Understanding Organic and Inorganic Storytelling in Games

Introduction to Game Storytelling Theory

Daniel Hunter Dowsing, a seasoned game writer-designer, offers an insightful exploration into the evolving narrative language of video games. His 2015 essay "I don’t speak ‘Game’ – the theory of organic & inorganic game storytelling" reflects on how games tell stories compared to traditional storytelling mediums like books, film, theatre, and comics.

Games, often viewed as a young storytelling medium, are on the cusp of developing their unique narrative form—much like early films did before establishing cinematic language. This emerging narrative style in games is characterized by two primary forms: organic and inorganic storytelling.

Defining a Story in Game Context

Dowsing defines storytelling broadly as "change through conflict," where a motivated character faces obstacles—both physical and abstract—which challenge and potentially transform them emotionally, morally, or physically. Structurally, stories have a clear beginning (inciting incident), middle (conflict and obstacle navigation), and end (resolution or denouement), a framework equally applicable to games.

Inorganic Storytelling: What It Entails

Inorganic storytelling is when narrative development occurs through a language or medium not inherent to games themselves. A quintessential example within gaming is the cutscene—a cinematic sequence using filmmaking techniques such as camera work, editing, and acting to convey story.

• Cutscenes are "pockets of story" that interrupt gameplay and rely on film grammar, shifting players from interactive participants to passive viewers.
• While they can be artistically compelling—games like Metal Gear Solid are celebrated for them—they can also disrupt the emotional cohesion between story and gameplay.
• This storytelling method risks neglecting the unique potential of games to narrate through interactive experiences themselves.

Organic Storytelling: Coming Next

While this reflection focuses largely on inorganic storytelling, the contrast with organic storytelling (narrative inherent in and integrated with gameplay mechanics and player agency) is implied as the future growth area for game storytelling. Organic storytelling leverages the game’s own "language"—its rules, systems, and player interaction—to deliver narrative, creating a seamless, immersive experience.

Case Study: Legacy of Kain: Soul Reaver

Dowsing highlights Legacy of Kain: Soul Reaver as an example of inorganic storytelling done well:

• The game’s rich, well-directed cutscenes deepen the narrative, fleshing out core characters like Raziel and his evolving emotional journey.
• Despite this success, the reliance on cinematic techniques separates story moments from gameplay, illustrating the inherent tension in inorganic narrative methods.

Conclusion: Towards a Mature Game Narrative Language

Video games are transitioning from merely delivering stories through borrowed cinematic language into crafting a unique narrative form that intertwines gameplay and story. Recognizing the difference between organic and inorganic storytelling is crucial for developers and writers who aspire to harness games’ full narrative potential.

Source and Further Reading:

• Daniel Hunter Dowsing, "I don’t speak ‘Game’ – the theory of organic & inorganic game storytelling," Game Developer Blogs, June 29, 2015.
• Examples referenced: Legacy of Kain: Soul Reaver, Metal Gear Solid, Half-Life, Portal series.

This nuanced exploration enriches the understanding of how sustainable, integrated narrative design can elevate game storytelling—relevant for creative professionals aiming to push narrative boundaries in interactive media.

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