Review: #71819 Dragon Stone Shrine - BRICK ARCHITECT (2024)

When I first saw #71819 Dragon Stone Shrine, the first question on my mind was whether was whether this was a set or a MOC (My Own Creation). It is packed to the brim with details, using creative piece usage to create unorthadox shapes to build a snarling dragon into a rock face. Given that The LEGO Group has a lot of experience creating successful LEGO sets, set designs tend to follow familar patterns.

While this is not a critique of LEGO designers, it is understood that due to limitations, certain builds are unlikely to become sets without major variations, as have been seen with some of the changes made to LEGO Ideas sets prior to release. This set is different though and immediately caught my eye. Given the unique MOC-like composition of this set, this article explores those design decisions and suggestions to leverage these techniques in your own builds.

Released globally on the 1st of March 2024, #71819 Dragon Stone Shrine stands out when compared to other Ninjago sets in its price and age category. Although being a 13+ set, some of the design choices and building techniques mirror those used in the adult line of sets, once again posing a question over how age classifications are determined. Coming with 1212 pieces, this set was released at a price of $119.99 (£104.99/€119.99) giving it a price per piece of 9.9c (8.7p/9.9c). While this set has a sizable number of pieces, the build itself is very compact, sizing at 35.4 x 37.8 x 9.4 cm (13.9 x 14.9 x 3.7 in), utilizing space efficiently while making for a sturdy build.

Colors

Colors are central to LEGO builds and are pivotal in achieving details in builds, but colors can also be used as a building technique. With Colour Vision Deficiency (CVD) affecting nearly 4.5% of the world’s population and with color contrasting being a factor that LEGO determines to adjust build difficulty the designers use colored filler bricks hidden within their build. Everyone makes mistakes when building with LEGO sets, or frustration kicks in when the piece you need cannot be found so by removing friction and improving the build experience by allowing you to easily find the piece and where to place it. While aiding in the build experience is the main goal, this is also a good opportunity to allow builders to pad out their collection with a plethora of different colored pieces that they may not normally get once the set is taken apart for pieces. This set makes use of this varied color scheme to its fullest, with almost all of the hidden pieces in this set being a rainbow of different colors, with surface level detailing being the colors of the main palette.

As has been seen in a number of LEGO sets now, the utilization of layering of colors helps create an illusion of depth for water based detailing. In this set 42Transparent Light BlueTrans-Light Blue tiles are layered over 37Bright Green plates for the shallow parts of the pond, with 26Black plates being used for the deeper portions. While not utilized in this build due to the size constraints, 28Dark GreenGreen and 141Earth GreenDark Green are also often used to help create a even more gradual change of depth. Although in this set we see straight 90 degree edges used as rectangular plates are used, you can also use wedged plates such as 72° 3×2 Wedge Plate, Left to give a more angled edge to the banks. As there are rocks in the water, the designers accentuated water current detailing by having 40Transparent Trans-Clear small pieces serve as bubbles. Both 1×1 Round Plate and 30° 1×1×2/3 Slope are pieces that accomplish this best.

As the build starts coming together you can see the brick color palette that was used in construction instead get replaced by the earthen rocky colors that make up the bulk of this set. When sets are built a core set of colors make up the base detailing, in this case being 194Medium Stone GreyLight Bluish Gray and 192Reddish Brown. These alone however are not enough to capture the range of aesthetics that colors can capture. To supplement this we start by looking at similar colors to the base to first blend it in. Since the two base colors are used to represent stone and wood those are the details the designers work with. To complement the stone we see 199Dark Stone GreyDark Bluish Gray and 1089Warm TanMedium Tan adding to the rocky stone accents. More natural detailing is accomplished through use of 330Olive Green littering the rockface, this representing moss. These colors seamless allow us to see a transition that is not jarring but also not monotonous at the same time, as just variety in pieces alone would not add the intended level of detail. When we look at the wood colors we see a similar thought process employed. We start with the base color and find complementing colors, in this case being 38Dark Orange and 308Dark Brown. Through the use of 6 colors alone as the main colors in this example we can already start to see this variety and blend come through. In the image below you can see how this when used in combination of vartying piece texturing helps build out the intended texturing. The rich use of color and pieces together is not something we see as often in sets, with many sets opting for flatter more muted surfaces with the occasional bit of variety for texturing. While repetition is not bad, it does showcase the different in builds as this set is not afraid to stack numerous different pieces and colors to create a dense but detailed build.

