Understanding Organic and Inorganic Storytelling in Games: A Thoughtful Exploration

Introduction to Game Storytelling Forms

Daniel Hunter Dowsing, a seasoned games writer-designer, delves into the narrative structures unique to the gaming medium through his insightful 2015 essay, "I Don’t Speak ‘Game’ – The Theory of Organic & Inorganic Game Storytelling." Highlighting the evolving nature of video games as a storytelling vehicle, Dowsing distinguishes between two fundamental types of game narratives: organic and inorganic storytelling.

The Medium and Its Narrative Language

Every storytelling form—books, films, theatre, comics—has an inherent narrative language shaped by its medium. For example:

• Books use written language.
• Films employ framing, camera movement, and editing.
• Theatre relies on props and physical space.
• Comics use sequential art.

Games, often called a "young medium," are in the early stages of developing their own unique narrative language. Just as early cinema evolved from static shots of trains to rich, cinematic stories, gaming is beginning to embrace complex storytelling beyond traditional or market-safe narratives.

Defining Storytelling: The Essence of Change Through Conflict

According to Dowsing, storytelling essentially portrays change through conflict. Typically, a story includes:

• Beginning: Introduction to characters and an inciting incident.
• Middle: Rising tension through obstacles and conflict.
• End: Resolution leading to character or thematic change.

An illustrative example is a princess who embarks on a journey to rescue her robot boyfriend, facing various challenges and ultimately growing from the experience.

Inorganic Storytelling in Games: The Role of Cutscenes

Dowsing defines inorganic storytelling as the use of narrative techniques not native to a medium, introduced to deliver story elements. In gaming, this often refers to cutscenes—animated cinematic sequences using elements typical of film such as framing, acting, and editing.

• Cutscenes provide exposition and character development.
• They are inserted at key points (start, mid-level, end).
• Although often criticized for interrupting gameplay immersion, Dowsing appreciates cutscenes for their narrative contribution, especially when well-crafted (e.g., Metal Gear Solid series).

However, overreliance on cutscenes can detach story from gameplay, risking a fragmented experience where story and play feel disconnected.

Organic Storytelling: Engaging Through Gameplay

In contrast, organic storytelling is integrated directly into gameplay mechanics and player interaction, allowing narratives to unfold naturally through player choices and engagement without interrupting the game’s flow.

Though Dowsing’s essay primarily focuses on defining inorganic storytelling, the implicit suggestion is that organic storytelling represents the future potential of games to tell deeper, more seamless stories that leverage the medium’s interactive nature.

Case Study: Legacy of Kain: Soul Reaver

Legacy of Kain: Soul Reaver exemplifies effective inorganic storytelling through its rich cutscenes that develop complex characters like Raziel and Kain. The game intertwines cinematic narrative moments with gameplay, illustrating both the strengths and limitations of inorganic storytelling.

• The cutscenes are beautifully written and directed.
• They contribute significantly to character depth and plot.
• Yet, they remain distinct from gameplay segments, highlighting the ongoing challenge of narrative integration in games.

Conclusion: The Evolution of Game Narrative Language

Dowsing’s reflection underscores the crucial juncture where video games stand in their narrative evolution. Balancing organic and inorganic storytelling techniques will shape how games tell compelling, immersive stories. As the medium matures, understanding this dynamic will be vital for writers, designers, and players seeking richer narrative experiences.

For Readers Interested in Game Storytelling

• Explore how games differ from traditional media in telling stories.
• Consider the role of gameplay vs. cinematic elements in narrative delivery.
• Reflect on iconic titles like Legacy of Kain and Metal Gear Solid to see storytelling theories in practice.

Source: Daniel Hunter Dowsing, "I Don’t Speak ‘Game’ – The Theory of Organic & Inorganic Game Storytelling," Game Developer Blogs, June 29, 2015.

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