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Virtuous Cycle

Object of Play

The goal of this game is to discover opportunities to transform an existing, linear process into a more valuable and growing process by taking a different viewpoint. This is useful in examining processes that are deemed “worth repeating,” such as the customer experience.

It might be a good time to play through this exercise if the current process is transactional,compartmentalized, or wasteful. Other indications are a group that is “navel gazing” and focused primarily on its internal process, or when there is a sense that after the process is complete, no one knows what happens next.

Possible outcomes include that the group may uncover new growth and improvement opportunities in an existing process by “bending it back into itself.”

Number of Players

3–10

Duration of Play

1–3 hours

How to Play

You will need a high-level understanding or documentation of the current state of things. Any existing, linear process will work.

  1. Introduce the exercise by “black boxing” the current process. This means that during the course of the exercise the group’s focus will be on what’s outside the process,not the fine detail of what’s going on inside the box.
  2. To make this visual, give each step in the process a box on the wall (medium-sized sticky notes work well) and connect them with arrows in a linear fashion.
  3. To start the exercise, ask the group to think about, to the best of their knowledge, what happens before the process: Who or what is involved? What is going on?  Repeat this for the end of the process: What comes after the process? What are the possible outcomes?
  4. You may ask them to capture their thoughts on sticky notes and post them before and after the process.
  5. Next, draw a loop from the end of the linear process back to its starting point. By doing this you are turning a linear process into a life cycle. Ask: “To get from here,and back again, what needs to happen? What’s missing from the picture?
  6. The group is ready to explore possibilities and opportunities. Again, sticky notes work well for capturing ideas. Have the players capture their thoughts along the line and discuss.

Summarize or close the exercise by generating a list of questions and areas to explore.  This may include looking at the internal, defined process for improvement ideas.

Strategy

Pick the right process to do this with. A process that warrants repeating, such as the customer experience, works well.  Knowledge creation and capture, as well as strategic planning, are also candidates.

Get the right people in the room. Some awareness of what happens outside the process is needed, but can also hamper the experience. One of the biggest potential outcomes is a visceral change in perspective on the participants’ part: from internal focus to external focus.

This game is credited to James Macanufo.

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Heart, Hand, Mind

Object of Play

The object of this game is to examine an issue from another perspective, and find significance in the issue.

Number of Players

1–10

Duration of Play

10 minutes to 1 hour

How to Play

1. Look at an issue, product, or course of action using these three lenses:

  • Heart: What makes it emotionally engaging?
  • Hand: What makes it tangible and practical?
  • Mind: What makes it logical and sensible?

2. List the characteristics or features that appeal to each lens.

3. Score the categories from 1 to 10. Evaluate strengths and weaknesses.

Strategy

Significant products, activities, and experiences appeal to a whole person; they “feed the heart, hand, and mind.” Use these three lenses as a means of finding, clarifying, or diagnosing the meaning of any endeavor.

The Heart, Hand, Mind game was inspired by Swiss educational reformer Heinrich Pestalozzi.

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World Café

Object of Play

What’s the difference between a business meeting and a conversation at a café? The World Café is a method for improving large-group discussion by borrowing concepts from the informal “café” conversations that we have all the time: round tables, cross pollinating ideas, and pursuing questions that matter.

As a conversational process, the World Café may take on many forms. Here is a “quick start” flow to consider, which focuses on the basics.

Number of Players

24–30 participants in groups of 4–5 at round tables

Duration of Play

1.5 hours

Setup

As the leader, you will need to find the “questions that matter” which will guide the rounds of discussion. A powerful question will be evocative and simple; it should be immediately tangible and relevant to a challenge the group faces. The group may focus on one question or move through a group of subsequent questions. For example, “How might we start having more real conversations with our customers?” may be enough to sustain three rounds of discussion.

Develop your questions that matter, and then focus on creating an inviting and hospitable environment for the event. This may not be an easy task in typical conference spaces.  Some things to keep in mind include the fact that round tables are better for conversation than square tables, and each table should be equipped with drawing supplies such as markers, flip charts, and/or paper tablecloths.

