Understanding Organic vs. Inorganic Storytelling in Games

In a reflective essay by game writer Daniel Hunter Dowsing, the nuanced concepts of organic and inorganic game storytelling are explored, shedding light on the evolving narrative language of video games as a medium.

Games as a Unique Storytelling Medium

Dowsing positions games alongside traditional storytelling forms—books, film, theatre, comics—each defined by unique narrative languages. Games are still considered a "young medium" but are rapidly developing their own storytelling vocabulary beyond mere entertainment or economic products.

Like early films that initially mimicked simple scenes before evolving into rich narratives, games are now poised to embrace diverse, culturally reflective stories that connect gameplay and narrative sensibly.

Defining Story Fundamentals

At the heart of storytelling is "change through conflict"—characters driven by motivation face obstacles, leading to transformations emotionally, morally, or physically. Stories typically follow a three-act structure:

• Beginning: Introduction and inciting incident
• Middle: Rising conflict and challenges
• End: Climax and resolution

Dowsing illustrates this with a hypothetical story of a princess rescuing her robot boyfriend, emphasizing motivation, conflict, climax, and transformative change.

What is Inorganic Storytelling?

Inorganic storytelling occurs when a narrative is delivered using a language not inherent to the medium. For example, in games, this often manifests as cutscenes—pre-rendered animated segments with cinematic techniques (camera work, framing, acting) that interrupt gameplay to develop plot or characters.

While cutscenes offer high production values and engaging storytelling, they create a disconnection between gameplay and narrative, shifting the player experience from active participation to passive viewing temporarily.

The Case for Organic Storytelling

By contrast, organic storytelling is inherent to the gameplay itself—where story unfolds through player actions, mechanics, and game world interaction rather than external media forms. It integrates narrative tightly within the gameplay experience, enhancing immersion and emotional impact.

Legacy of Kain: Soul Reaver – A Case Study

Dowsing highlights Legacy of Kain: Soul Reaver as a landmark in inorganic storytelling with beautifully directed cutscenes that deepen character arcs and plot. The vampire Raziel’s journey is conveyed largely through cinematic storytelling embedded within gameplay breaks.

Though effective, this method exemplifies how narrative and gameplay can remain segmented, highlighting opportunities for more seamless storytelling approaches integrated within gameplay mechanics.

Conclusion

As games mature, understanding and leveraging the balance between organic and inorganic storytelling will be crucial for developers and writers. Games hold huge potential to craft stories where narrative and play coalesce, fostering a uniquely powerful medium for immersive, meaningful storytelling.

This summary draws on Daniel Hunter Dowsing’s 2015 blog post, which examines storytelling theories in games and aims to inform developers and enthusiasts about the growth and potential of narrative forms within the gaming industry.

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