online] Available at: http://www.ted.com/talks/david_perry_on_videogames.html [Accessed: 11 Jan 2013]. PR Week (2012) Children's social site BinWeevils brings in comms head for brand drive | PR & public relations news | PRWeek. [online] Available at: http://www.prweek.com/uk/news/1160220/Childrens-social-site-BinWeevils-brings-commshead-brand-drive/?DCMP=ILC-SEARCH [Accessed: 19 Jan 2013]. PR Week (2010) Bin Weevils launches social video on demand. [online] Available at: http://www.prweek.com/uk/news/1036895/Bin-Weevils-launches-social-videodemand/?DCMP=ILC-SEARCH [Accessed: 19 Jan 2013]. Pressgazette.co.uk (2012) Full breakdown of magazine sales for first half of 2012 | PressGazette. [online] Available at: http://www.pressgazette.co.uk/node/49860 [Accessed: 20 Jan 2013]. Retail Insight (2010) Kids’ Brands: Going Classic?. [online] Available at: http://www.retailing360.com/article/15/20101209201012091657296136a5d59d7/Kids%E2% 80%99-BrandsGoing-Classic.html [Accessed: 10 Jan 2013]. Rodgers, Z. (2004) The Stickiest Site in the World | ClickZ. [online] Available at: http://www.clickz.com/clickz/news/1717760/the-stickiest-site-world [Accessed: 17 Jan 2013]. Santa, I. (2008) Children on virtual worlds: What parents should know. [e-book] London: ENISA. http://c.mmcdn.net/site/4.17.14/images/children_on_virtual_worlds.pdf [Accessed: 20 Jan 2013].


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Schenck, B. (2013) Co-Marketing: Twice as Nice or Double the Trouble?. [online] Available at: http://www.entrepreneur.com/article/225501 [Accessed: 23 Jan 2013]. Seqlegal (2008) Websites, data protection and children | SEQ Legal. [online] Available at: http://www.seqlegal.com/blog/websites-data-protection-and-children [Accessed: 1 Feb 2013]. SFGate (2007) I'm 8, I'm late for an online date with a cuddly penguin. [online] Available at: http://www.sfgate.com/politics/joegarofoli/article/I-m-8-I-m-late-for-an-online-date-with-acuddly-2591449.php [Accessed: 20 Jan 2013]. Shields, M. (2007) Avatar Nation. MediaWeek, 17 (44). Sparkventures (2012) SPARK Ventures - 06/06/2011 - A Monster Success! Moshi Monsters Hits 50 Million Re. [online] Available at: http://www.sparkventures.com/Home/SPARK_Venture_Management/SPARK_newsroom/20 11/06062011_-_A_Monster_Success!_Moshi_Monsters_Hits_50_Million_Re/default.aspx [Accessed: 18 Jan 2013]. Stakeholders.Ofcom (2012) Children’s TV viewing: BARB analysis. [online] Available at: http://stakeholders.ofcom.org.uk/binaries/research/media-literacy/oct2012/Annex_2.pdf [Accessed: 22 Jan 2013]. Stanford (2003) Diffusion of Innovations, by Everett Rogers (1995). [online] Available at: http://www.stanford.edu/class/symbsys205/Diffusion%20of%20Innovations.htm [Accessed: 21 Jan 2013]. Suleman, S. (2012) TEDxTalks | Shilo Shiv Suleman: Using tech to enable dreaming. [video online] Available at: http://www.ted.com/talks/shilo_shiv_suleman_using_tech_to_enable_dreaming.html?quote=1 330 [Accessed: 11 Jan 2013]. SUTHERLAND, A., & THOMPSON, B. (2001). Kidfluence: why kids today mean business. Toronto, McGraw-Hill Ryerson. Tapscott, D. (2012) TedxTalks | Don Tapscott: Four principles for the open world. [video online] Available at: http://www.ted.com/talks/don_tapscott_four_principles_for_the_open_world_1.html [Accessed: 11 Jan 2013]. TAPSCOTT, D. (2009). Grown up digital: how the net generation is changing your world. New York, McGraw-Hill. Thinkbox (2012) Thinkbox - Thinkbox Half Year Reviw 2012. [online] Available at: http://thinkbox.tv/server/show/nav.1860 [Accessed: 23 Jan 2013]. Thinkbox (2011) thinkbox - Case Studies. [online] Available at: http://thinkbox.tv/server/show/ConCaseStudy.1369 [Accessed: 23 Jan 2013].


