Category Archives: Game

Induction Pranks of Passage TTRPGs

The Informant

GL is a long time tabletop roleplaying game (TTRPG) player with years of experience as a Game Master (a special role in TTRPGs). When I first asked about Induction Pranks in TTRPGs, GL had some time to discuss with some other members of the community before our interview.

The Text

The informant reports a few different induction pranks and common shared experiences that qualifies someone as a member of the TTRPG community, distinctly differentiating two sets between GMs and players. For Game Masters, the common experience is dealing with the first problem player, a whole subset of narrative genres emerging from this experience can be found on the subreddit r/RPGHorrorStories. The informant cites chaotic and evil player characters, which is a distinct tradition of D&D alignment stemming from Original Dungeons and Dragons. When he exchanges stories with other GMs, while telling success stories can be fun, tales of how terrible a particular player was to work with is an effective way of relating to each other. For players, while the informant reports that the community is generally averse to gatekeeping in recent years due to the nerdy and niche reputation and history the game has, he recounts how older players in the OSR community will put new players through the “death funnel,” a meat grinder dungeon that will kill several player characters to get the player accustommed to the brutal game style of older games. We discussed how this reflects a cultural shift in the TTRPG landscape in the modern age where players become more attached to their characters and think of themselves as the hero of the story whereas older D&D is more about the dungeon crawl, with any given character not expected to live through the story.

We then talked about unique signifers of the TTRPG player identity, such as maps and miniatures, which led to our discussion of how conversely, despite being a “tabletop” game, most TTRPGs can be played without a map or grid or any miniatures at all with the “theater of mind,” which we agreed was very unique to TTRPGs as wargames tend to rely on a grid or map and the miniature sets. Extending from that, we discussed how owning a set of dice can identify a TTRPG player, particular the 20-sided dice, which is hardly ever used for any other game and iconic to D&D. If someone owns a cohesive themed set of dice from 4-sided to 6, 8, 10, 12, and 20, then that is a sure certain sign of a TTRPG player. In a way, the moment a player buys their own set of dice instead of borrowing someone else’s indicates a commitment and thus induction to the community. The other example he talked about was creating one’s own first character, which players nowadays are more likely to be attached to as mentioned earlier. Even though the character may never be played in an actual game, a TTRPG player can likely be identified by their excitement to share their character ideas, character sheet build, or even stories involving that character from a game.

Analysis

This was a particularly interview as the informant came prepared, giving a blason populaire about his own ingroup of fellow GMs and particularly problematic players who play chaotic and evil characters, citing a specific experience that identifies a particular community. Older players also have an “induction prank” for newer players when playing older systems to shatter their idea of TTRPGs before welcoming them to the experience, but it’s also interesting to note that this hobby doesn’t try to gatekeep newcomers with anything that could be qualified as hazing. Aside from the “death funnel” and Gary Gygax’s Tomb of Annihilation dungeon designed to kill player characters, we both thought of a particular video as an another example of this “induction prank” in D&D: https://www.youtube.com/watch?v=OBmNThMZJ1U

“Off record,” he joked that the real hazing is letting new players play 5th edition (a particularly divisve version of the game he dislikes but is otherwise a popular gateway game), but he notes that many other players in the community would disagree with the sentiment of the joke. Noting the uniqueness of TTRPG dice sets, a rite of passage presents itself in the form of buying the first set of dice, an example of Stuart Hall’s reception with the expression of community membership identity performance via consumerism. We laughed about how cheap it is to actually buy a dice set (you can get like a pack of 10 sets of 5 dollars), but at the same time, nobody else would bother with buying such a set of dice.

Less materialistic indications of membership are player characters, where a newcomer exploring the hobby might borrow a prebuilt character while TTRPG players committed to the hobby will not only have the knowledge to build their own characters but be actively invested in them as a proxy of themselves that they would like to roleplay as. In a sense, this is akin to a fantastical identity localized within this particular hobby or at a particular table, and modern players who focus more on the epic narrative of a band of heroes on an adventure invested in the safety and prosperity of their characters as an extension of the performed identity of the self. This is comparable to the process of an initiation ritual for community membership.

