With several different businesses to choose from as you play through the game, players can gain insights into the differing impacts that an attack might have, and the various approaches that organisations might take to minimising the cost of an attack, and regaining access to their own data.

The Chat GPT component of the game gives players the opportunity to enter into negotiation with a ‘real’ (or real-time, at any rate), ransomeware organisation, while the cards are used to let players decide what actions they will take to resolve the situation, and how to spend their available cybersecurity budget.

James can come and facilitate this game in your organisation, as part of your security training provision. There are advantages to having an expert like James there to debrief the game, obviously, but mechnically, the game is simple enough to be run internally (subject to having a pro GPT account), once you know how to play. Get in touch with James via LinkedIn or check out his other services at the Bores Group Ltd website.

Also, don’t forget to book your place for the upcoming Play Secure Conference on the 21st and 22nd June, 2024. James has been running this for four years now, and it was this event which inspired the creation of this game. This year’s event is also dear to Ludogogy’s heart, as I’ll be speaking there on the use of ‘Keepsake’ Games for Wellness.

Show & Tell videos will all accumulate at the Show & Tell Page as they are published.

If you would like to appear in a Show & Tell episode, get in touch at info@ludogogy.co.uk

The post James Bore – The Ransomeware Game first appeared on Ludogogy.

This deck has been carefully crafted to enable facilitators and business leaders to pick through specifi business objectives and evaluate any inherent risk.

Guided by the cards, you will facilitate an holistic conversation around all aspects of the objective, while drilling into the potential impacts of going ahead. The group will consider the implications of a range of universal risk categories as outlined on the ‘Risky Business’ cards to fully understand, measure and mitigate the risks.

The process will help the group to identify the Strengths, Weaknesses, Opportunities and Threats contained within the objective and enable a confident transition to purposeful action.

Put simply, ‘Risky Business’ provides peace of mind when making those all important business decisions.

To coincide with each Show and Tell episode, Darren will be making the featured deck FREE for 30 days. So don’t forget to keep coming back to see what the featured deck of the month can do for you.

Free to use as often as you wish from the date this Show ‘n’ Tell drops, until early New Year (access via the ipsodeckso.com free membership option).

Ipsodeckso is a platform which is going to be of considerable interest to facilitators and coaches. It contains a number of great decks already, but also includes the capability for you to upload and use your own cards, for use on the same platform.

Show & Tell videos will all accumulate at the Show & Tell Page as they are published. You can also check out one of Darren’s games, ‘The Walking Dead’ which featured in a Ludogogy live play session.

If you would like to appear in a Show & Tell episode, get in touch at info@ludogogy.co.uk

The post Ipsodeckso – Risky Business first appeared on Ludogogy.

Luma World’s approach to learning through play aligns with contemporary educational theories that emphasize active engagement, problem-solving, and hands-on experiences as effective learning methods. Their games are designed to be age-appropriate, culturally relevant, and engaging for children, potentially making them a popular choice for parents and educators seeking to supplement traditional education methods with interactive learning tools.

Ludogogy has had the opportunity to play six of Luma World’s most popular titles, so here is a mammoth-sized review of all six.

Galaxy Raiders

for age 9+, 30mins, 2 – 4 players – A space-based game where players are trying to capture new planets and moons, while stopping other players from doing the same.

Teaches: Number operations, mental maths, resource management, long-term planning, reverse engineering and problem solving.

Galaxy Raiders consists of a number of hexagonal ‘planet boards’, marker pegs in four colours, an operation die, which shows all four basic maths operators and wildcard, cards with numbers on, ‘power cards’, which allow you to take actions which influence the game, and player console mats.

One more planet board than the number of players is used, and the winner is the first player to win two planet boards.

Players win a planet board by first ‘capturing’ the moons and then the planet. Each board has four moons and one planet, each with a target number on them.

On their go, a player rolls the die and uses that operator, and two of the number cards on their (openly displayed) player console, to achieve the target number on a moon or a planet (only after all four moons have been captured). They may then place a peg on that number position.

Power cards can be used to ‘Evict’ another player’s peg, ‘Replace’ another player’s peg with their own or to be able to use the ‘Any Number’ wild card in their calculation.

There are several additional rules around placing pegs and using power cards, which are dependent on game state (e.g. you can only replace someone in a planet if you have captured one of its moons), and it is these additional rules that make this more than just a game of mental arithmetic, and into one that requires strategic planning. This provides enough challenge for the older target age group, and will be fun also for adults.

The combination of the requirement for some quite complex thinking skills and a competitive ‘battleground’ will ensure that this game is replayable for some time to come.

The game is pitched at the 9+ age group and is very suitable for children at that age.  The planning and problem solving are the more complex aspects of the game, so it could be also be played in a ‘team’ format with younger children, with the younger child doing the calculations, and maybe an adult or older child taking the strategic planning role.

