The House of Nerdery and Curios

Brian Sutton-Smith, in The Ambiguity of Play, identifies seven “rhetorics” or perspectives on play that reflect different ways societies understand, value, and use play. These rhetorics, divided into ancient and modern discourses, highlight the complexity of play and its varying roles across cultures and historical periods. I’m interested in the way that each of Sutton-Smith’s rhetorics surfaces in tabletop roleplaying games (TTRPGs), which help to reveal why TTRPGs are such a compelling, layered, and meaningful form of play, but also how design can lean into the models of play to make experiences more engaging, immersive and rewarding.

Ancient Discourses of Play

Each of these rhetorics provide more or less prevalent cultural perspectives on the meaning and purpose of play:

1. The Rhetoric of Fate
   • Play as a way to engage with forces of fate or destiny. Examples include games of chance, gambling, or rituals involving luck, which reflect a belief that play can reveal or influence one’s fate. In ancient cultures, such as Greek or Roman societies, dice games or augury were seen as ways to glimpse the will of the gods. This rhetoric emphasizes the unpredictable, sometimes mystical, power of play to shape outcomes beyond human control.
2. The Rhetoric of Power
   • Play is a means of demonstrating or negotiating power, hierarchy, and dominance. This includes competitive sports, martial training, or mock battles, where the goal is to assert strength, skill, and authority. Historically, power-oriented play was common in rituals and ceremonies that established social rank or prepared individuals for roles in society. Examples include gladiatorial games or jousting tournaments, where status and honor were key.
3. The Rhetoric of Communal Identity
   • Play as a means to build and affirm group identity, solidarity, and shared values. Communal games, festivals, and traditional folk games bring people together, reinforcing social bonds and cultural heritage. In many indigenous and rural communities, play helps pass down traditions and values, strengthening group identity through collective participation.
4. The Rhetoric of Frivolity
   • Play as purposeless, whimsical, or foolish behavior that defies order and discipline. Frivolous play is seen as a form of escapism or release, breaking away from the norms and responsibilities of everyday life. This view is particularly visible in carnivals, parodies, or absurdist forms of humor, where play becomes a way to indulge in chaos, absurdity, or harmless defiance.

Modern Discourses of Play

5. The Rhetoric of Progress
   • Play is seen as a developmental activity, especially for children, that fosters learning, growth, and skill acquisition. This rhetoric is central in fields like education and psychology, where play is valued as a means of advancing cognitive, social, and physical development. Games and activities designed to teach, problem-solve, and explore creativity fit this perspective, highlighting the belief that play has a constructive, goal-oriented purpose.
6. The Rhetoric of the Imaginary
   • Play as a realm of creativity, imagination, and storytelling, where players explore new worlds, characters, and identities. This is particularly prominent in narrative-driven games, role-playing games, and artistic expression, where play provides a safe space for experimentation and fantasy. The imaginary rhetoric emphasizes the idea that play allows us to transcend reality, exploring alternate possibilities and expanding our creative capacities.
7. The Rhetoric of the Self
   • Play as a form of personal expression, fulfillment, and identity exploration. Here, play is seen as a means for individuals to discover themselves, explore their interests, and experience freedom and autonomy. The rhetoric of the self is often associated with leisure activities, solo hobbies, and self-directed play, reflecting a view that play is a deeply personal and meaningful way to engage with oneself.

Understanding the Rhetorics of Play for RPGs

Each of these rhetorics of play can be seen within the context of TTRPGs:

Ancient Discourses of Play

1. The Rhetoric of Fate
   • Dice rolls or other methods of randomisation as part of the core mechanics of TTRPGs. Rolling dice (or using other random generators) introduces elements of chance and unpredictability, suggesting that outcomes aren’t fully under players’ control.
2. The Rhetoric of Power
   • Power dynamics in TTRPGs often manifest through combat, social interactions, power-gaming, min-maxing, and the accumulation of abilities or items. Characters frequently strive for power, whether it’s defeating powerful enemies, acquiring rare artifacts, or achieving influence within the game world. Noteable in TTRPGs with player-versus-player (PvP) elements.
3. The Rhetoric of Communal Identity
   • TTRPGs bring players together, often creating a close-knit group with shared memories, traditions, and experiences. Playing regularly with the same group fosters a sense of community, where players bond over shared challenges, victories, and even in-game rituals (like victory celebrations or character backstory reveals). This communal identity is often reinforced as players become “party members” or a “fellowship,” united by in-game objectives, but extending into real-life friendships.
4. The Rhetoric of Frivolity
   • TTRPG sessions include moments of frivolity, where players embrace humor, whimsy, or chaotic behavior. Some games explicitly encourage and lean into gonzo, absurdity and playfulness, but even in serious games, players may break from the plot for humorous banter, jokes, or lighthearted side-quests. Frivolity helps players unwind, reminding them that TTRPGs are, ultimately, about fun and imaginative exploration, even if they sometimes touch on serious themes.

Modern Discourses of Play

5. The Rhetoric of Progress
   • TTRPGs with leveling systems like Dungeons & Dragons or Pathfinder, highlight progress as players improve their characters’ skills, abilities, and resources. This growth reflects a journey from inexperience to mastery, rewarding players with a sense of accomplishment. For players who enjoy optimizing or “building” characters, this rhetoric offers a way to experience personal growth and achievement within the game world, mirroring the real-life satisfaction of skill acquisition.
6. The Rhetoric of the Imaginary
   • TTRPGs are perhaps the ultimate playground for imagination, where players collectively create fictional worlds, characters, and stories. Games like Fate or Dungeon World actively encourage players to contribute creatively to the narrative, adding elements of their own design to the setting. Role-playing games allow players to experience fictional scenarios and inhabit characters vastly different from themselves, giving them the freedom to explore and create in a boundless shared world.
7. The Rhetoric of the Self
   • Application: TTRPGs offer a space for self-expression and exploration, where players can explore different aspects of their personalities, values, or desires. By embodying characters, players can explore facets of their identity, work through personal challenges, or live out fantasies in a safe and supportive environment. Games that focus on personal growth, relationships, and character backstory, such as Monsterhearts or Masks: A New Generation, highlight this rhetoric by focusing on themes of self-discovery and personal journey.

Conclusion

Tabletop role-playing games are a unique medium where all seven of Sutton-Smith’s rhetorics of play can intersect, creating a complex, multi-dimensional experience. From the fate in a crucial dice roll to the exploration of self through character development, TTRPGs allow players to experience play as a space for growth, imagination, community, and fun. TTRPGs allow players to navigate and enjoy different aspects of play, making TTRPGs not only a form of entertainment but also a rich field for personal expression, social connection, and cultural exploration.