Motion and foundations

Where System works amazingly to build brick built structures and texturing it falls short when motion comes into play. This is one of ways that Technic shines. The Technic system was built with motion in mind and the blend of System and Technic in a build allows for motion in what would otherwise be a static build. While Technic is often attributed with motion it also is sturdier than pure technic builds, allowing it to play a crucial role in supports in System builds. In this set a series of Technic beams are used to allow a connected platform to sway back and forth. Pin connections have a large range of motion, with 360 degree action being possible should nothing stand in its way. While this normally would not be an issue, it can allow for unnatural motion should the designers with to limit the mobility of such a connection. In this set the designers could have limited this motion through use of the walls of the rock base, but instead a 1×2 Panel w/ 2-sides piece solves this problem by providing only a two stud wide range of motion as the end of the beams hits the walls. By limiting motion at the end it allows for smoother movement whenever the end of its range is met. The piece utilization here is an example of how the two systems connect with each other effectively.

System bricks can be built around the Technic mechanisms to hide what some of the unfinished look, showing how interconnected the two can be. A large number of Technic bricks have studs, allowing them to integrate with the brick-built System models seamlessly. A list of these can be found here.

Once the platform is put in place you can see the motion a bit more effectively. The beams here allow the platform to tilt each direction with just a gentle push. The build in question here is supposed to be a loose boulder that is balanced precariously on the rock below, with the boulder tilting as weight is put on either side. This simple play feature adds so much to the build and very effectively utilizes a small set of pieces to create motion. This demonstration in this set shows how we should not fear motion in other builds as they can easily be hidden and are relatively simple to put together. Even if play features is not something that one cares about in their builds, this Technic usage allows us to display the rocks at angles that would not be possible with System bricks alone, adding variety to the build. These unnatural angles are not often utiulzied in LEGO builds, with designers instead opting to use the conventional angles that LEGO bricks provide as the basis of their builds, adding to the differentiator that this set has from other sets.

With Technic detailing being hidden in this build that is not the only thing that is hidden. When building the top level boulder we again see the rainbow color utilized that we discussed earlier to enhance the build experience, but all of this gets covered up very quickly. The use of large slopes and tiles help not only cover up the interior of the boulder but also the Technic supports that were previously visible. This helps clean up the build significantly and helps create a more display piece aesthetic. Hiding detailing from all angles helps make this set displayable from all angles. Many sets opt to save pieces and instead have one side be pretty while the other side has the detailing visible, but that is not the case with #71819 Dragon Stone Shrine as this set is intended to be a display set.

Dragon’s head

Probably the most densely packed and detailed subcomponent of this build has to be the menacing Dragon’s head. The detail that gives this shrine its namesake. I previously mentioned how color is crucial to detailing and his build upon this, with 330Olive Green and 199Dark Stone GreyDark Bluish Gray once again complementing the base 194Medium Stone GreyLight Bluish Gray to bring the most of the detailing out. This time however the credit doesn’t go to color but instead piece usage. To help create the smooth texture the designers ensured that not a single exposed stud is visible from the top, with the exposed studs only existing on the side to serve as a scale like texture for the structure. The combination of smooth and stud exposed texturing adds to the rocky yet organic look, with 1×2 Gold Bar pieces utilized for fine nose detailing due to its indented patterns. While not an intended detail, the visibility of a injection moulding cut off point adds some detailing as well, adding to the irregularity. To create the rounded off organic shapes of the head the designers use a series of curved pieces that can be found here. In this build alone we see more then 10 different types of curved edged pieces, each with a different length and curvature to create the smooth patterns that make the head recognizable. LEGO’s constant improvement of the rich palette of pieces available allows almost anything to be built, as is evident in the shapes of this set. We are long past the days of using square bricks for all our builds.

The shapes and pieces required to accomplish the shape of the dragon’s head can only be accomplished using Studs Not On Top (SNOT) construction. A series of SNOT bricks and brackets allow you to attach pieces facing outwards. When you remove the top layer of detailing you can see the the structural detailing clearly. While there are other ways to accomplish this same goal, a set of pieces that can be found here are specifically designed to build this offset. This extra depth and angling allows for varied depth and shapes. When looking at the profile of the head you can see how t he smoothness of the various wedged piece helps create everything from the brow to the pinnae. It all creates an aesthetic flowing pattern while also looking jarring due to designers needing to ensure it doesn’t look to natural given it is carved into a rock face.