Overall an excellent game for school or home, to polish up those mental maths skills.

Crafty Puggles

for age 6+, 30mins, 2 – 4 players – Cute mole-like creatures attempt to be the first to reach hidden treasure by burrowing under the grounds of a stately home. A tile-placement and path-building game.

Teaches: Basic fractions, mental maths, pattern recognition, critical thinking, motor skills, creativity, planning & strategy

Crafty Puggles consists of a treasure game board on which square tiles are laid to create a path to the treasure. The square tiles are split into quadrants which are either mud (passable path) or grass (which block the path),and therefore also represent the fractions ¼, (a quarter mud, three quarters grass), ½ (50/50 mud and grass) and ¾ (a quarter mud, three quarters grass).

Each player also has their own ‘den mat’ where they can ‘bank’ tiles, and grow and use a ‘Puggle Boost’ feature, which allows them to play actions which affect their own or their opponent’s progress.

A fraction die is thrown to indicate which tile a player will take from the fraction. Each player is attempting to navigate from one corner of the board to the centre, and is therefore working within a quarter of the game.

An action die is also rolled and allows the player to; place a tile on an empty space on the game board (to, hopefully, extend your path), rotate a tile, either your own to improve, or your opponent’s to block their progress, move your puggle one step along the ‘Boost’, or move a ‘Hound’ playing piece (a blocker) to any blank space on the board, or to a tile showing the fraction you also threw.

The different mechanics of this game combine to provide a fun, engaging experience for young players, with just the right balance of acting to progress your own position and being able to use ‘take-that’ actions to mess with your opponent’s plans.

Playing this game will definitely flex skills in patterns recognition and in planning and strategy. The possible combinations of the two dice mean that players have to consider carefully from a large number of different play options, what will best move them towards their goal, encouraging critical and creative thinking.

The fractions offered in this game are quite limited, but that is appropriate for the target age group, and is more than made up for by the opportunities for strategic planning.

The fact that there are many combinations of possible actions, e.g. from the dice, and from the five possible options when you activate a Puggle Boost means that there is considerable replayability in this game, and it will keep young players coming back.

The ‘take that’ aspects of the game are a considerable source of fun and interaction, and will also be useful in teaching children how to deal with disappointment at having their plans spoiled.

Overall, I would recommend this game for 5 – 7 year olds, as a fun experience which also reinforces skills in planning to reach a specific goals through pattern matching. As a gateway game, it could be useful to teach the skills that could lead youngsters on to commercial tile-laying games such as Tsuro and Carcassonne.

Tsuro is available on Amazon

Carcassonne is available on Amazon

Guess the Fence

for age 8+, 30mins, 2 players – A game which uses the ‘Battleships’ mechanic of hiding your actions from your opponent, which you then have to deduce. Whoever first guesses correctly the shapes and positions of the fences built by their opponent, wins.

Teaches: Geometry, patterns, data interpretation and planning, imagination and creativity, taking calculated risks, visual reasoning, problem solving, communication, motor skills.

In Guess the Fence, each player has a board, which is hidden from their opponent’s view by a screen. Much like battleships, each player must position a set number of specific shapes on their board, and then attempt to find (by informed guessing) all their opponents shapes first, to win.

The shapes used are one each of: large triangle, square, small triangle and rectangle

In this case, the shapes are constructed from three different lengths of plastic ‘fence’, consisting of a straight length and a ‘vertex’ (a small round hoop). The shapes are built by laying the fences on the board with the vertices corresponding to numbered circles on the board.

There are rules for construction e.g. only two fences can join at a vertex, a fence must start and end at a vertex etc.

Again, like Battleships, a player can mark whether their guess has ‘Hit’ or ‘Miss’ on a wipe clean marking sheet, and use the information gained from that to inform further guesses.

Battleships is available on Amazon

Unlike Battleships, the player can choose to make one of two kinds of guess on a turn. They may call out a numbered vertex. If it is a hit, they mark that in green. If a miss, in red. Or they may choose to guess a whole shape, by calling out all its vertices ‘Do you have a triangle at 3, 4 and 9?’. A hit here will give them 3 points and they can colour the shape in green on the marking board. A miss attracts a -1 score.

The jeopardy created by the possibility of losing points for a wrong shape guess introduces a interesting twist on the standard Battleship game, further emphasising the need to discover and correctly analyse information as well as simply scoring lucky hits.

This is a great game for developing visual reasoning, and data interpretation, including the pretty high order skill of extrapolating general principles from rules and applying them in differing situations. The geometry involved may be a little simple for the target age group but the overall experience provides opportunities for a pretty complex sessions of planning and problem solving, in order to play well..

At first glance, this game does not appear to have as much replayability as, say, Crafty Puggles.  But then I remember how playing Battleships with my dad kept me engrossed for years worth of summer camping holidays. It’s the intense competition that does it. And for the same reason it’s a game which parents can quite happily play with their kids too.