How to Play

The event consists of three 20-minute rounds of group discussion at tables, followed by a group synthesis. After each round, one person stays behind to serve as a “host” of the next round, while the rest travel to other tables as “ambassadors.” In this sense, participants have a chance to go “around the world” and bring their ideas with them from table to table.

During the rounds of discussion, encourage participants to link ideas from one round to the next.

Here are some things to consider:

  • Spend the first few minutes talking about the last conversation. The “host” can present ideas left at the table, and the “ambassadors” should talk about what they’ve brought from their respective places.
  • Leave evidence. Draw key ideas out on the table. For the next group to appreciate the previous conversation, they will need some artifacts to respond to and build on.
  • Connect diverse viewpoints and respect contributions. If needed, use a “talking stick” or button to manage each other’s input.
  • Look for patterns. By the second and third rounds, themes and larger patterns will emerge in the discussion. Encourage participants to look for these and make them evident by drawing or writing them toward the middle of the tables.

After the last round, it’s time for a town hall discussion to synthesize what the groups have discovered. Referring back to the questions that matter, ask what the answers were at the different tables, and how they are connected.

A community of practitioners maintains the evolving methodology, process, history, and design principles at www.theworldcafe.com.

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Make A World

Make a World by @benry

Object of Play

The Make a World game appeals to visual, auditory, and kinesthetic learners because of its layers of interaction. It’s useful (and downright fun) because it lets players imagine the future and take action to create a first version of it. All successful ventures start with a vision and some small, initial effort toward crystallization. Alexander Graham Bell’s vision for the telephone started as highly rudimentary sketches. The purpose of Make a World is to create a three-dimensional model of a desired future state.

Number of Players

8–20

Duration of Play

45 minutes to 1.5 hours

How to Play

  1. Before the meeting, determine a meeting topic. It can be any topic that would benefit from the group advancing it to a desired future state (e.g., “Our new branch location in Austin” or “Our future marketing strategy”).
  2. Tell the players the meeting topic and give them access to flip-chart paper, markers,sticky notes, pipe cleaners, modeling clay, magazines, index cards, tape—any art supplies available to help them “make a world.”
  3. Break the players into groups of three or four and give them 10–15 minutes to agree on a shared vision to make into a three-dimensional world. Explain that the world can include people, scenes, buildings, products and features, and anything they deem necessary to show an idealized version of the topic.
  4. Give the players 20–30 minutes to brainstorm the attributes of the world and physically create it using art supplies.
  5. When the time is up, give the players five minutes to create a slogan or tag line to summarize their world.
  6. Have each group showcase their “Eden” and give the others insight into what it offers. Make note of any recurring themes or parallel features in these “fantasy lands.”

Strategy

Any desired state can be visualized. The game isn’t confined to creating 3D models of widgets or parks or products or real estate. The “world” that players create could be anew landscape for a video game, a happier and more aligned team, a globally distributed supply chain, and so forth. The challenge for each group will be in the process of ideating and creating without shutting out possibilities. Encourage them to be expansive in their thinking. In this game, players are limited only by their imaginations and their art supplies.

The title of this game was inspired by Ed Emberley’s book, Make a World.

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Mood Board

Mood Board

Object of Play

The object of this game is to create a poster or collage that captures the overall “feel” of an idea. The mood board may be used throughout development as a frame of reference or inspiration. It may be composed of visual or written artifacts—photos clipped from magazines, physical objects, color swatches, or anything that communicates the overall flow and feel of an idea.

Number of Players

1–10

Duration of Play

30 minutes to 2 hours

How to Play

Although mood boards are common in design disciplines, creating a mood board does not require professional expertise. Any group that is at the beginning of a project may benefit from creating a mood board; all they need is the raw material and the idea to interpret.

Gather visual material from stacks of magazines, the Web, or even corporate presentations.Everything else—scissors, tape, blank paper, and flip charts—can be found in most office supply closets. Bring the group together around the materials and the theme that they will be interpreting. Here are some to consider:

  • “Our Culture”
  • “Next Year”
  • “The New Product”

Small teams may co-create a single mood board from individual contributions; larger groups may interpret the theme separately and then share them with each other. It’s Important that every participant gets a chance to contribute elements to the board and to explain their imagery.