Thinkbox.tv (2013) ThinkBox - Audience Profiles. [online] Available at: http://www.thinkbox.tv/server/show/nav.914#Children [Accessed: 9 Jan 2013]. Thomas, S. (2007) Buy Buy Baby. London: Harper Collins. Topix (2011) is Binweevils better than club penguin?. [online] Available at: http://www.topix.com/forum/family/kids/TU2UR2LSUBA2551KR/p139 [Accessed: 19 Jan 2013]. Toyworldmag (2012) BinWeevils.com partners with Inspiration Works | Toy World Magazine. [online] Available at: http://www.toyworldmag.co.uk/news/2012/10/binweevilscom-partners-with-inspiration-works [Accessed: 19 Jan 2013]. TRO Group (2012) Ribena. [online] Available at: http://www.tro-group.com/portfolio/ribenapick-your-own [Accessed: 23 Jan 2013]. Troianovski, A. (2012) New Crackdown on Sites That Mine Kids' Data. [online] Available at: http://online.wsj.com/article/SB10000872396390444130304577561411341883468.html [Accessed: 21 Jan 2013]. Unknown. (2009) The ethics of game design. Game Hunters, [blog] May 27, Available at: http://content.usatoday.com/communities/gamehunters/post/2009/03/64756063/1#.UPBDkom LLMA [Accessed: 13 Jan 2013]. Virtualworldsforkids.info (2012) virtual-worlds-for-kids virtual-worlds-for-kids – Virtual Worlds for Kids. [online] Available at: http://virtualworldsforkids.info/virtual-worlds-for-kids [Accessed: 19 Jan 2013]. Wall Street Journal (2012) Little Space Heroes Completes Second Raising. [online] Available at: http://blogs.wsj.com/dealjournalaustralia/2012/06/25/little-space-heroes-completessecond-raising/ [Accessed: 17 Jan 2013]. Yahoo! News (2011) Children have expensive taste: iPad tops kids’ holiday wish lists. [online] Available at: http://news.yahoo.com/blogs/technology-blog/children-expensive-tasteipad-tops-kids-holiday-wish-232100439.html [Accessed: 15 Jan 2013]. Ypulse (2007) The Secret Behind Club Penguin's Success | Ypulse. [online] Available at: http://www.ypulse.com/post/view/the-secret-behind-club-penguins-success [Accessed: 20 Jan 2013].

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Nottingham  Trent  University   School  of  Art  and  Design  

 

CONSENT  FORM     Project  Title:  THE  WORLD  OF  ZOOGLIES:  STAGE  1  RESEARCH    

     

Please  read  and  confirm  your  consent  to  being  interviewed  for  this  project  by  ticking  the   appropriate  boxes  and  signing  and  dating  this  form         1.  

2.  

3.  

4.            

I   confirm   that   the   purpose   of   the   project   has   been   explained   to   me   and   my   son/daughter,   that   I   have   been   given   information   about   it   in   writing,   and   that   I   have   had  the  opportunity  to  ask  questions  about  the  research                 I  understand  that  my  child’s  participation  is  voluntary,  and  that  I  am  free  to  withdraw   him/her   at   any   time   without   giving   any   reason   and   without   any   implications   for   my   legal  rights         I   give   permission   for   the   interview   to   be   recorded   by   research   staff,   on   the   understanding  that  the  tape  will  be  destroyed  at  the  end  of  the  project         I  agree  for  my  son/daughter  to  take  part  in  this  project    

Adaya  Brandon          

Justin  Brandon              

 

                           

14-­‐12-­‐2012         ________________  

Name  of  respondent     Name  of  parent/guardian   Date             For  office  use  only     Name  of    researcher  taking  consent  ………………………………………….     Date  ………………………………………     Signature  

Signature  

  Student  Ethical  Toolkit,  version  2   24.10.2011  

 

 


Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

PaddyVJoe!Blatch!