As the communication is deliberately kept to a minimum in a game of hidden information such as this, it is not an obviously ‘social’ game, but it does require clear and concise communication – in itself, a very important skill for youngsters.

Overall, I would recommend this game for parents and children who relish the opportunity to compete directly, and that it is very suitable for developing the spatial and visual reasoning skills of children between 7 and 10 years.

Lord of the Bins

for age 6+, 30mins, 2 – 6 players – Find hidden value in garbage. A game about sorting and recycling rubbish

Teaches about: Different kinds of waste, segregation and sorting, caring for the environment, sustainable cities and communities, responsible consumption.

Where my wider family comes from in the North of England, there’s a saying. “Where there’s muck, there’s brass”, meaning that there’s value in what usually gets thrown away. This is the premise behind this game. Junkland, where the game is set, is buried under a stinky heap of garbage, but the Lords of Junkland have realised there’s treasure to be found.

The major components of Lord of the Bins are cards; four different bin cards, eight Trump Trash Cards (yes, I know, I was thinking that too), and 60 trash cards representing different kinds of rubbish. Each trash card is numbered 1 to 9, where 1 is easy to compost or recycle, and 9 is difficult to do so.  Additionally, there are 25 yellow gems, 6 green gems (and a bag to keep them in),a key card token, a table listing all the different trash in the same four categories of the bin cards and a rather fetching raccoon hat.

Players hold hands dealt from a main deck of trash cards and trump trash cards shuffled together and each turn they take one more card from a ’marketplace’ of face-up trash cards. Depending on how many cards they choose to take and the current state of cards in the marketplace, they may also end up placing gems of marketplace cards, of picking up gems along with the cards they take.

Players then either play a single card (place it in its appropriate bin) or play a gem; an action which unlocks powerful strategic actions in the game, such as being able to play extra cards into bins.

Getting rid of cards is an important part of the game, as the winner is the player who has the lowest score when the game ends. A player’s score is the total of the numbers on all the cards still in hand.

The Raccoon hat comes into play as a punishment for being incorrect during a challenge. One player may challenge another if they feel that the first player has incorrectly placed garbage in a bin. The trash table is consulted to discover the truth of the matter, and whichever player was incorrect has to don the racoon hat and imitate a garbage eating animal.

Clearly, a player is likely to do better in this game, if they have a firm grasp on which garbage goes in which bin, and one of the main educational aims of this game is to get youngsters very familiar with these concepts. The raccoon hat provides an amusing way to inject some negative reinforcement into the game and discourage mistakes.

The rules of how cards can be placed into bins will also develop number sequencing skills, as players cannot place a card which does not ‘follow’ from one already placed.

This game has enough different combinations of components and therefore paths through the game, that it will remain replayable for some time, and I imagine that for the target age group of 6+, the raccoon hat itself will provide a sufficient to play this repeatedly even with, and maybe especially with, parents.

The strong narrative element of this game is also appealing to the target age group, with the winner being the victorious ‘Lord’ of Junkland, who has not only become rich, but done their bit to clean up the place they live.

The ‘challenge’ aspect of the game gives opportunities for considerable social interaction and will delight children, as there is always going to be someone who comes out of that looking silly in a raccoon hat.

Overall, as this game can be played by between 2 – 6players, I would recommend it both for home and the classroom for 6 – 10 y-o, where it could be used to support conversations around recycling and even housework responsibilities, and maybe for older end of the age group, around sustainability frameworks such as the SDGs.

Mystic Arts

for age 10+, 30mins, 3 – 4 players. A spell-casting game where players have to mix ingredients in the appropriate amounts and proportions to become the best wizard, or witch,  and win.

Teaches: Measurements, decimals, operations, conversion of units, mental maths, critical thinking, planning & strategy, decision making, focus

The theme of Mystic Arts will be very appealing to children drawn to Harry Potter and similar wizarding themed films and books. The aim of the game is to win by becoming the best potion maker. And as any witch or wizard knows, the key to great potions is accurate weights and measures.

The compact game is mostly card-based, and consists of three kinds. The first is ingredient cards – each ingredient also features a weight or measure (e.g. 1,800 ml of Honey Mead, or 2,300 mm of the Great Horn of the Dwarves). Spell cards endow actions that can affect the game, particularly to help you to win a potion by, for example manipulating a weight or measure. Potion cards come in two varieties, good potions and bad potions. Players must try to collect good potions while avoiding the bad ones.

When a potion is revealed, it will have a weight, a length and a volume. If it is good potion players will want to win it. They do so by selecting (in secret) one ingredient card from their hand which they hope will be CLOSEST to the same measurement unit on the potion card. If it is a bad potion, they will, conversely, choose an ingredient which they hope to be furthest away from the equivalent measurement on the potion card.

