The presentation and re-creation of ancient Iranian stories through new platforms and formats adapted to children’s needs is an important topic in cultural and toy design. Iranian ancient literature, particularly its mythological and epic narratives, contains valuable cultural, ethical, social, and identity-related themes. However, much of this literary heritage continues to be presented in traditional formats and has received less attention in the form of interactive and creative products suited to children’s cognitive and behavioral characteristics.Transforming ancient Iranian stories into play-based products can therefore provide an effective connection between literature,culture, education, and entertainment

In this context, the story of“Haftvad”from Ferdowsi’s Shahnameh has considerable potential for transformation into an interactive toy because of its narrative structure, diverse characters, imaginative elements, and symbolic concepts. In addition to its literary and historical significance, the story contains visual and dramatic elements that can be transformed into game components, characters, settings, and narrative features during the product design process. Accordingly, this study proposes a model for designing an interactive children’s toy based on storytelling and shadow theatre. The model aims to utilize the potential of the Haftvad narrative while strengthening children’s connection with Iranian literature and culture through a participatory and play-based experience.

A key feature of the proposed design is the use of shadow theatre as a storytelling method. In this study, shadow theatre is not considered merely a theatrical tool but an integral part of the child’s interaction with the toy. The ability to establish meaningful interaction between children and toys is a fundamental requirement in the design of games and play products. Engaging multiple senses during play can make the experience more attractive, enjoyable, and meaningful. Children generally respond more positively to activities that allow them to touch, observe, manipulate, and directly experience objects than to situations based solely on observation.

The proposed design prototype is developed accordingly. Children can participate in constructing the narrative by moving characters, objects, and scene elements. By manipulating light and shadow, they can experience the story in a creative and alternative manner. Thus, the child shifts from being a passive recipient of the narrative to an active participant in the storytelling process.

This qualitative study is descriptive-analytical and applied in nature. Data were collected through library research and user behavioral observation. Existing toys and products related to books, storytelling, and shadow theatre were examined. The study population consisted of examples suitable for children aged 7–11 years that could be used independently without parental assistance. Selected examples were evaluated in terms of usability, functionality, aesthetics, and innovation to identify the criteria influencing the design of the final product.

The findings indicate that integrating traditional storytelling methods, particularly storytelling and shadow theatre, with contemporary toy design approaches can provide an appropriate basis for developing interactive cultural products. This combination preserves the literary and identity-related values of Iranian narratives while creating an engaging and participatory experience suited to children’s characteristics. The proposed model can therefore offer an innovative approach to designing toys based on Iranian literature and culture and can contribute to introducing traditional and mythological Iranian stories to children through formats extending beyond conventional storybooks.

The main characteristics of the proposed interactive, story- and myth-based shadow puppet theatre include:

Simple and relatively easy performance by children;

Easy access to the materials and tools required for the performance;

Integration of several artistic disciplines within a child-appropriate product;

Facilitating interaction and communication among children and promoting a “child-to-child” model;

Strengthening cooperation, participation, and teamwork.

The proposed model also has potential for technology-oriented development in future studies. For example, QR codes could provide access to audio versions of the story, narration, or naqqali, the traditional Persian storytelling practice. Technologies such as accessible augmented reality, extended reality, and generative artificial intelligence could further create new, multifunctional, and innovative experiences and expand children’s interaction with narrative content and toys.

The study also offers implications for parents, educators, and game and toy designers by emphasizing the underexplored potential of interactive and multisensory toys. Applying design thinking to toy development can lead to products that, beyond entertainment, provide educational, cognitive, creative, and social opportunities for children.

In the book illustrations, relief motifs and representations of real places were used to emphasize the historical aspects of the story. This approach can strengthen the relationship between children, the mythological narrative, and its historical context, while introducing them to aspects of Iran’s cultural and historical heritage

Finally, it is recommended that the designed toy prototype be empirically evaluated among children aged 7–11 years to assess interaction, engagement, ease of use, and the quality of their multisensory experience. Such evaluation could identify the strengths and weaknesses of the proposed model and support its refinement based on end-user feedback. Due to the temporal and methodological limitations of the present study, this stage could not be conducted within the current research and is therefore proposed as a direction for future studies