Understanding Organic and Inorganic Game Storytelling: A Theory by Daniel Hunter Dowsing

Introduction

Daniel Hunter Dowsing, a seasoned game writer and designer, offers an insightful exploration into two fundamental forms of storytelling within the gaming medium: organic and inorganic storytelling. His reflections provide valuable context for understanding how games are evolving as a unique narrative form distinct from traditional media like film, books, and theatre.

The Medium of Games and Narrative Language

Games are often deemed a "young medium" in terms of storytelling. Dowsing argues that while early games primarily relied on established story tropes and borrowed cinematic techniques (such as cutscenes), the medium is now maturing and poised to develop its own intrinsic narrative language. This evolution is essential for games to realize their full potential as complex storytelling platforms.

Defining a Story

Dowsing defines a story as "change through conflict," emphasizing:

• A character with motivation facing obstacles.
• A narrative structure consisting of a beginning (inciting incident), middle (conflict and climax), and end (resolution or denouement).

He illustrates this with a fictional example involving a princess’s journey to rescue her robot boyfriend, highlighting key narrative elements of motivation, conflict, climax, and transformation.

Inorganic Storytelling in Games

What is Inorganic Storytelling?

Inorganic storytelling involves using narrative techniques from other media that are not naturally inherent to games. These often disrupt the interactive nature of gameplay by inserting passive viewing experiences. A prime example is the use of cutscenes, cinematic sequences that convey story elements through film-like language (camera angles, framing, acting, editing).

Pros and Cons

• Pros: Cutscenes can deliver powerful storytelling moments and deepen character development. Dowsing notes personal enjoyment and anticipation for cutscene-driven narratives in games such as Metal Gear Solid.
• Cons: Cutscenes can fragment the gameplay experience, as story and interaction become disjointed. This separation may reduce the emotional immersion and impact of the narrative within the game itself.

Case Study: Legacy of Kain: Soul Reaver

Dowsing considers Soul Reaver a notable example of inorganic storytelling done well. The game uses richly directed cutscenes to develop complex characters and explore significant themes, demonstrating the strengths of cinematic narrative techniques within a gaming context. However, these cutscenes coexist with gameplay segments rather than being fully integrated into them.

Organic Storytelling: The Next Frontier (Implied)

While Dowsing’s article focuses heavily on inorganic storytelling, the concept of organic storytelling implies narratives that emerge naturally through gameplay mechanics and player interaction—storytelling that uses the "language" inherent to games themselves. This could include environmental storytelling, player-driven choices, or emergent narratives unfolding in real time.

Conclusion: Toward a Unique Narrative Language for Games

Dowsing’s reflection marks an important conversation about how games blend traditional storytelling with their unique interactive possibilities. Recognizing the distinction between organic and inorganic storytelling helps game creators and writers navigate the balance between cinematic narrative techniques and the experiential potential of gameplay. As the medium matures, the aspiration is for games to craft stories that are both emotionally resonant and inherently tied to player agency and interaction.

About the Author

Daniel Hunter Dowsing is a game writer and designer with extensive experience exploring narrative integration in game development. His thoughtful critique encourages both creators and audiences to understand and appreciate the evolving language of stories in games.

References:

• Dowsing, D. H. (2015). I don’t speak "Game" – the theory of organic & inorganic game storytelling. Opposable Games.
• Examples cited: Legacy of Kain: Soul Reaver (Crystal Dynamics), Metal Gear Solid series (Konami).

This analysis is essential reading for game developers, writers, and enthusiasts aiming to deepen their understanding of storytelling methods in the gaming industry’s ongoing narrative evolution.

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