To this Rotimi argues that while some of the suffering may have been the result of attempted colonial conquests, the lingering animosity that is felt and dispersed among fellow Nigerians, by fellow Nigerians, cannot be blamed solely on an outside party. He says that in post-colonial Africa, much of the blame over the suffering incurred by native Africans was the result of the colonial powers. Rotimi, in response to the Nigerian Civil War, says that the root cause of the strife among Nigerians, of the bloodshed, was in their lingering mutual ethnic distrust which culminate in open hostility. By juxtaposing Alaka in Odewale’s new environment, Kutuje, Rotimi illustrates the cultural differences between traditional Yoruban life, with that of the industrialized west. Ishokun, in the play, is a small farming village, wherein Odewale learned to harvest yams. The comical character Alaka, for example, represents Odewale’s childhood growing up in the village of Ishokun. In his work, Rotimi took traditional Yoruban myths, songs, and other traditional African elements, and applied it to the Greek tragedy structure. Ola Rotimi had an immense knowledge and interest in African cultures, as indicated in his ability to speak several ethnic languages, such as Yoruba, Ijaw, Hausa, and pidgin. The Gods Are Not to Blame is influenced by Yoruba and Yoruban culture. During their time of sickness, the townspeople solely depend on the herbs used as an attempt to cure the 'curse' put on the people.

In the economic structure, one observes the resources the Yoruban culture considers vital to maintain wellness and health.

One finds that their roles compared to King Odewale’s serve as a primary example of the social aspect. The leadership in the play forms a comparison to that of the King and many of the townspeople. The practices exhibited in Yoruban culture show the structure of both a social and economical factors. All the messages conveyed, although bring the play together and provide the audience with insightful readings, the play may also serve as a symbol as to how some of the African societies model the structure presented in the play. The culture represents 'the way of life for an entire society', as noted in Pragmatic Functions of Crisis – Motivated Proverbs in Ola Rotimi's The Gods Are Not to Blame. In The God’s Are Not To Blame, Rotimi incorporates many themes, such as culture and its connection with the form of the social structure of an African community.

Ola rotimi's the gods are not to blame