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  1. Naturally, we can surmise that Bionicle G2 ended for the same reasons all LEGO themes do—the theme was underperforming sales-wise. We can ballyhoo around exactly how badly G2 sold to warrant an early expulsion, but in my opinion the degree to which it failed to sell isn’t the important part. What everybody wants to know is why it failed to sell, or what factors the theme had that may have contributed to why it didn’t meet financial expectations. Most discussions surrounding why G2 failed are centred around G2’s story—don’t get me wrong, this is important. Yet, while we’re talking about the profit potential of a product (a product that isn’t a story, mind you), we should keep our thoughts reticent of the fact that most consumers who buy the sets don’t care about the story. Therefore, we should expect that the reasons why the sets failed to sell are unrelated to the story. I posit a few major reasons why the G2 sets underperformed; naturally, I have no evidence beyond the sets themselves and marketing materials already made public. However, even from those, we can gleam some picture of what didn’t work. For the most part, I’ll be staying away from directly comparing G2 to G1. When I do, it will only be to G1’s first two years (2001-2002); the only two years G2 got. Even then, I’ll only try to bring G1 up when discussing something about G1 that is demonstrably true (e.g. that the sets came in canisters, for example). The first factor is simply a lack of (effective) marketing. I’m not the first to mention this. G2’s primary marketing outlet was the Netflix show Journey to One. Ninjago was LEGO’s first (successful) foray into this medium, which demonstrated that TV shows were the way to hook kids on a long-running story. Heck, Transformers proved that in the ‘80s. There’s one caveat here though—on Netflix, the viewer must actively seek out the program. As a result, no kid is going to search for Journey to One without already having heard of Bionicle beforehand. As a result, Journey to One isn’t bringing new kids to the line—it’s trying to convince already-interested kids to stick with it. At that point, you’re relying almost entirely on word-of-mouth to generate interest. Contrast this to 2001-2002, which used traditional print ads (posters, cardboard standees), an online presence as a part of the fledgling internet (Bionicle.com, Bioniclestory.com, and the MNOG), a promotional campaign with McDonalds (the Tohunga), and a short comic book series. It all served to generate hype, and it worked. Even so, this says nothing about the quality of the marketing that’s being implemented. Journey to One does not actually seem to be poorly received (its IMDb score sits at 6.4/10 as of this writing, a smidge higher than the 6.1/10 held by the most eminently watchable Bionicle movie, Bionicle 2: Legends of Metru Nui) (1). However, many reviews were simply lukewarm (2). Even among the positive ones, not many of those reviews were enthusiastic—they recommended watching the show to support the theme (3). At that point, the show isn’t pulling its own weight—the brand is promoting it, it is not promoting the brand. Bionicle G2 also took on a concerted light-hearted tone. While not necessarily a limiting factor, a more mature tone had already become what was expected of the brand. Besides, that tone was part of what made the early years so much of a success. 2001-2002 marketed itself as a big kid’s toy (but a toy nevertheless). It was cool to like it, not hokey. The marketing (and sets) were designed with “Bionicle Boy” in mind; a kid who was going to show off how cool these toys were to other kids (4). With a campier tone, LEGO limited their ability to replicate that success. Additionally, what marketing G2 implemented was inconsistent. Its bright colours, campier tone, and less-lore heavy bent signaled out the theme as aimed at a younger audience—kids the same age as the ones who bought the original sets in 2001-2002. However, the theme also attempted to court older fans as well; using the name “Bionicle,” using the original six Toa’s names, having the masks of said Toa resemble their G1 counterparts, as well as hosting contests on BZPower, stronghold of the original G1 fanbase. While this double-barreled strategy could have worked (subsequently pulling both new and old fans together), what resulted was mixed messages. AFOLs were pulled in by the recognizable names and faces, but many felt they weren’t catered to by the rest of the marketing. Kids, on the other hand, may have felt left out, considering that Bionicle was not made into their brand—an older brother’s brand, perhaps, but not there’s. The second factor is that the new sets were sold at a poor price point, which isn’t discussed enough as a contributing factor to both G2 and G1’s demise. The 2001-2004 canister sets were cheap, about $8, depending on the wave (5). LEGO sets are an expensive toy as a rule, but one could enjoy most of what a wave had to offer with just one impulse purchase (as all of the old sets were clones), but if one wanted more there was more available (different masks, weapons, and colours for customizing). The 2015-16 Toa were all too expensive for an impulse buy at $20, so the