Design Delight Studio

Understanding Organic vs. Inorganic Game Storytelling: A Reflective Exploration

Daniel Hunter Dowsing’s 2015 blog post, "I don’t speak ‘Game’ – the theory of organic & inorganic game storytelling," offers an insightful reflection on how narrative is constructed within video games. As a game writer-designer passionate about storytelling, Dowsing distinguishes two key modes of game storytelling—organic and inorganic—and examines their implications for the evolving narrative language of games.

Storytelling in Games: A Unique Medium

• Narrative Languages Across Media: Different media—books, film, theatre, comics—possess unique storytelling languages shaped by their inherent forms (written word, camera work, stage props, imagery). Games, often dubbed a “young medium,” are still in the process of finding their distinct narrative language.

• Game Storytelling Evolution: Like early films that initially mimicked theatrical performances before developing cinematic grammar, video games are gradually moving from safe, market-tested narratives toward more complex storytelling. Critical discourse is growing around games as cultural and artistic expressions beyond commercial products.

Defining a Story in Gaming Terms

• Thematic Structure: A story comprises change through conflict—a motivated character faces obstacles and evolves emotionally, morally, or physically.

• Structural Elements: Beginning (inciting incident), middle (rising conflict), and end (climax and resolution) form the traditional narrative arc.

What is Inorganic Storytelling?

• Definition: Inorganic storytelling uses a narrative language not inherent to the gaming medium to convey story, disrupting the game experience by borrowing from other forms, mostly cinematic.

• Common Example: Cutscenes—filmic animated sequences inserted between gameplay to deliver exposition and character development. These rely on film techniques like framing and editing, shifting players from active participants to passive viewers.

• Pros and Cons: While cutscenes can greatly enhance character depth and plot (e.g., praised sequences in Metal Gear Solid or Legacy of Kain: Soul Reaver), they may fragment immersion by separating story from gameplay mechanics, limiting emotional integration.

Organic Storytelling (Implied)

Though Dowsing’s article fragment above does not fully elaborate on organic storytelling, the contrast suggests that organic storytelling arises naturally from within the gameplay mechanics and player interaction itself—story told through play rather than passive viewing.

Case Study: Legacy of Kain: Soul Reaver

• Celebrated by Dowsing as a personal milestone in gaming narrative appreciation, Soul Reaver exemplifies inorganic storytelling with its strong use of cinematic storytelling in cutscenes.
• The narrative and gameplay coexist but are not seamlessly integrated; the story unfolds predominantly through filmic language between segments of player-driven gameplay.

Key Takeaways for the Future of Game Storytelling

• Video games are cultivating a distinct storytelling language, moving beyond film mimicry to harness their interactive nature.
• Awareness of the divide between organic (gameplay-driven) and inorganic (cinematic cutscenes) storytelling can help writers and designers craft more immersive experiences.
• As games mature as a medium, the blending or thoughtful balance of these modes may unlock deeper narrative potentials unique to gaming.

Reference:
Dowsing, Daniel Hunter (2015). I don’t speak "Game" – the theory of organic & inorganic game storytelling. Game Developer Blogs. Available through [Opposable Games].

This exploration is essential for game developers, writers, and narrative designers seeking to deepen their understanding of game storytelling’s evolving craft and its potential for organic narrative integration.

Design Delight Studio curates high-impact, authoritative insights into sustainable and organic product trends, helping conscious consumers and innovative brands stay ahead in a fast-evolving green economy.