Strategy

When participants are selecting and contributing elements to a board they are best advised to do so “from the gut” and not to overly rationalize their choices. A mood board is an artifact that captures the “feel” of an idea, not a comprehensive description or a requirements document!

The game is complete when the board is complete, but the board should live on after the process. It is invaluable to keep the board visible and persistent throughout development.

Mood boards are a traditional design practice and are often a feature in the architectural practice called charette—an intense period of collaborative group design activity around a shared goal.

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The Blind Side

Object of Play

Every human being has blind spots and every company does, too. Knowledge openness can enhance businesses and relationships while knowledge blindness can make things unnecessarily more difficult. In other words, what we don’t know can hurt us. The military refers to this as “the fog of war.” The premise of this game, therefore, is to disclose and discover unknown information that can impact organizational and group success in any area of the company—management, planning, team performance, and so forth.

Number of Players

5–15

Duration of Play

30–45 minutes

How to Play

  1. Before the meeting, decide on a topic for discussion. Draw a large-scale profile of a person and draw four arrows coming out of the top of the head. Label those arrows “Know/Know”, “Know/Don’t Know”, “Don’t Know/Know”, and “Don’t Know/Don’t Know”.
  2. Give the players access to sticky notes and markers and tell them that the purpose of this game is to try to make explicit the knowledge they have, and the knowledge they don’t have but could use.
  3. Start with the Know/Know category. Elicit from the group all information about the topic that they know they know. This category should go quickly and should gener- ate a lot of content. Ask the players to write one bit of knowledge per sticky note and cluster them near the arrow pertaining to that category. (They’ll do this for each category.)
  4. Next, tackle Know/Don’t Know. This category will go less quickly than the first but should still generate plenty of content. Again, ask them to cluster the sticky notes near the related arrow.
  5. Move to Don’t Know/Know. This information could be skills people have that are currently not used to solve problems or untapped resources that have been forgotten.
  6. Last, move to Don’t Know/Don’t Know. The group will be stopped here, possibly indefinitely. This category is where discovery and shared exploration take place. Ask the players provocative questions: What does this team know that your team doesn’t know it doesn’t know? How can you find out what you don’t know you don’t know?
  7. Ask the group what they can do to proactively address the distinct challenges of each category. Discuss insights and “aha’s”. Even if the players’ only revelation is that they have blind spots, this in itself can be a fruitful discovery.

Strategy

This game works best with a familiar team when the participants cross disciplines and responsibilities. Having a diverse group enhances the feedback loop for the Don’t Know categories, which are where the players are going to get stuck. They’ll be confident about what they know—and even about what they know they don’t know—but without an outside perspective, it’s next to impossible to declare what we don’t know we don’t know. The nature of this question warrants discussion and the solicitation of others’ observations.

Because this game has an obvious trust-building component, start by sharing easy information and move toward more substantive information depending on the players’ comfort level. Keep the group on business- or project-related topics and away from personal evaluations. Although The Blind Side can be used as a psychological assessment, the self-help applications of this game should be conducted outside the business setting, unless you’re dealing with the rare group that’s into that.

The Blind Side is inspired by and adapted from the Johari Window, a communication model developed by Joseph Luft and Harry Ingham.

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Making The Game Come Alive

The most exciting thing about gamestorming is the creativity it allows me. I’m essentially freed to create an experience perfectly suited for my audience. Because while the games the folks at Xplane have created are effective, they are still just “old standards.” They are like Monopoly® or Scrabble®. Everyone can play and everyone can enjoy. But when a game is created specifically for a situation or an audience, it can be truly magical and memorable

Recently I went to run a gamestorm for a friend. After years at an agency he helped found, he allowed his partner to buy him out and was now questing for the 2.0 of his career. So while many of the suggested games may have worked, the personal nature of his need to uncover his true passion and brand demanded something more.

Now this friend is also a musician. Okay, let’s face it — He’s an old hippie musician. He used to play in bands in the 70s, still shreds a mean guitar and quotes lyrics from America and stuff. So I knew that a game involving music would both intrigue and inspire him.