first purchase was a big commitment; you either had to be aware of the theme or like it already, or you were taking a big risk wasting a lot of (your parent’s) money on a set you didn’t like. It wasn’t as easy to test the waters with the newer, bigger, (better?) Toa. Now, at this point, I’m sure someone out there is screaming at me about the Protectors. Yes, the Protectors were priced at an impulse buy price point. Why, you might be asking, does it matter so much for the Toa to be cheap when other cheap sets are available alongside them? Well, the problem has to do with disappointment. When you’re a kid in the toy store, and you’re looking up at that awesome big red Tahu with the swords and the lava board, you get disappointed when all you can afford to buy is the weeny red Protector next to him, who doesn’t have a unique mask and doesn’t even have a name. Your purchase doesn’t feel important, because you feel you’re missing out on the main draw (the Toa). The 2001 Toa didn’t have this problem because they were the main draw, and they’re the sets you’re expected to buy and be interested in. The final point is not so much a nebulous point as it is a very specific one. That being, G2 suffered from poor set-wave configuration. 2015’s winter wave tried very hard to recapture the feeling 2001 had—there were six Toa sets to choose from, along with a variety of little dudes. However, the subsequent summer wave was a huge misfire. Of all the G2 sets, it was the Skulls most reported to be shelf-warmers. And with good reason—skulls and spiders are cliché choices for theming villains, fit for Hallowe’en but not a great deal else. The same could be said of the beasts from 2016’s summer wave; Hero Factory had done a whole wave of Kaiju-inspired beasts only two years prior. By contrast, the Bohrok were arguably the best-selling wave from 2001-2002. This might not seem like a big deal (after all, all the other sets are quite solid), but what made G1 so successful in 2001 and 2002 was the one-two-three punch of the original Toa, the Bohrok, and the Toa Nuva. G1’s sales were declining ever since 2002 (6). Therefore, we can assume with reasonable confidence that these sets (especially the later two) sold very well to the point of overperforming (after all, the 2003-2004 canister sets weren’t bad, or at least they don’t read that way to me). Both 2001-2002 and 2015-2016 staggered their hero and villain waves (starting with a hero wave, and this is extremely important. The original Toa sets sold very well, to the point it would be unreasonable to say they sold out in many places (7). As a result, when new fans who were brought into the theme by the equally-popular winter wave Bohrok needed hero sets to fight them, the summer wave Toa Nuva sets were just what they needed. But without an equivalent to the Bohrok (both as villains and as just plain fantastic sets), G2 didn’t give consumers enough of a break between the original Toa wave and the revamped Toa wave. There wasn’t demand for the 2016 Toa as there was for the Toa Nuva because the original versions were still on shelves. Putting it this way, G1’s first three waves were all best-selling, well-received sets in their time. Yet, between G2’s first four waves, only two of them (the Toa waves) were marketable, and thus they were the only two that could even hope to be successful. Make no mistake, this was a death-by-a-thousand-cuts. Bionicle G2 probably could have afforded to make a one (maybe two) of these mistakes and survive as a less-than-stellar but still pretty successful theme. Rather, I think it’s a combination of all the factors that made it fail—much like how it was a combination of factors that lead the original Bionicle series to succeed. And none of this is to say that Bionicle G2’s sets were bad. I’m also sure that one of these factors probably did more damage than the other two, or that there are factors at play that I didn’t mention that we may not even know about. Whether Bionicle G2’s failure also served as the end of original constraction lines is still to be determined. We haven’t seen another LEGO original IP constraction line since G2 ended. Maybe that will change; maybe it won’t. In any case, there’s still a lot to be said about G1 and G2 that hasn’t been covered yet. Bibliography (in alphabetical order) (1) a. “Bionicle 2: Legends of Metru Nui.” IMDb, https://www.imdb.com/title/tt0387658/?ref_=tt_sims_tt b. “Lego Bionicle: The Journey to One.” IMDb, https://www.imdb.com/title/tt5075942/ (5) a. “Bionicle—Toa Mata.” Brickset. https://brickset.com/sets/theme-bionicle/subtheme-Toa-Mata b. “Bionicle—Bohrok.” Brickset. https://brickset.com/sets/theme-Bionicle/subtheme-Bohrok (7) Breen, Bill, and David Robertson. Brick by Brick: How LEGO Rewrote the Rules of Innovation and Conquered the Global Toy Industry. Crown Publishing Group, 2013. https://books.google.ca/books?id=OsyEX0nPkygC (6) Farshtey, Greg. “Post 7953744.” Official Greg Discussion Archive, 14 Nov. 2013, (4) Robertson, David. “How Bionicle Transformed LEGO's Company Culture.” Inc, 20 Jun. 2014, https://www.inc.com/david-c-robertson/how-bionicle-transformed-lego-s-company-culture.html (3) RRproAni. “Bionicle: The Journey to One review (spoilers).” Deviantart, 8 Mar. 2016, https://www.deviantart.com/rrproani/journal/Bionicle-The-Journey-to-One-review-Spoilers-595398632 (2) “Quick Thoughts on Bionicle: The Journey to One.” Jangbricks, 4 Mar. 2016, http://www.jangbricks.com/2016/03/quick-thoughts-on-bionicle-journey-to.html