Players then reveal their choices, at the same time calling out the difference between their ingredient and the measurement on the potion card.

Spell cards can then be played to influence the outcome. For example a player who wants to win the potion may use a spell which exchanges their card with an opponent’s or changes the magnitude of their ingredient.

Play proceeds like this with the player who is the first to collect two good potions being the winner.

This game is very engaging – even for adults and older children. Due to limited access to very young children, my first playtest was with a 16 y-o, and we did choose to play it several times. The competitiveness and strategic aspects from the combination of using ingredients and spells to achieve your purpose, make it a balanced and fun experience.

The need to do conversion between different magnitudes of units (e.g. kilos and grams), in some cases, and to do rapid mental arithmetic, offer a good level of challenge to players, even those older than the target age. And the potential different combinations of cards that will come out in play, offering different experiences, mean that this game has considerable replayability.

Like all of the games reviewed here, (with the possible exception of Fracto), these games feel far more like commercial games that are intended for fun, rather than educational exercises which just happen to be games.

That is not meant to mean that they are not excellent educational tools – they are. It is rather a reflection of the skill of the designers to make great games, which children will want to play again and again, and which they will not see as ‘different’ from the other games that they play just for fun.

Playing Mystic Arts is a very sociable experience, because of the to-and-fro of trying to beat each other at winning (or losing) a potion, by using spell cards, if your initial ‘bid’ has not been successful. I would recommend for play both in the classroom, and at home, where it very well might become a family favourite.

Fracto

for age 8+, 15mins, 2 – 4 players. A game with 3 different variants, which focus on accuracy, speed and memory respectively. A card game of resource management in the jungle.

Teaches: Identifying fractions, operations with fractions, mental maths, visual reasoning, communication, strategy

Fracto offers three different card games in one compact box, containing 80 fraction cards, with the fractions shown in four different ways, as vulgar fractions (e.g. ⅔), in words (e.g. two thirds), as pictograms (e.g. one lion outlines and two full-colour lions, indicating ⅔) or pie chart or similar diagram.

In the first game WHOLE-IN-1, and in  DECK OF FORTUNE players win by discarding their whole hand. Cards can only be discarded in whole pairs (i.e both cards together add up to a whole 1). There are slight variations in the way the two games are played, so some players might find one more fun than the other.

MEMORY HERO is a variation on the whole pair theme, by incorporating a memory game too. Players have to make whole pairs but also have to remember cards that have been previously turned over in order to make more pairs than their opponents.

The game play of the suggested games is quite simple but appropriate for the 8+ target age, although they could be played with younger players too.

However the real value in these cards, I feel, is that they are a versatile set of components, which teachers, parents, and even children themselves could use to devise their own fraction based games, opening up possibilities, to not just become familiar with different ways of expressing fractions (which all these games do very well), but to explore higher order thinking skills of system design and critical thinking which games design requires.

Quality of Materials

The components of these games are visually appealing, and generally of high quality. The boards, in particular, are  and sturdy and durable. Tiles are likewise. Some playing pieces are made of cardboard, where they could have been more durable if made of wood, and the paper used in manuals can be a bit flimsy (but they are packaged in envelopes for protection). However, this is reflected in the very reasonable price points for these games, and on balance, it is better that the games are more widely accessible than that they are made of luxury materials.

The boxes are well designed. Everything has a place to be packed away neatly and there are smaller boxes to contain game pieces and components.

Many of the game guides also contain a QR code to access extremely well put together and informative video how to play guides

All in all, these games would be a high quality addition to your school or home educational game cupboard.

Check out reviews of other games, books and other game-related stuff.

The post Review – Luma World Games first appeared on Ludogogy.

The Great Christmas Deck has two types of cards. The first contains a series of light-hearted festive-themed questions to get your players talking and getting to know one another a little bit better. Find out who thinks that Christmas presents should all be homemade, or which members of your team love, or hate, marzipan. Perfect for getting the fun started at your office end-of-year get-together. And once the conversation is flowing abit you can throw in some ‘Warm and Fuzzy’ conversational interludes, inviting folk to share their favourite memories of this special time of year.

The second deck recreates the fun, and maybe frustrating, experience of solving a sliding tile puzzle. With a suitably Christmassy image as your target, you have to slide your cards around the Ipsodeckso table (no cheating by lifting and dropping, please) utilising the single space to manoeuvre all the card into their correct places to complete the picture. Don’t forget that you can duplicate the URL of your Ipsodeckso window as many times as you like – to get the same card selection and layout – so why not run this as a competitive team challenge.

To coincide with each Show and Tell episode, Darren will be making the featured deck FREE for 30 days (in this case, BOTH decks until the festivities are over, early in the New Year). So don’t forget to keep coming back to see what the featured deck of the month can do for you.

Free to use as often as you wish from the date this Show ‘n’ Tell drops, until early New Year (access via the ipsodeckso.com free membership option).