Paddy!Blatch!!!!!!!

!

!

* * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! ! Student'Ethical'Toolkit,'version'2' 24.10.2011'

* * * *

Signature!

'


Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Nathan!Ullah!!!!!!!

Amerie!Ullah!

!!!!!!

!

* * * * * * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature!

Signature!

* Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


*

Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Freddie!Fortune!!

Kerry!Fortune! !!!!!

!

!

* * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! Student'Ethical'Toolkit,'version'2' 24.10.2011'

* * * *

Signature!

'


Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Harry!Fortune!!!!!

Kerry!Fortune! !!!!!!

!

* * * * * * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature!

Signature!

* Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Seb!Wilson!!!

!

Sarah!Wilson!!!!!!!

!

!

* * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! ! Student'Ethical'Toolkit,'version'2' 24.10.2011'

* * * *

Signature!

'


Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Eva!Wilson!

!

Sarah!Wilson!

!!!!!!

!

* * * * * * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature!

Signature!

* Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

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Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Owen!McNamara!!!!!!

Claire!McNamara!

!!!!!!

* * * * * * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature!

Signature!

* Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


*

Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Elliot!Dolby!!

!

Jane!Dolby!

!!!!!

!

!

* * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! Student'Ethical'Toolkit,'version'2' 24.10.2011'

* * * *

Signature!

'


Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Florence!Dolby!!!!!

Jane!Dolby!

!!!!!!

!

* * * * * * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature!

Signature!

* Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Molly!Haites!

!!!!!

Katie!Haites!

!!!!!!

!

* * * * * * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature!

Signature!

* Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Harry!Harrison! !

Mel!Harrison!!!!!!!

!

!

* * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! ! Student'Ethical'Toolkit,'version'2' 24.10.2011'

* * * *

Signature!

'


Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Ella!Harrison!!!!!!!

Mel!Harrison!

!!!!!!

!

* * * * * * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature!

Signature!

* Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


*

Nottingham*Trent*University! School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

4.! * ! ! ! !

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me! and! my! son/daughter,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had!the!opportunity!to!ask!questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!child’s!participation!is!voluntary,!and!that!I!am!free!to!withdraw! him/her! at! any! time! without! giving! any! reason! and! without! any! implications! for! my! legal!rights! ! ! * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * I!agree!for!my!son/daughter!to!take!part!in!this!project! *

Amelia!O’Connell!!!!!!!!

Bart!O’Connell! !!!!!

!

!

* * * * * * * * * *

14V12V2012!!!! ________________!

Name!of!respondent!! Name!of!parent/guardian! Date! !!! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! Student'Ethical'Toolkit,'version'2' 24.10.2011'

* * * *

Signature!

'


Nottingham*Trent*University* School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had! the! opportunity! to! ask! questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!participation!is!voluntary,!and!that!I!am!free!to!withdraw!at!any! time!without!giving!any!reason!and!without!any!implications!for!my!legal!rights! ! ! *

* * * *

* * * * * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! * understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * * * * I!agree!to!take!part!in!this!project! * *

4.! * ! ! ! ! Paddy!Blatch!!!!!!!!! ! 14V12V2012!!!! ! __________________! Name!of!respondent! ! Date! ! ! Signature! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! ! * * * Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


*

Nottingham*Trent*University* School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had! the! opportunity! to! ask! questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!participation!is!voluntary,!and!that!I!am!free!to!withdraw!at!any! time!without!giving!any!reason!and!without!any!implications!for!my!legal!rights! ! ! *

