First a confession: I learnt this game in New Zealand from a Canadian lineage, and whether it was a conscious choice on the part of my first instructors, or just our slippery kiwi vowels, I’ve been playing it as Zip, Zap, Zup ever since and fighting a probably rather senseless battle to keep up that language while teaching in the United States. But after a quick search, I’m finding that apparently, I’m in a minority of possibly one. So, while it breaks my heart a little, I am reluctantly shifting to the overwhelmingly majority position, and offer you instead, Zip, Zap, Zop (even if that last word still sounds a little jarring to me)!
The Basics
Players form a circle…
Variation One – The Classic: Improvisers form a repeating sequence with the first player sending a “Zip” to another random player across the circle with a suitably clear hand motion and eye contact, who then sends a “Zap” to a new random teammate, who responds with a “Zop” to a third player who then, in turn, starts the sequence all over again. If a mistake is made, the ensemble applauds, and the game begins again.
Player A: (across the circle to F) “Zip.”
Player F: (across the circle to C) “Zap.”
Player C: (across the circle to K) “Zop.”
Player K: (across the circle to B) “Zip…”
Variation Two – The Double: Two sequences are now sent around the circle, although it’s crucial that both sequences stay connected and move on the same word. To begin, Player A uses both hands to gesture to and identify two different players and says “Zip.” These two new improvisers now send separate “Zaps” around the circle in the same rhythm so that two different performers have been clearly identified. These two selected players then continue the process by sending around individual “Zops” on the same beat. In the event that one person receives both tags at the same time (hence the importance of keeping both sequences in the same tempo), they repeat the starting motion of separating the threads by pointing to two new players and announcing the next word in the sequence. When a mistake is made, the ensemble applauds, and the game begins again.
Player A: (across the circle to F and G) “Zip.”
Players F and G: (across the circle to C and E, at the same time) “Zap.”
Player C and E: (across the circle to K and L, at the same time) “Zop.”
Player K and L: (across the circle…) “Zip…”
Variation Three – Trinities: This is a little complicated to explain in print, but the core of the game remains the same (as version one) in that sequences or trinities (such as Zip, Zap, Zop) are passed around and across the circle. In this advanced edition of the game, however, the key position is what I refer to as the “Zip” position as this player has several choices. First, they can defer to the base titular trinity and offer up a “Zip” with a clear gesture to another teammate who should then continue the pattern with the expected “Zap…” Or, the “Zip” player can offer up the first item of a new and previously undefined trinity. For example, they might introduce “Red,” and now the next two players get to set the other elements of the triad which might become “White” and “Blue” (colors), or “Browsed” and “Perused” (things one might do to a book), or “Flushed” and “Shy” (synonyms of embarrassed…). The key is that the first offer doesn’t mandate what the list might evolve into when other heads become involved in the process. Or, this “Zip” player can re-introduce a previously established unique trinity (such as those listed above) which then requires following players to add the existing elements already in play. Once this pattern of three has been completed, the new improviser in the “Zip” position now has the power to revisit old patterns or start a new one. When a mistake is made, the ensemble applauds, all the “original” trinities die (excluding the basic Zip, Zap, Zop), and the game begins again.
Player A: (across the circle to F) “Zip.”
Player F: (across the circle to C) “Zap.”
Player C: (across the circle to K) “Zop.”
Player K: (now in the “Zip” position, across the circle to B) “Car.”
Player B: (across the circle to D) “Bicycle.”
Player D: (across the circle to A) “Scooter.”
Player A: (now in the “Zip” position, across the circle to K) “Car…”
The Focus
Accept, exist in the moment, and keep the energy flowing and building.
Traps and Tips
1.) For all three variations. Don’t let the desire to get the game “right” interfere with or supersede the collaborative joy of the enterprise. In all three definitions, I’ve noted the importance of delighting in the fumbles by applauding when the game breaks down. (As you advance through the three versions, the likelihood of this happening increases exponentially!) It may prove helpful to emphasize good game etiquette during these restarts – such as making clear partner choices and passing the words with strong focus and articulation – but keep the mood light and playful. A simple gift of this game is that it provides a means for rehearsing how to embrace and accept mistakes with a light and forgiving touch.
2.) For the double. I can’t over-emphasize the need for establishing and maintaining a steady rhythm for this iteration. If the two chains start to operate independently of each other in terms of their pacing, they will quickly start to compete in a disorderly way that makes it essentially impossible to move forward, especially when one player ends up getting both threads at the same time only to find they’re now two different words (and even in a large group, this happens more than you might expect). Also, be on the lookout for moments when improvisers essentially tag each other – so Player A sends K a “Zap” at the same time that K does the same to A. In these moments (which happen more than you might expect), both players should now send a “Zop” to a new member of the circle to keep both sequences going.
3.) For the trinities. There are some tried and tested techniques that can help get this trickier version up and running. First, encourage players to utilize the base model of Zip, Zap, Zop if they feel the energy or attack sagging. This established trinity is a great way to build confidence and momentum, especially if you find yourself getting bogged down in restart after restart. Similarly, as new triads enter the mix, it’s a good default to “burn these in” by letting the same pattern move around the circle multiple times before changing it up again (as Player A has modeled in the above example by returning to “Car”). When creating new sets, be wary of circling around the same categories time and again. If we have one “modes of transportation” trinity, it can be confusing to follow it immediately with “Airplane” or use “Scooter” in another Muppets-themed run. (When a round ends due to a fumble, all previously used words are now wiped clean and are up for grabs again in new contexts, however.) There can be a tendency to want to sidecoach players who are struggling to remember a prior offering but just cue the applause of failure instead if the chain has clearly been broken as this is ultimately more helpful than creating a tepid warm-up where players become afraid of being wrong or corrected by their teammates. Also, new players can tend to shift between trinities somewhat randomly (rather than at that pivotal “Zip” moment). So be on the lookout for that slip up and cue the applause as necessary (perhaps with a quick explanation as to the nature of the infraction to clarify the rules of the game). And finally, a personal (perhaps minor) pet peeve: as your ensemble becomes more fearless, strive to avoid falling into non-lists as these don’t really satisfy the concept of brainstorming new trinities. (For example, “Red”, “A”,” “Book” is really a short sentence rather than three items that belong in some discovered shared category.)
In performance
It’s perhaps (ironically) fitting that this is one of the last new editions to the Game Library during this second go around as the original variation of this improv standard is probably one of the first exercises most improvisers encounter in the rehearsal hall. The two more advanced variants can help change it up a little while retaining the simple elegance of this improvisational rite of passage!
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Cheers, David Charles.
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© 2026 David Charles/ImprovDr (The first 2026 entry!)
Game Library Expansion Pack I
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