Ipsodeckso is a platform which is going to be of considerable interest to facilitators and coaches. It contains a number of great decks already, but also includes the capability for you to upload and use your own cards, for use on the same platform.

Show & Tell videos will all accumulate at the Show & Tell Page as they are published. You can also check out one of Darren’s games, ‘The Walking Dead’ which featured in a Ludogogy live play session.

If you would like to appear in a Show & Tell episode, get in touch at info@ludogogy.co.uk

The post Ipsodeckso – Double Festive Gift for You first appeared on Ludogogy.

Memory Lane is a deck made up of ‘Experience’ and ‘Timeline’ cards. Experiences are a number of different everday occurences or activities which all players will be familiar with, such as ‘Listening to Music’ or ‘Finding a Job’. The Timeline cards encourage conversations about how those experiences have changed over the lifetime of the players/learners. For example, they ask about your earliest personal encounter with the experience, or how you think it might look in the future.

Memory Lane is a great tool for facilitators to explore people’s readiness to accept change, and to make a start on helping an organisation to create a tailored approach to any particular change initiative,with consideration of their people’s attitudes and needs.

To coincide with each Show and Tell episode, Darren will be making the featured deck FREE for 30 days. So don’t forget to keep coming back to see what the featured deck of the month can do for you.

Free to use as often as you wish for 30 days from the date this Show ‘n’ Tell drops (until 24th November) (access via the ipsodeckso.com free membership option).

Ipsodeckso is a platform which is going to be of considerable interest to facilitators and coaches. It contains a number of great decks already, but also includes the capability for you to upload and use your own cards, for use on the same platform.

Show & Tell videos will all accumulate at the Show & Tell Page as they are published. You can also check out one of Darren’s games, ‘The Walking Dead’ which featured in a Ludogogy live play session.

If you would like to appear in a Show & Tell episode, get in touch at info@ludogogy.co.uk

The post Ipsodeckso – Memory Lane Deck first appeared on Ludogogy.

[ Download “Design Thinking - One Card Game” DesignThinking.zip – Downloaded 787 times – 102.55 KB

You can download Design Thinking for free, but making a small donation via Kofi will help to support Ludogogy, and make it possible for us to develop more games for download.

Design Thinking is a game about taking, and responding to a brief from a clent, which only requires the single card – and a few commonly found resources for your ‘design team’ – pens, yarn or string, beads and counters. Play it with your learners to sharpen their active listening skills, and as an introduction to an important aspect of Design Thinking.

The post Design Thinking One-card Game Download first appeared on Ludogogy.

You can download Meander for free, but making a small donation via Kofi will help to support Ludogogy, and make it possible for us to develop more games for download.

Meander is a game about Mindful Walking, which only requires the single card – and your imagination and willingness to play. You can play it in two modes. Question mode invites you to use the card and your walk to answer a question of significance for you, whereas Meander mode simply invites you to enjoy the experience of having your attention pulled from one thing to another as you walk.

The post Meander Download first appeared on Ludogogy.

The History of RPGs

Tabletop RPGs have a rich history, beginning with classics like Dungeons & Dragons (D&D), and evolving with new systems such as Powered by the Apocalypse (PbtA), Belonging Outside Belonging, and Wretched & Alone. These games invite players to create characters, navigate intricate narratives, and address complex problems.

The experience is immersive and personal, fostering strategic thinking, cooperation, and empathy among players. These characteristics make such games ideal tools for exploring the complexity, ambiguity and, often, the lack of a clear ‘win-state’ which come with real-life ‘wicked’ problems.

Although traditionally, RPGs have focused on high-fantasy or Sci-Fi themes and have involved combat scenarios, the systems and narrative themes are largely independent of each other, allowing the mechanics of such games to be applied to any theme or narrative. Indeed, more modern RPGs have made moves towards more personal and ‘identity’ related themes, moved away from combat (and toned down the fantasy, or merged it with mundane reality), and made efforts to reduce the complexity of games systems, to lower the barriers to access this kind of play.

As a result, we see games such as Dream Apart (belonging outside belonging in a Jewish shetetl in Eastern Europe), Night Witches (Soviet airwomen from the Second World War) or Sagas of the Icelanders (the world of the sagas in Medieval Iceland). Such games are based in historical reality and culture.

Yet other games seek to create experiences which put you in another’s shoes. Logan is an excellent example of this – where the player rolls (and roles) their way through an alternate version of the game designer Logan Timmins’ own life.

Logan is a solo experience – something which is more available now than in the days when D&D was the standard. But identity-based narrative is also available for groups who want to explore these themes of inner life and one’s place in the world, together, in experiences such as Monsterhearts or Chuubo’s Marvelous Wish-Granting Engine.

Translating RPG Mechanics to Learning Programmes

From a mechanical and system perspective, there are many aspects of RPGs which lend themselves to adaptation to ‘wicked’ scenarios and themes.