* * * *

* * * * * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! * understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * * * * I!agree!to!take!part!in!this!project! * *

4.! * ! ! ! ! Amerie!Ullah!!!!!!!!! ! 14V12V2012!!!! ! __________________! Name!of!respondent! ! Date! ! ! Signature! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! ! * * Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


*

Nottingham*Trent*University* School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had! the! opportunity! to! ask! questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!participation!is!voluntary,!and!that!I!am!free!to!withdraw!at!any! time!without!giving!any!reason!and!without!any!implications!for!my!legal!rights! ! ! *

* * * *

* * * * * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! * understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * * * * I!agree!to!take!part!in!this!project! * *

4.! * ! ! ! ! Kerry!Fortune!!!!!!!!! ! 14V12V2012!!!! ! __________________! Name!of!respondent! ! Date! ! ! Signature! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! ! * * Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


*

Nottingham*Trent*University* School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me,!that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had! the! opportunity! to! ask! questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!participation!is!voluntary,!and!that!I!am!free!to!withdraw!at!any! time!without!giving!any!reason!and!without!any!implications!for!my!legal!rights! ! ! *

* * * *

* * * * * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! * understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * * * * I!agree!to!take!part!in!this!project! * *

4.! * ! ! ! ! Claire!McNamara!!!!!!!!! ! 14V12V2012!!!! ! __________________! Name!of!respondent! ! Date! ! ! Signature! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! ! * * Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


*

Nottingham*Trent*University* School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had! the! opportunity! to! ask! questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!participation!is!voluntary,!and!that!I!am!free!to!withdraw!at!any! time!without!giving!any!reason!and!without!any!implications!for!my!legal!rights! ! ! *

* * * *

* * * * * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! * understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * * * * I!agree!to!take!part!in!this!project! * *

4.! * ! ! ! ! Mel!Harrison!!!!!!!!! ! 14V12V2012!!!! ! __________________! Name!of!respondent! ! Date! ! ! Signature! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! !

Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

'


Nottingham*Trent*University* School*of*Art*and*Design*

*

CONSENT'FORM! * Project!Title:!THE!WORLD!OF!ZOOGLIES:!STAGE!1!RESEARCH!

** *

Please*read*and*confirm*your*consent*to*being*interviewed*for*this*project*by*ticking*the* appropriate*boxes*and*signing*and*dating*this*form* * * * 1.!

2.!

3.!

I! confirm! that! the! purpose! of! the! project! has! been! explained! to! me,! that! I! have! been! given! information! about! it! in! writing,! and! that! I! have! had! the! opportunity! to! ask! questions!about!the!research! ! ! ! ! ! ! * I!understand!that!my!participation!is!voluntary,!and!that!I!am!free!to!withdraw!at!any! time!without!giving!any!reason!and!without!any!implications!for!my!legal!rights! ! ! *

* * * *

* * * * * I! give! permission! for! the! interview! to! be! recorded! by! research! staff,! on! the! * understanding!that!the!tape!will!be!destroyed!at!the!end!of!the!project! ! ! * * * * I!agree!to!take!part!in!this!project! * *

4.! * ! ! ! ! Bart!O’Connell!!!!!!!!! ! 14V12V2012!!!! ! __________________! Name!of!respondent! ! Date! ! ! Signature! ! ! For!office!use!only! ! Name!of!!researcher!taking!consent!………………………………………….!! Date!………………………………………! ! Signature! ! *

Student'Ethical'Toolkit,'version'2' 24.10.2011'

!

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Ethical  Clearance  Checklist  for  individual  student  projects  

Nottingham  Trent  University   School  of  Art  and  Design    

  To   be   completed   by   the   student   for   an   individual   project   that   involves   the   collection   of   primary   data   this   includes   images,   drawings,   photographs,  questionnaires  and  interviews.  Please  complete  this  document  following  the  guidance  in  the   School   of   Art   and   Design   Ethical   Guidelines  and  Framework  for  Research  and  Practice  Undertaken  by  Students.    