The achieve the arching curve of the dragon’s head, the base of the head is connected to the rocky bottom using technic pins, allowing its weight to cause it to lean forward at the desired angle. The head itself is movable until the clip and pin waterfall is connected to serve as additional support for this dense build. By ever so slightly tilting the head a new angle is created, similar to the angle created by the balancing boulder we built earlier which helps add to the appeal of this set. By having more irregular angles (from a LEGO building perspective) the more unique the set feels as we have become accustomed to the 45 and 90 degree angles LEGO normally allows.

Articulation

Angles and complex positioning is pivotal to LEGO, and this set continues to demonstrate its importance when building complex sets. While Technic is often attributed to motion and used for angled builds, as is evident in the head and boulder tilt, the same can be achieved in varied effect using System. To achieve articulation there are two categories of pieces that can be used. the first being pieces that bend or rotate, allowing for a wide range of angles, these being articulation pieces. The second being clip pieces, these being attached to a variety of bar pieces to create angled connections. Clip connections are the older of the two, with the first clip being introduced in 1978, matching the same connection type that is used in the LEGO Minifigure (which debuted the same year). The connection points in this set are effectively hidden using detailing pieces on the surface, allowing for a more fluid aesthetic when looking upon the build.

In this set both the articulation and clips category of of pieces are utilized to its fullest with the arm being a great example of this. While the elbow joint of the arm has no posability we see two ball joints at both the shoulder and wrist connection allowing you to turn each into whatever angle is desired. While the towball and joint connection allows you to position pieces at various angles, it is important to point out that there is not a 360 degree range of motion in all directions due to the way the connection is formed, however there is more than enough to meet the desired connections. The bar and clip connection is demonstrated in the arm through the use of claws. Unlike the towball joint connection this is more limited, only allowing you to spin the clip around the point of its connection, not perpendicularly. Between the two however you have almost all posability covered, with this arm being a great workshop on using both types of pieces for articulation.

Plant detailing

With earthen colors dominating the set, the 1White, 322Bright PurpleDark Pink and 222Light PurpleBright Pink leaves of the Cherry Blossoms immediately pop out and catch your eyes. These bright contrasting colors against the backdrop of this not only draws in your attention but elevates the rest of the build. The leaves itself are gbuilt using four types of nature themed pieces, utilizing pieces that are common across many LEGO built trees. The main pieces utilized are the common 6×5 Leaves and 4×3 Leaves to make up the bulk of the volume, with layering the dark color above the lighter one to add color depth. A second layer of detailing is accomplished through utilization of layering both 1×1 Plate w/ 3-Leaves and 1×1 Flower, 5-Petals on the exposed stud connections of the base foliage. When put all together not only does it add volume to the build, but also adds diversity in the plants, creating both a more varied building and viewing experience. The leaves themselves arent what drive all the detail though, as the creative use of Technic connections for the thin branches allow the branches to sprawl out at angles. Various Technic connector pieces such as Angled Connector #6, 90° are used to capture the angles of the branches. With 6 different angled joints of this piece existing, these being 180°, 157½°, 135°, 112½°, 90° and 120°, there is a large range of angles that can be built, something the designer utilized to the max with the stems. While the leaves themselves do not have technic connections the designers use a variety of different bar and clip pieces to make the connections, allowing for even more angling, with my favorite creative usage being with Bent Handlebar w/ Handle which uses the bar connection to connect to the leaves. This tree alone is a beautifully designed tree and demonstrates how breaking away from uniformity and building at angles helps replicate the irregularity that comes with nature to build great plants.

The snaking of the plant like shapes continue at the base of the structure with a lot of the same decisions used to build branches being applied for roots. We once again see Technic connections along with bar and clip joint connections used to build the roots at irregular angles, something that enhances the set. The roots alongside the rock look a bit messy and all over the place, but that is the intended goal, with nature taking the path of least resistance. The 192Reddish Brown color we saw earlier in the build is reinforced here with the roots, allowing you to see the gradual transition of color from wood to stone to its full effect, as the roots grow through the rocks.