For instance, D&D’s alignment system teaches players about moral and ethical complexities by assigning their characters a moral and ethical stance.

D&D’s character creation system is a detailed process that encourages players to consider their character’s background, personality traits, ideals, bonds, and flaws. This system can be applied in a learning program focused on diversity and inclusion. Participants could create characters with diverse backgrounds and traits, encouraging them to step into the shoes of individuals who may have very different life experiences from their own.

There is now such a wealth of RPG systems, that if the character creation process of one does not suit your learning application, you can surely find another that will. For example, if assigning numeric values to traits and skills, as in D&D, is not appropriate, then the more narrative-based character creation process of PbtA games, very well might be.

Additionally, D&D’s leveling up system, which allows characters to gain new skills and abilities as they progress, can be adapted to represent professional growth in an organisational context,or any kind of developmental ‘journey’. Participants could ‘level up’ by acquiring new skills or knowledge or even attitudes and values, thereby reinforcing the importance of continuous learning and development.

PbtA games, on the other hand, provide robust, flexible mechanics that can be tailored to diverse themes and settings, challenging players to navigate complex systems and scenarios. For example, in The Sprawl, a PbtA game centered around futuristic corporate espionage, the mechanic of ‘missions’ can be adapted to learning programmes, projects or even causes (such as tackling poverty or climate impacts). Participants could be tasked with ‘missions’ that involve navigating a complex environments and tasks, reinforcing the importance of strategic planning and collaboration.

Skill checks, another RPG mechanic, require players to understand the interactions of various systems to make strategic decisions. This mechanic can be mirrored in programmes designed to address wicked problems such as climate change. For example, learners could ‘roll’ to see the effect of certain environmental decisions, helping them understand the interconnectedness of environmental systems and the far-reaching consequences of their actions.

Another key mechanic, cooperative problem-solving, encourages players to work together towards a common goal, reinforcing the value of teamwork and collective decision-making. This can be translated into learning programs to emphasise the importance of collaboration in addressing societal inequality, or other issues. For example, a scenario could be designed where learners, representing different strata of society, have to collaborate to bridge socio-economic gaps and improve societal welfare. The fact that most of the game systems are ‘theme-agnostic’ opens up a wealth of possibilities to tackle more or less any scenario you wish.

The Benefits and Challenges of Using RPGs in Learning

The use of RPG mechanics in learning programmes brings several benefits. It boosts engagement levels, encourages innovative thinking, and fosters empathy among learners. However, the challenges are also considerable. Acceptance, particularly among those unfamiliar with RPGs, implementation complexity, and time management can be potential hurdles.

To mitigate these challenges, it’s crucial to introduce RPG mechanics in a gradual, comprehensible manner, ensuring that all participants are comfortable with this unique learning approach. This could involve beginner-friendly sessions and pre-game workshops to familiarize participants with the mechanics, and using simplified RPG systems to start.

The newer, often independently published, RPGs, are an excellent resource to go to find inspiration for creating simpler RPG experiences. Many of these have deliberately sought to lower the player overhead in the learning OF the game, which from a learning perspective enables us to more quickly get to the point of learning FROM the game.

In comparison with the hefty manuals and endless tables of stats associated with RPGs like D&D, many of these games are expressed very briefly – sometimes on as little as a single page, and yet with carefully thought-out mechanics are able to create rich and impactful experiences for players.

Itch.io is a site well-worth getting to know if you want to dig up some inspirational indie gems.

Takeaways

The vast, interactive world of RPGs offers exciting opportunities for learning and development professionals. RPG mechanics can be a valuable tool in our quest to understand and address ‘wicked’ systemic issues. However, RPGs are not a panacea; they represent one among many innovative solutions. The path forward lies in continually pushing the boundaries of games-based learning, seeking new and imaginative ways to engage learners and equip them with the skills and knowledge they need to tackle our world’s most pressing problems.

The post Roll for Change: RPG Mechanics & Wicked Problems first appeared on Ludogogy.

Splatman is a social card game blending the visual essence of the Iconic arcade game Pacman with a game mechanic very similar to Poker. Each player is a bug exterminator with a mission to splat as many mutant cockroaches and ticks as possible, while clearing out bug eggs. This game is highly competitive while helping to develop a forward thinking, strategic mindset.

It’s also a great workout for everyone’s memory and an interesting test of communication skills! “I’m going up to the left of the tick!” “The bottom tick?” “No, the other tick!”

To coincide with each Show and Tell episode, Darren will be making the featured deck FREE for 30 days. So don’t forget to keep coming back to see what the featured deck of the month can do for you.

Free to use as often as you wish for 30 days from the date this Show ‘n’ Tell drops (until 24th August) (access via the ipsodeckso.com free membership option).