Section  A:  About  the  research  

  Name:   Programme  of  Study:   Module  Title  and  Reference  Number:   Name  of  module  leader/supervisor  responsible  for  the  management  of  the  project   Duration  of  project   Project  title    

BETHANY  BRANDON  BLATCH   FASHION  MARKETING  &  BRANDING   FASH30004:  RESEARCH  PROJECT  –  STAGE  1   SUE  SMEDLEY-­‐ROBERTS   8  WEEKS   THE  WORLD  OF  ZOOGLIES  RESEARCH  STAGE  1  

Section  B:  Training  and  experience  

  Have  you  had  previous  experience  of  or  been  trained  in  the  methods  employed  to  collect  data,  and/or  discussed  with  your   yes   supervisor?   Have  you  been  informed,  given  guidance,  had  issues  outlined  in  relation  to  research  ethics  and  consideration  in  relation  to   yes   your  project?    

no   no  

Section  C:  Methodology/Practice/Procedures  

  Does   your   proposed   study   involve   procedures   which   are   likely   to   cause   physical,   psychological,   social   or   emotional   distress   t o   yes   participants  or  yourself?   Does  your  proposed  study  involve   the  use  of  hazardous  materials,  other  than  those  currently  covered  by  the  School  Health   yes   and  Safety  procedures?    

No   no  

Section  D:  Ethical  checklist  

  Does  your  project  involve  observing/questioning/the  use  of  people  in  any  way?   Yes   Please  complete  the  remainder  of  the  form   No   Go  straight  to  Compliance  with  ethical  principles  and  Declaration   Does  your  study  involve  vulnerable  participants  as  described  in  the  Student  Ethical  Toolkit?   yes   no   n/a   Does  your  study  involve  observation  and/or  recording  of  identifiable  participants  without  their  knowledge?   yes   no   n/a   Will  participants  give  informed  consent  freely  and  be  fully  informed  of  the  study  and  of  the  use  of  any  data  collected?   yes   no   n/a   Will  participants  be  informed  of  their  right  to  withdraw  from  the  study?   yes   no   n/a   Will   all   information   on   participants   be   treated   as   confidential   and   not   identifiable   unless   agreed   otherwise   in   advance   yes   no   n/a   and  subject  to  legal  requirements?   Will  any  recordings  of  participants  be  securely  kept  and  not  released  for  use  by  third  parties?   yes   no   n/a   Will  storage  data  comply  with  the  Data  Protection  Act  1998?   yes   no   n/a     If  you  have  selected  an  answer  shaded  in  grey,  you  must  submit  a  full  application  to  the  Subject  REC  or  modify  the  project.    A  full  submission   to   the   Subject  PREC   comprises   of:   this   form,   a   project   proposal,   an   additional   statement   of   up   to   500   words   outlining   the   ethical   issues   raised   by  the  project  and  the  proposed  approach  to  deal  with  these.    

Compliance  with  Ethical  Principles  

If   you   have   completed   the   checklist   to   the   best   of   your   knowledge   without   selecting   an   answer   shaded   in   grey,   the   research   is   deemed   to   conform  with  the  ethical  checkpoints  and  you  do  not  need  to  seek  formal  approval  from  the  Subject  PREC.   Please  sign  the  declaration  below,  and  lodge  the  completed  checklist  with  your  supervisor.    

Declaration  

I   have   read   the   Ethical   Guidelines   and   Framework   for   Research   and   Practice   Undertaken   by   Students.     I   confirm   that   the   above   named   investigation  complies  with  published  codes  of  conduct,  ethical  principles  and  guidelines  of  professional  bodies  associated  with  the  research   discipline.     Name  of  student:  …BETHANY  BRANDON-­‐BLATCH..……………………………    Signature  of  student  ……………………………………………………………………………….     Signature  of  supervisor/module  leader  ……………………………………………..…………………………..……….      Date  ………………………………………………………………..   Form  reviewed  October  2011,  final  copy  14.10.11    



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