But music was just a mechanic. The game still needed structure. That’s when the idea of creating a game structured around a comeback album came to me.

Just like when creating songs, we would start out with what inspired us. We’d stay focused on business, but we’d talk about both our personal and professional inspirations. And from that we would derive the basis of song ideas or “riffs”. Then we’d group these elements into “chords” (artifacts), arrange our chords into “progressions” (nodes), create  “songs” (pattern recognition and door closing) and then identify our formula for a hit song (end game or goal).

Here’s a glimpse of the game we worked from:

The Comeback Album of The Decade Game

Object:

Famous rockstar agency principle and creative god, [redacted], has had a long and distinguished career in the classic rock powerhouse group, [redacted]. Now he finds himself out on his own ready to recast himself into the next chapter of his career. He’s in the planning stages of his big comeback album and we need to help.

The game will be broken into five distinct parts.

  • We will determine what riffs we want to hit (one hour)
  • We will establish “chords” for those life notes (half hour)
  • We will arrange the “chords” into hot progressions (half hour)
  • We will play with possible “songs” (half hour)
  • We will identify our formula for “hit” songs (half hour + after game assessment)

Part I:

Finding our Riffs: We put on post-up’s everything that we love in life and in marketing, whether we have done it or not. These will form our riffs for the song. This is beyond expertise. This is about the expanse of what we want stand for in life and work. (60 min)

Part II:

Next we will group the ideas into common themes and see what initial patterns are observed. We will also identify outliers and eliminate them from the discussion. Then once grouped, major idea groups will be assigned major power chords, while supporting idea groups will get minor chords. (30 min)

Part III:

Next we will arrange our chords into logical progressions and test to make sure that the chords work well together. As a mnemonic we will use actual guitars to test the chords and make sure the progressions make sense musically and make adjustments as necessary. (30 min)

Part IV:

We will then take items from each grouping to form our songs, mixing and matching across each progression to understand how each progression works and what it means to the song as a whole. Guitars may be used to play our songs. We will then test how one progression leads to the next and arrange the progressions in order of importance or impact. (30 min)

Part V:

We will finally have our discussions to start closing off the loops and identifying what is working best in an attempt to create our hit formula. Will use star-shaped post its to boil down the intent of each progression into an even simpler idea. The result being the “anthem” or brand essence of this new band will be. (30 min + after-session assessment)

Out of respect for privacy, I won’t share many details about how the game ran. But I can tell you that the day was a phenomenal success.

Using off-the-shelf post-up notes, post-up letters (to represent the chords), markers, star-shaped post-ups (to indicate our “hits”) and guitars, we were able to set aside the concerns of what he should be doing and get focused on what he should be feeling. In fact, the biggest patterns that emerged had nothing to do with the services he wished to offer. Instead, we found themes about ethics and employee relations that defined his personal fulfillment as coming more from being a leader than a doer.

Now I don’t want to fool you here. This game did not run perfectly. It was the first time I ran it and I changed plenty on the fly to keep it fresh and alive. When running a new game you have to expect things not to work. It also felt like there was a dead spot during the song writing because my own energy was flagging. (Note to self: afternoon pot of coffee and maybe skip lunch.)

But ultimately the game’s success is determined by the players enjoyment, not the game master’s sense of accomplishment. And on that front, it was a raving success. My friend could not tear his eyes off the wall. He wanted to keep it up for a few weeks just to contemplate it. And after I wrote my assessment and emailed it to him, I could see why. There was real direction hiding there in terms of what his next steps should be.

I also learned a valuable lesson about gamestorming. Since the concept was developed by artists, the examples of play given in the book lean toward the visual. But there are all kinds of games. And in our case, the game was auditory.

During our game there was a lot of repeating themes out loud and listening to them in musical form. The visual was still present, but the game was designed to stimulate the ears. And the resulting insights were things that needed to be said, rather than seen.

For me, this understanding of game structure helps me understand that there are five senses present with any player. Taking advantage of these senses in game structure and leveraging the most applicable ones, will always make the game more relevant and memorable.