Ipsodeckso is a platform which is going to be of considerable interest to facilitators and coaches. It contains a number of great decks already, but also includes the capability for you to upload and use your own cards, for use on the same platform.

Show & Tell videos will all accumulate at the Show & Tell Page as they are published. You can also check out one of Darren’s games, ‘The Walking Dead’ which featured in a Ludogogy live play session.

If you would like to appear in a Show & Tell episode, get in touch at info@ludogogy.co.uk

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This quote from Salman Rushdie sums up really well why stories are so engaging to us, but more than that, there is a deeper idea that we tell story not just because they are fun, or because we like them, but because we need stories to explore who and what we are – in other words stories are tools for learning

Even bad stories grip us. How many times have you sat through a terrible film, just because you needed to know what happened in the end (I’m hoping the answer to that is ‘at least once’, otherwise I’m going to have to face the possibility that it’s only me who does this – and that I’m maybe the only person on the planet who knows what happens at the end of Thor: The Dark World.)

In this article I want to explore the Fantastic and Fabulous in Learning and Facilitation and by the end of this I’m hoping you will have the answer to the most important question of all

“And then what happened”

As well as being ‘the storytelling animal’ it’s also often claimed that humans are ‘Wired for God’ – that we are genetically and neurologically predisposed to spirituality

The jury is still out on this one, but it is certainly notable that the magical, religious and supernatural do seem to have a special place in the history of humanity’s attempts to understand, and explain the world, and explore our collective dreams and anxieties – from creation myths, to natural philosophy and alchemy, to the preponderance of UFO invasion movies in McCarthy era America, or radioactive monster movies in post-Hiroshima Japan.

While I was preparing for a recent session on this very topic, I was struggling a bit to find the right words to explain the power for learning that I have found in fairytales, sci-fi, fantasy and tales of the supernatural. And then I bought a book, in my local charity shop – a collection of short stories, edited by Neil Gaiman and Al Sarrantonio. When I got it home, I read Gaiman’s introduction to the book

“It seemed to us that the fantastic can be, can do, so much more than its detractors assume: it can illuminate the real, it can distort it, it can mask it, it can hide it. It can show you the world you know in a way that makes you realise that you’ve never looked at it, not looked at it. G. K. Chesterton compared fantastic fiction to going on holiday – that the importance of your holiday is the moment you return, and you see the place you live through fresh eyes.”

Finding this was perfect, not just because it gave me the words I wanted, but because the way this incident made me feel, makes, very well, the ‘wired for god’ argument.

I’ve read up on the neuroscience of coincidence. I know which cognitive biases are in play – but it still feels like magic when just the right thing turns up at just the right time.

Stories: All New Tales is available on Amazon

To our initial storytelling question, the fantastic and fabulous add a second – “What If..?”

Most of you are reading this article, in this magazine, I imagine, because you believe that games and play have something special to offer in the arena of human learning.

There are obvious links between games and narrative – pretty much every game, except the most abstract will have narrative elements.

I am here to argue that among the already ‘special’ characteristics of games and play, story stands as something even more special, and that furthermore, that the fantastic and fabulous deserves special attention even within that already noteworthy realm of story.

Both stories and games are engines for experience. They both require the participation of a human or humans in order to come into being. Although someone reading a book or listening to the telling of a tale, may outwardly look like a passive consumer – that is far from the truth – they are exercising their imagination, bringing previous experience to bear, and constructing cognitive artefacts for sensemaking – sounds a bit like learning, right?.

If you are involved in games-based learning, and particularly in the design of games and play  experiences, you are probably well used to analysing and implementing play in a mechanical way. That is, mapping the mechanics of games to experiences that will effect learning. I think we can view and use narrative (without or without a game structure), in the same way.

So what do I mean by Storytelling ‘mechanics’?

First of all there are Narrative structures – you may have heard, for example of  The Heros Journey, or the Touchstone.

Narrative structures drive us down well-worn paths – in learning terms we can use them to guide learners in the directions we want them to go – they create expectations – the ‘threeness’ of fairytales, the beginning middle and end, the alternation of high points and low points in a narrative. Even people who have never heard the term ‘narrative structure’ will be consciously or subconsciously aware of ‘where the story is going’ because they have have been repeatedly exposed to this structures, in books, in fims, in TV.

Then there are various building blocks of story experience which as learning designers, we can use to draw (or obscure) attention, create flow, encourage participation or decision making, elicit emotion and so on. Here are a few:

The McGuffin (the object that explains why the characters do what they do, even though it has no intrinsic plot value), the foreshadowing of Chekhov’s Gun, the happy or sad ending, the twist in the tale, the ghost in the machine, exposition or lack of it – there are 1000s of these mechanics we can employ.

And together they build experiences – obviously there are similarly 1000s of these, but with reference to the fantastic and fabulous – the following are very notable.