The roots, the branches and tree trunk utilize a large number of different pieces to build the curved shapes and gradual tapering of thickness. Many of the pieces were initially designed for animal usage, whether it be Elephant Trunk, Cattle Horn, Long or even Tail, End. With the curvature of this piece we have slowly seen it be used for plants as well, showing the impact of a recolor. You can see a large number of these natural Barb, Horn and Tail pieces utilized in a variety of sets now for purposes that were not their initial design. With each of these pieces either having a bar or Technic connection they can easily be incorporated into existing builds through standard LEGO connections. The demonstration of how pieces can be used for their non intended purpose in this tree should encourage us to creatively think about all the connections and usage for our pieces, you never know what great creative builds can be done as a result.

Hidden details and interior

While the dragon itself gets a majority of the plaudits for its for its fantastic design, piece utilization and for being all around awesome, that is not the only detail in this set. When the set is turned and viewed from the back, nestled into an alcove behind the waterfall is a small tea room. This small room is where most of the stickered detailing can be found, with two stickered maps lining the walls of the room. Although the room itself does not blow you away in detailing both the upper and lower rooms are packed with small details. To help accomplish a varied floor texture, while allowing for space for minifigures to stand, a number of 2×2 Round Jumper Plate pieces can be found along the floor. This slight variation in height adds a bit of texture variety, especially when combined with the flatness of the tile and the closed surrounding studs. Of all the pieces that are used here my favorite is the 1×1 Round Plate w/ Bar piece, commonly known as the inkwell piece. Due to this piece having both a pin, bar and stud connection there is a variety of ways this piece can be utilized. In the tea room this piece is attached upside down to have the anti stud represent a tea cup, while in the lower room it is used as part of the scroll ends. This piece is also further used as a candlestick, highlighting some of the versatility this piece has for this set alone. This piece is a perfect example of how a small piece can add a lot of detailing, while not taking up too much space.

Hidden features are not new to LEGO, with this set being packed to the brim with some hidden details. While building up the set you see hidden color details and technic, but those are not the hidden features I am referring to, instead looking at Easter Eggs. In the base of this shrine, and unfortunately completely hidden upon closing it up is a genie lamp piece. The decision to include this is not explained but likely is a hidden lore reference that is explained in the shows (which I admittedly do not follow). The more obvious hidden detail however comes in the form of the manuscript that is hidden in the spine of the mountainous rock dragon. To open up this rock face the easiest way is to use your hands to pull off the sloped exterior, but if you look inside the tea room there is a hidden play feature whereby a recessed book can be pressed to pop open the back. The inclusion of these niche details focuses primarily on providing playability for children but also makes for a more diverse build experience for all parties. The hidden details always makes you look at a build and wonder “what may be hidden”, which adds to the mystique.

Included in this set are six minifigures, these being Master Lloyd, Kai, Nya, Euphrasia, Master Wu and Lord Ras (ordered in the pictures below). The first five of these minifigures are to date exclusive to this set, each donning a new print configuration to an existing character. Euphrasia is the only minifigure that is unique to this set alone. Each of the minifigures have both torso and leg printing, with each coming with a unique accessory for the character to hold. The variety of minifigures included cover a good spectrum, with there being no filler minifigures included to take up space. This adds to the desirability of this set. With each minifigure being a very different color in terms of base color, it allows for a very eye catching display once posed onto the scene, with each minifigure being quickly recognizable in the scene.

The diverse selection of minifigures and gorgeous finished build is enough to make this set stand out, but the most impressive part are the lessons in complex building techniques. With so many different techniques utilized throughout this build, it offers a uniquely approachable to learn andvanced techniques in a hands-on way. It also offers a good value, which is more common in sets based on non-licensed worlds like Dreamzzz and Ninjago. The model is very densely packed and you do not feel that there is a lot of filler pieces.

All things considered I give #71819 Dragon Stone Shrine a well deserved perfect score of 5/5 Stars (Must Have) rating. The designers constantly knock certain Ninjago line of sets out of the park when it comes to the full package and this is no exception. I highly recommend picking this set up as it has been one of the more enjoyable build and review experiences I have had with LEGO sets.

Given the challenges in designing an official LEGO set, having it look like an impressive MOC is high praise. #71819 Dragon Stone Shrine is yet another great Ninjago set for anyone to enjoy!

The LEGO Group provided this set for the purposes of this review. The opinions in this article are strictly my own—providing sets for review does not guarantee a positive review. Photos in this article are by Koen Van Der Hoeven unless otherwise noted. Visit the About page for more info about our journalistic standards and affiliate programs.