Bob Knorpp is a marketing and advertising strategist. He is host of Ad Age Outlook and The BeanCast Marketing Podcast.

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Welcome To My World

Overlap Toronto

Object of Play

Many of us make the mistaken assumption that others see what we see and know what we know. No one in the world shares your internal system map of reality. The best way to compare notes, so to speak, is to actually draw an external representation of what you think is happening. Welcome to My World gives players an opportunity to better understand other players’ roles and responsibilities. It helps chip away at silos and introduces the novel idea that we may be seeing only one reality: ours. It helps immensely to show what we see to others so that we can start to share a reality and work on it together.

Number of Players

8–20

Duration of Play

30 minutes to 1 hour

How to Play

1. Give all players access to flip-chart paper, markers, and sticky notes. Ask them to take 30 seconds to write one of their job responsibilities (e.g., create the company newsletter or devise a marketing strategy for Product X) on a sticky note and stick it to their shirt.

2. Have the players wander around the room and pair up with someone whose job responsibility they’re the least familiar with or that they’re curious about. If you have an odd number of players, join them to even it out.

3. In pairs, ask the players to take turns drawing their best representation of how they envision the other person’s workflow around that job duty. They can use simple circles, boxes, and arrows to make flowcharts or they can get creative, but they cannot interview the other player or ask any clarifying questions while they’re drawing.  Give them 5–15 minutes to draw quietly.

4. When the time is up, give each player five minutes to share her drawing with the other person and describe what it means.

5. Then give the pairs 5–10 minutes each to clarify or agree on the realities of each other’s drawing. They should also take time to discuss where the areas of ease, friction, and interactions with others fall in the process. They can elaborate and draw on the other person’s visual at this point, or the original creator of the visual can add content as his partner shares.

6. Ask for volunteers to show their visuals to the larger group and to describe some of their insights and observations.

Strategy

To be maximally effective, this game has one requirement: the players should represent a range of positions or job responsibilities within an organization. The game rapidly loses its value if all the participants have the same, predictable workflow, like processing an undisputed insurance claim. The idea is to educate each other on the realities of their work duties and to help break down silos across organizational areas. Once the insights start coming out, this game can significantly increase the understanding and appreciation of others’ work. And it can be even more effective when you have players who have to work together but historically have had little insight into—or even patience with—their colleagues’ processes.

Most people feel comfortable drawing basic shapes and workflow-related diagrams since these are common in company life. If, however, players balk at having to draw, tell them they’re welcome to rely only on words, but they’ll miss an opportunity to make a simple picture of someone else’s “world” at work.

The source for the Welcome to My World game is unknown.

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Open Space

Meshforum 2006

Object of Play
Open Space technology is a method for hosting large events, such as retreats and conferences, without a prepared agenda. Instead, participants are brought together under a guiding purpose and create the agenda for themselves in a bulletin-board fashion. These items become potential breakout sessions, and participants have the freedom to “vote with their feet” by moving between breakouts.

Open Space was founded by Harrison Owen in the 1980s out of a desire to “open the space” for people to self-organize around a purpose. Many meetings and examples have been recorded at Openspaceworld.org. Hosting a small Open Space meeting is fairly straightforward, but requires an amount of “letting go” on the part of the organizer, who must recognize that the participants will develop a richer approach and solution to the challenge at hand.

Number of Players: 5–2,000

Duration of Play: A day or longer

How to Play

Setup: An Open Invitation
Perhaps the most important work of the organizer is developing a compelling invitation. The ideal invitation will frame a challenge that is urgent, important, and complex enough to require a diverse set of perspectives to solve. It might sound as simple as “How can we revitalize our city’s schools?” or “What’s our strategic direction?”

Create the Marketplace
At the start of the process, participants sit in a circle, or in concentric circles, to get oriented and start to create their agenda. Given the challenge of the meeting, participants are invited to come to the center and write out an issue they’re passionate about, and then post it on a “marketplace” wall with a time and place at which they are willing to host the discussion. All are invited to create an item for the marketplace, but no one is required to. Creating the agenda in this fashion should take between 60 and 90 minutes.