• Allegory (including satire)– stories which have more than one level of meaning, most often religious or political. A famous example of this is Animal Farm, which is very different experience when one reads it as a child
• Metaphor (and analogy) – Exploring one idea as if it were (or were like) something else – the Dementors in the Harry Potter books are famously a metaphorical exploration of J K Rowling’s own struggles with depression.
• Archetypes – simplified representations of concepts, often in the form of characters. Fairytales, again, are stuffed with these – the wicked stepmother, the wise woman, the benevolent (or cruel) master, the innocent, the wolf.

From a learning perspective,in the areas that I work, (systemic wicked problems, sustainability and regeneration, diversity and inequality), there are three characteristics of the fantastic and fabulous which I find consistently useful:

Using magic – inviting learners to act as if magic really exists, frees the imagination, gives permission to be really ‘out there’ and reduces the negative impact of reality or ‘what we do now’ on ideation

Asking learners to explore difficult question, particularly when it might ask them to discover truths about themselves they might not want to face – can be largely defused if the conversations can take place outside of reality. For example, a conversation about racism, privilege and unconscious bias is much safer if it takes place in the context of society’s issue with ghosts who have not passed over, rather than a real scenario.

The TARDIS works really well as a representation of the point of this article. Not only is a well-known symbol of the one of the genres I’m recommending for you to play with, but it has one very important characteristic.

Like stories themselves it is bigger on the inside. And I remember on at least one occasion, the Doctor admitting, that he (he was a he at the time), had never been able to fully explore it.

Stories invite their participants to expand their boundaries to their own needs; to colour in the details with their own experiences. But as learning designers we have an even more expansive tool at our disposal – one that provides learners with an effectively infinite playground.

It is often said that you can gauge how well a writer (or filmmaker) has conjured the world in which their stories exist, by looking at the quality of (at least the best of) the fan fiction. Middle Earth, for example, or the United Federation of Planets is so rich with the potential of stories not yet told, that people feel compelled to add their own.

Through Worldbuilding we can invite our learners to tell stories of their own, and like the TARDIS, we will find that we now have something which is far too large to ever be completely explored.

The mechanism I use most often is fantastic and fabulous bottom-up world building; providing small details of a larger world which invite speculation about the larger culture, history, and systems and so on – as relevant to whatever learning is desired. The alternative would be top-down world building – which is a somewhat more time-consuming approach. It’s what happens, for example, when writers on long-running TV series work with a Bible, to ensure they don’t err from the established truths of the fictional world.

If you want to know about Worldbuilding – and particularly top-down WB, there’s no better place to start than Chapter 13 in Volume 2 of Design Unbound by Anne Pendleton-Jones and John Seeley Brown. The story of the Worldbuilding that preceded the making of the film Minority Report is just astounding.

Design Unbound is available on Amazon

We now have a third question to ask our learners. I usually find that my games and gameful activities ask these questions in the reverse order that I have introduced them here.

Introducing learners to the world you have built for them to play in first asks “If this is true, then what else does that tell us?”
Framing the learning in the context of that world then asks “What if…”
And finally, the invitation to exercise their own imagination and creativity “And then what happened?”

I have developed two decks of cards recently which use many of the principles detailed above

These two decks are very much an invitation to tell stories rather than being narratives in themselves. The first – The Museum of Impossible Objects represents some of the exhibits in a mysterious museum. Each card has an image, a label explaining the object, and on the other side of the card, some questions about the object – although your own questions (and answers) are also encouraged. The museum exists in a world where magic exists, where humans are not the only sentient species, where ghosts are an everyday reality and human technology and Fae magic sit side by side, sometimes within single products.

The second is a deck which was allegedly discovered in an architectural dig near Area 51. As nothing is known about the either the images or the text the cards contain, there are several theories as to what the cards might represent and they thus seem to be very versatile in use. Often teams get together to test popular theories about how the cards might work

You are invited to explore these decks (very briefly) now. Please feel free to pause the video at whatever point suits you to try out these two sample activities of how the cards can be used in learning settings.

Activity One (uses 4 cards out of the 52 in the Museum of Impossible Objects deck)

You are the curator of exhibitions. These four exhibits represent your potential choices for a central exhibit for the room you are curating. Pick one. What are the other exhibits which would complement it (either pick from here or from your imagination). What is the story your curated exhibition tells?

Activity Two (uses 4 cards out of the 54 in the Mystery deck)

One popular current theory about these cards is that they represent some kind of tool for using intuition and systems thinking for innovation. A ‘Tarot for Design’ if you like.

As a team you have been tasked with exploring this theory. There are 54 of them – here are a few for you to start with.

Think about the characteristics of the cards (colours, sides, markings, dots etc.) and the possible ways that they could be used (position, orientation, number, connections, number, stacking, turning, instructions, inclusion or exclusion etc.)

Maybe other resources are needed to use them – dice, counters, a board

What ideas do you about how the cards might work in this context?

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