TTRPG Dice Superstitions and Rituals

The Informant

E.T. is a long-time tabletop roleplaying game (TTRPG) hobbyist and player who has played in several games at real life tables using real physical dice that must be tossed by hand as opposed to digital random number generators. TTRPGs rely on sets of dice of various face sizes in

Text

Amongst E.T.’s collection of dice sets include favored dice sets such as his “pansexual dice.” He insists on carrying the dice, or else “they’ll misbehave.” He “trains” his dice, ritualistically pulling them out one at a time, grouping and categorizing them by face number. Then, all the die are placed highest number up to condition them to roll that number more in the future. He notes that he does not utilize “dice jail” that often, only when a particular dice is especially egregious for a session. Although he reports that trained dice tend not to perform that poorly, the pansexual dice notably acts up every now and then. He insists that training dice work due to the estimated measurement comparison where his digital dice underperform compared to his trained physical dice.

E.T. has a cat that passed away a couple years back, and he uses her food bowl as the “dice jail” for misbehaving dice. The cat had no quality that would help the dice rehabilitate, but it’s a sentimental use for the bowl he’s held onto since. If he’s hosting a game session with players he is not fond of, he will give them dice that have a history of poor performance. Apparently, it is necessary to keep them in specific bags along with charms for “positive vibes.” The favorite dice gets a more spacious satin satch instead of the usual velvet one. He also reports a friend and fellow TTRPG player who puts dice in a mason jar under the full moon to absorb of the power of the moon. This can be either to cleanse unlucky dice or to bless dice.

Analysis

Dice rituals and magic can be fairly easily categorized as Frazer’s sympathetic magic, particularly contageous magic that associates good luck with particular sets of dice. The process of trying to enchant dice by imbuing it with moonlight is contageous magic that attempts to rub off the cosmic force onto the statistical random number generator by association. The idea that dice can be trained to roll higher numbers simply by “conditioning” them with deliberate face placement as a ritual similarly hopes that the time spent on the face with the biggest number will persist in future uses of the dice. Conversely, dice with historically bad luck becomes stuck with the contageous misfortune until a conversion ritual is performed, such as with the mason jar and moonlight. As a fantasy roleplay game, the medium itself lends itself towards players who are inclined and willing to partake in magical and superstitious practices, if not for genuinely belief, at least for fun and roleplay.

White Elephant

Nationality: American
Age: 65
Occupation: Unemployed
Residence: United States
Language: English

Text:

“My family has this tradition for Christmas Eve and we get everyone together at one of our houses and celebrate. Towards the end of the night we play this game called White Elephant, where everyone has to bring a wrapped gift and set it by the tree so no one knows whose gift is whose. Everyone gets a number that tells the order of who goes when. We each take turns going up and picking a random gift and then opening it up in front of everyone. There’s rules though. Someone can steal a gift from somebody else, but it can only be stolen 3 times and then it’s dead, meaning you can’t steal it anymore. It gets really competitive between everyone, but we always laugh it off.”

Context:

The informant recalls that this tradition has been going on since she was a child. It’s meaningful to them because of how connected they can feel with their family and bring everyone together, creating really happy memories of all of them. It’s also a time for them to see family that they haven’t seen in awhile and even meet new members of the family and catch up with everyone. The tradition itself helps creating these memories and positive times by doing a fun activity.

Analysis:

This resembles a ritual tradition or folk custom associated with a holiday: Christmas. It’s specific to one family, but attached to the holiday as a creative way to bring a sense of love and family to the community. It also presents as gift-giving behaviors in the format of a game with a tradition that still isn’t the same each year since different moments ensue each time the game is played. Unlike other American traditions this doesn’t bother trying to make sense of the uncertainty but rather embraces the unpredictable. It also consists of rules giving the tradition a structure that has to be followed. It acts a both a celebration for Christmas and family in the format of healthy competition that is also designed to be humorous and fair. It’s more localized as family tradition and acts as behavior that is passed down by learning from family members and watching the activity.

The Lucky Jersey Number

Folk Belief / Superstition
Occupational Folklore – Sports / Number Lore

1. Text

SI, a college athlete and lifelong soccer player, described a common superstition in sports: the belief that a specific jersey number brings good luck. For SI, the number is 12, a number he has worn on nearly every team since middle school. “It’s more than just a number,” he said. “It feels like part of me. When I wear it, I play better. When I don’t, I feel like something’s missing.”

