(01) Imaginative and Human
Studio Ghibli is a Japanese animation studio dedicated to creating immersive experiences centered on human experiences. Their work focuses on what it means to be human — highlighting the indespensible value in the mundane.
Studio Ghibli is a Japanese animation studio dedicated to creating immersive experiences centered on human experiences. Their work focuses on what it means to be human — highlighting the indespensible value in the mundane.
The digital touchpoints to Studio Ghibli are scattered across multiple third-party sites, many of which are only offered in Japanese. This frustrates consumers when trying to find reliable content direct from the studio—leaving the consumer disjointed with a poor impression of the Studio Ghibli brand.
When leading strategy and UX research for this project, I decided we should unpack Studio Ghibli’s brand pillars as a means to better understand their market positioning and how they provide unique value for varying consumers. I identified three main pillars of: Purpose, perception, and position.
The digital touchpoints to Studio Ghibli are scattered across multiple third-party sites, many of which are only offered in Japanese. This frustrates consumers when trying to find reliable content direct from the studio—leaving the consumer disjointed with a poor impression of the Studio Ghibli brand.
Our aspirations for this project were lofty and unrealistic. My team followed assumptions which brought us into creating band-aid solutions. I refined our scope to address two primary business and consumer needs defined from earlier rounds of primary and secondary research. These require minimal invesetment while ensuring meaningful long-term engagement.
Following a series of interview with Ghibli fans, I found that many retain strong connections to the brand regardless of when they interacted with it, if at all. This continued appreciation of Studio Ghibli is where I proposed we intervene. We want to tap into the relationship that existing customers have with the studio to reignite their interest in Ghibli’s collection of work through further immersion into the brand and its products.
Upon landing, the experience offers key information optimized for both new and returning fans—guiding them towards their unique goals. Visitors are brought into Ghibli's cinematic atmosphere while being given options to discover exhibitions or studio workspaces, or learn more about their favourite films.
The strict amount of possible actions removes cognitive overhead by streamlining the user flow.
From the landing page, we offer the chance to experience exhibitions and actual Ghibli workspaces which were previously exclusive to the physical Ghibli studios/museum/theme park in Japan. Using the iconic Soot Ball characters to afford for interactions, we can guide visitors through the spaces, highlighting objects that inspired aspects of a film.
Interviews pointed to a desire for content relating to a film’s production, such as sketches and concept art. This valuable content previously kept from viewers creates a desire to revisit the site in the future. Fans can also discover more about films they previously watched—inspiring new ways to rewatch an old favourite.
Fans can also buy licensed merchandise here, which was almost impossible to do in the past.
One major issue was managing the abundance of Studio Ghibli material. I proposed a shallow site hierarchy for ease of navigation while suggesting we split into two streams of content for new(er) and returning visitors—exhibitions and films.
One stream connects viewers to previously inaccessible studio and exhibition spaces while the the other goes direct into Studio Ghibli's large catalogue of films. The experience is all tied together with delightful interactions and animations to support one's navigation through the site.
Existing fans lack engagement with Studio Ghibli beyond their initial interaction with films, or other products. Scattered primary and third-party touchpoints drive a wedge between the business and fans, leading to decreased revenue and an unfavorable perception of brand. How might we improve emotional interpersonal connection by creating a way for workers to communicate in a wordless medium?
Creating a highly polished experience design project with some of my best friends for one of our favourite companies was incredibly rewarding. Whether through Studio Ghibli-inspired lofi or poorly made memes (which I'll keep hidden..); we worked through countless hours without ever feeling tired.
I learned to trust my intuition, refer to primary and secondary research religiously, and be okay with making sudden large changes to make a better product.
I would not be where I am today without having met Russell Taylor. From my first failing grades (4 weeks in a row to be exact), my best friends, first relationship, and undying passion for design — I owe it all to Russell.
Thank you for being my mentor, thank you for being my friend, and thank you for never giving up on me. Rest in peace.