  2. So today will probably be my last blog post until I either buy premier or next anniversary, I figured I'd cover some random topics. First off with random acquisitions: I have bought a Novelization of the Doctor Who episode the Sontaran Expirement recently, and a 1920s Buescher Grand Trombone about an hour and a half ago, more on both some time later. And as I haven't ever explained the schedule in band camp week 2 I will: 8:00-12:00ish: probably a bit earlier: marching, no instruments *break that is abnormally long this year* 3:30-5:00: sectionals break again 6:30-9:00 marching with instruments ...So much heat ;_; ... So yeah that's about it, basically will see you next blogging time. Oh, and you can expect me back sooner. =D
  3. This shall be the review topic for my humble little story that will never see the light of day beyond it's initial status on the comedies feed. Anywho, this review topic shall be used for discussion and idea submission purposes. By submission purposes, I mean adding a character into the story. It doesn't just have to be Bionicle. It can be Galidor, Ninjago, Ultra Agents, Hero Factory, you name it. My only criteria for that is that they have to be official sets. You can make submission for original characters if you want, but preexisting characters are far more likely to have a cameo or role in the story. Adios.
  4. This is a tale about two Matoran. They were also meta. Did I tell you that they are Matoran? Well, they're Matoran. Ah, there it is again... Matoran. AGAIN! Man, I'm good at this Matoran thing. Matoran. Oh! I almost forgot! Not only are they Matoran, they are meta! Alright, enough of that. This isn't just about Meta-Matoran, you know. The title can be misleading. Don't always trust anything that's written down. Life lesson right there. As the writer's mass-deprived hands reached down into the constraction parts pin, he continued on with the intent to construct a duo of memorable, poster-boy Matoran. Most of his constraction stuff by that point wasn't even his own design, so he sought to stop spending money on Protectors and design something himself. That's when it clicked inside his head. "That's it! I'll just take some uninspired inspiration from CallanLoF's minimalist Matoran designs! It'll be perfect!" thought the writer who's definitely not Professor Turnip. A few hours and a few quadrillion torso designs later, he had finally built his two poster-biomechanical beings. Their names soon came to be Lalex and Deklei. For the first few days after Lalex and Deklei's creation, the two were adored. I mean, seriously. They were displayed on the writer's desk so many times, you wouldn't believe it. That was until human psychology kicked in and stopped caring about the two, which led the writer to leave the two on a quaint display shelf next to all of his Monster Fighters sets. Little did he know, Toy Story rules apply to any hunk of plastic with a face. Or a name. Or the wishing for it to be alive. Alright, the rules are next to nonexistent, but the point still stands. Unfortunately, Lalex and Deklei were among the tens of tens of other, neglected models. Following that fateful day, Lalex and Deklei had attempted to make a life for themselves in this dystopia-for-toys known as the writer's bedroom. Needless to say, life was pretty tough out there. I mean, we've got Aldous Witch patrolling the place being all high and mighty. Ugh. (I hear Eljay wants to assassinate that guy...) "Deklei! Deklei! DEKLEI! OPEN YOUR VISION HOLES! WE HAVE TO GO TO THE DRAGON FIGHTS, REMEMBER?" screamed Lalex at the top of his lungs. "Alright! I heard you! No need to yell in all caps. Let's go, then." asserted Deklei. "Do you know about our method of transportation?" queried Lalex. "Why, yes I do. I could hardly forget about the fact that are walking there. It's really not that far." "Well, that would be right, but the minifigures are causing some major traffic in the Giant's Pass. We'll have to take a boat there." "A boat? Really? Couldn't we just catch the Ultra Dragon Bus?" "No can do. We don't have enough universe credits to hitch a ride on that thing. You spent it all on scarf made of pure silver, remember?" "Oh yeah, that. I guess you're right, though. That bus is too prestigious for a bus if you ask me about the prestigiousness of buses." "Must be pretty prestigious." "You have no idea. Anyway, how exactly are we going to the Dragon Fights again?" "Uh... we'll go through Giant's Pass." "Are you insane? The thing is still teeming with minifigures. Ain't no way we're going to go past them without being arrested for minifigure stomping." "Well... it's 10:45... and the fights have already started. The Pass should be at the very least 60% clear." After that unnecessarily long conversation, Lalex and Deklei bravely decided to go through the frankly deadly Giant's Pass in the hopes that they would make it through and catch the Dragon Fights before the irritating campaign ads for Kulta's potential presidential position. Writer's note: Will expand later.