He explained that the belief isn’t about the number being universally magical, but about it becoming his number through performance and association. “I had my best game ever in seventh grade wearing number 12,” he recalled. “After that, it just stuck. Every time I had a good game in that jersey, it reinforced the feeling.” SI went so far as to describe himself as being “protective” of the number even feeling annoyed if another player tries to claim it first.

The superstition extends beyond performance to preparation. “One time I couldn’t wear 12, and I just dropped the league. I was already in a tournament league.” he said.

While SI recognizes that there’s no scientific logic to it, he believes the number has become a symbol of confidence and consistency. “I know it sounds silly,” he said, “but it’s mental. I just feel better when I have it.”

2. Context

SI first developed a relationship with the number 12 in middle school, during a formative moment in his soccer career. After an unexpected breakout performance in a local tournament while wearing that number, the connection became ritualized. From that point on, he began requesting the jersey number for every team he played on, even switching teams in some cases to ensure he could keep it. Over time, the number took on an almost talismanic quality, a symbol of personal power and performance.

This superstition is typical within sports folklore, where personal and communal rituals help athletes cope with the intense pressure and unpredictability of competition. SI’s belief in the power of his number was not taught formally but developed through associative experience: repeated moments of success while wearing the number reinforced its symbolic power. His emotional attachment to it grew not from tradition passed down, but from personal repetition and ritual — a hallmark of vernacular belief in individual athletic settings.

SI’s relationship to the number is deeply embodied. He noted that wearing it helps him feel physically and mentally aligned. If he’s forced to play without it, he often adapts by symbolically carrying the number elsewhere — on his warm-up gear, wristbands, or even drawn in marker on his sock. These substitutions act as symbolic proxies, maintaining the ritual even when the official uniform can’t.

The importance of the jersey number is also entangled with group identity. Numbers can signify status, position, or legacy — especially in team sports whime numbers are often retired or passed down. SI mentioned that when someone else wore him number, he felt “weirdly territorial, like they were taking something that belonged to me.” This shows how the number not only signifies self, but also occupies cultural space within the team structure.

3. Interpretation

The belief in a “lucky jersey number” is a classic example of sports superstition, rooted in what folklorist Linda Dégh would identify as personal experience narratives that become ritualized through repetition and reinforced belief. The number, in this case, functions as a symbolic charm, an object that carries emotional and psychological weight far beyond its practical use.

This superstition operates at the intersection of magical thinking and performance psychology. The number itself has no inherent power, but the belief in it helps the athlete enter a desired mental state. In this way, the superstition becomes a self-fulfilling prophecy: the confidence it instills improves focus, motivation, and execution. The lucky number acts as a trigger for performance identity, allowing the athlete to “step into” their best version of themselves.

SI’s attachment to the number, even when it’s not available, reflects a broader human impulse to anchor meaning in material objects. In moments of unpredictability (a game, a tournament, a close match), the number becomes a stabilizing symbol. It offers comfort, consistency, and an illusion of control — all of which are critical under competitive pressure.

On a larger scale, this belief mirrors number lore found across cultures, where certain numbers (e.g., 7, 13, 3) are invested with spiritual or superstitious meanings. In SI’s case, the number is not culturally universal but individually sacred, rooted in him specific history of success and reinforced by the ritual of wearing it. This personalizes the belief while still aligning with broader folkloric patterns — specifically the idea that symbols gain power through use, memory, and embodied repetition.

Ultimately, SI’s lucky jersey number is more than a superstition, rather a living symbol of personal history, identity, and agency. Like many forms of folklore, its truth lies not in evidence, but in function: it works because it feels true.

Seven Degrees of Separation From Kevin Bacon

Nationality: American
Age: 54
Occupation: Unemployed
Language: English

Informant Analysis: I first heard about the “Seven Degrees of Kevin Bacon” when I was younger. The idea is that any actor, or really any person, can be linked to Kevin Bacon through seven or less people. It’s like a pop culture twist on the “six degrees of separation” theory, which suggests everyone on Earth is connected by six or fewer people. My dad always thought it was funny and kind of spooky how often it worked. It stuck with me because it turns celebrity culture into something you can play with.

My Analysis: This idea that everyone is somehow connected to Kevin Bacon is a fun way people explore how weirdly small the world can feel. It plays into this deeper belief that we’re all more connected than we realize, especially through pop culture. The randomness of using Kevin Bacon as the center makes it more of a running joke, but it still explores how interesting social networks are. At its core, it’s about how connections, coincidence, and community.