The “Law of Two Feet”
The breakouts then begin, typically lasting 90 minutes per session. Participants may organize their breakouts however they see fit; the host records the discussion so that others may join the conversation at any time. Participants are asked to observe the one law of Open Space, the Law of Two Feet, which asks that if you find yourself neither learning nor contributing, use your two feet to go somewhere else. In this sense, participants are given full responsibility over their learning and contributions.

Pulling It All Together
Breakouts may last for a day or more, depending on the scope of the event. Closing the event may take many forms, the least desirable of which is a formal report from the groups. Instead, return to the circle arrangement that started the event, and open the space again for participants who want to reflect on what they’ve discovered and their next steps.

Strategy
Keep in mind the four principles of Open Space that will help set the tone of the event:

1. Whoever comes are the right people. Passion is more important than position on an org chart.

2. Whenever it starts is the right time. Spirit and creativity do not run on the clock.

3. Whatever happens is the only thing that could have. Dwelling or complaining about past events and missed opportunities is a waste of time; move on.

4. When it’s over, it’s over. When a conversation is finished, move on. Do the work, not the time.

You can read more about Open Space at openspaceworld.org.

Open Space game rules been popularized and incorporated into many self-organizing events which are known under different names, most prominently BarCamps and Unconferences. The concept of Open Space was put forth in Open Space Technology: A User’s Guide, by Harrison Owen.

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Poster Session

Meshforum 2006

Object of Play
If a picture is worth a thousand words, what would 50 pictures be worth? What if 50 people could present their most passionate ideas to each other—without any long-winded explanation? A poster session accelerates the presentation format by breaking it down, forcing experts to boil up their ideas and then present back to each other via simple images.

Number of Players: 10–100

Duration of Play: 20 minutes to develop posters, an unlimited time to browse

How to Play
The goal of a poster session is to create a set of compelling images that summarize a challenge or topic for further discussion. Creating this set might be an “opening act” which then sets the stage for choosing an idea to pursue, or it might be a way to get indexed on a large topic. The act of creating a poster forces experts and otherwise passionate people to stop and think about the best way to communicate the core concepts of
their material, avoiding the popular and default “show up and throw up.”

To set up, everyone will need ample supplies for creating their poster. Flip charts and markers are sufficient, but consider bringing other school supplies to bear: stickers, magazines for cutting up, and physical objects.
Start the game play by first framing the challenge. In any given large group, you could say the following:

“There are more good ideas in everyone’s heads than there is time to understand and address them. By creating posters that explain the ideas, we’ll have a better idea of what’s out there and what we might work on.”

The participants’ task is to create a poster that explains their topic. There are two constraints:

1. It must be self-explanatory. If you gave it to a person without walking her through it, would she understand?

2. It must be visual. Words and labels are good, but text alone will not be enough to get people’s attention, or help them understand. When creating their poster, participants may be helped by thinking about three kinds of explanation:

Before and After: Describe “why” someone should care in terms of drawing the today and tomorrow of the idea.

System: Describe the “what” of an idea in terms of its parts and their relationships.

Process: Describe the “how” of an idea in terms of a sequence of events.

Give participants 20 minutes to create their posters. When they have finished, create a “gallery” of the images by posting them on the wall. Instead of elaborate presentations, ask the group to circulate and walk the gallery. Some posters will attract and capture more attention than others. From here, it may be worthwhile to have participants dot vote (see Dot Voting) or “vote with their feet” (See Open Space) to decide what ideas to pursue further.

Strategy
As a variation, the posters may be created in small groups. In this case, it’s important for the group to have decided ahead of time what their topic will be, and to give more time to come to a consensus on what they will draw and how they will draw it.

On a smaller scale, a group may do this around a conference table. A small group of experts may create posters to explain their different points of view to each other at the start of a meeting, to make their models of the world, their vocabulary, and their interests clear and explicit. Twenty minutes spent in this way may save the group from endless discussion later in their process.

The Poster Session game is based on academic poster sessions, in which authors of papers that are not ready for publication share their ideas in an informal, conversational group.