  5. 11.29.13. Something old, something new. And here it is: the long-awaited (or maybe not, well, anyway) expansion pack to The Afterwords! Included in this DLC: the adventures of Pridak after DUD (Dark Unto Days), leading up to his appearance in The Afterwords Season 2. For more information, please read the Terms of Use...otherwise known as the comedy. Let us begin! The Life of Pridak Part 1: Not-So-Friends On the Front Lawn of the House… As he left the house that he’d come to know for so long, Pridak couldn’t help but wonder what he was leaving behind. Was it his friends? Pridak had no friends, especially after Mantax died - Irnakk was gone already, Takadox barely even counted, and Kazi was always busy with those other Matoran. Was it the house itself? Well, while it was the newest one built, there really wasn’t any time to enjoy it, for the sets kept fighting, burning the house down, and rebuilding it. Was it the possible hope of defeating Lewa Mata and ALMIGHTY? Pridak chuckled…as if there could be any hope of that. Pridak hated his life, he decided, turning around to face the street and leaving the property. TWO HOURS LATER Pridak was surrounded by a flurry of pink, purple, lime green and other disgusting girly colors. He didn’t remember exactly how it happened, but nonetheless he hated his life now more than he had with the war. He was stuck in a jail cell made of girly DUPLO blocks and locked together with SUPERGLUE. The cell was even bolted to the floor, so that the prisoner couldn’t break out. Who would do such a thing? Pridak wondered. Then he saw a face peeking through the trans-pink bars of the cell, and he screamed. The Friends minifigure giggled. “Hehe. You’re funny.” Pridak reached for his Squid Launcher, but it wasn’t on him. His eyes darted around the cell, and then went back to the “friend”. “Excuse me…little girl, but where is my little squid friend?” She giggled again, smiling. “My name is Olivia. And your friend? Oh…he’s getting a makeover.” Olivia pointed to a corner of the room she was in. Pridak gasped, then screamed. The squid was being dunked into a paint can full of pink paint, then it was laid on a purple piece of paper. A blonde “Friend” dumped a box of glitter onto the squid and lifted the squid once more, this time laying some SUPERGLUE on the paper and laying the squid on the SUPERGLUE. Olivia looked back at Pridak, smiling. “You’re next.” Pridak gulped. This is much worse than ALMIGHTY, right? Right? Pridak looked over at the squid, now being framed in a portrait. …I guess it’s comparable. Pridak cleared his throat. “Excuse me…can I have a cell phone?” “What for?” Olivia asked. “I need to call a friend…today’s his birthday.” Olivia handed him a “Friends” phone that was about the size of Pridak’s eye and made entirely of plastic. Pridak sighed. “A real phone would be nice.” Olivia hoisted a pink iPhone 5C over her shoulder (complete with a LEGO Friends case) and climbed to the top of the cell, dropping the phone in. At this point, Pridak realized that he could just climb to the top and escape, but he wasn’t done just yet. Pridak grabbed the iPhone and activated it, swiping up from the lock screen to reveal the Control Center, then activated the flashlight and pointed it at Olivia, blinding her and causing her to fall into the cell. Pridak did a flip, somersaulting out of the cell and onto the floor. He ran to the pink paint, trampling any of the Friends on the way, grabbing the can of paint and hoisting it into the cell. Pink paint leaked out from underneath as Olivia screamed, drowning in the pink paint. “NOOO! I JUST WANTED TO BE YOUR—“ She choked on the paint, and Pridak heard her burst into spare parts as her parts bounced off the cell’s walls. “I guess I’ll never find out what she was going to say,” Pridak muttered. He looked over at the squid, pink and glittery, then looked at the iPhone and picked it up. “Hello? Yes, I’d like to place an order for a replacement part…you want the number? How am I supposed to…appearance? Oh, it’s one of those squid things from the Barraki sets.” Pridak put the phone on speaker and set it down, pacing back and forth. "Um, we kinda ran out of those,” the service man said. “Would you like a flick-fire missile instead?” Pridak facepalmed. “Forget it.” He left the house, leaving the phone on and leaving the service man confused. “I have Meteor Spheres too! And even a complementary brain slug! Please, buy something…I have no life here…hello? Hello? Screw it, I really do have no life.” To Be Continued... How was it? ~LTW
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