Understanding Organic and Inorganic Storytelling in Games

In the evolving landscape of video games as a narrative medium, writer and designer Daniel Hunter Dowsing presents an insightful theory distinguishing two core storytelling forms: organic and inorganic storytelling. This framework helps unpack how stories unfold within games and their broader cultural impact.

The Medium-Specific Narrative Language

Every storytelling format—from books to theater to film—uses its own unique language:

• Books: Written language
• Film: Camera work, framing, editing
• Theater: Props, spatial use, performance
• Comics: Images and visual sequencing

Games, often called a "young medium," are currently developing their own distinct narrative language. This parallels early cinema’s journey from simple filmed scenes to complex storytelling. As the gaming industry matures, it increasingly explores stories beyond traditional, market-safe genres, gaining critical attention as a cultural art form.

Defining Storytelling: Change Through Conflict

Dowsing frames story thematically as “change through conflict”—a character motivated to overcome obstacles, resulting in transformation, emotional or otherwise. Structurally, stories follow a classic arc:

• Beginning: Introduction and inciting incident that propels the character forward
• Middle: Rising action and conflict build tension
• End: Climax and resolution, showcasing character growth or change

This formula is widely recognized in diverse storytelling mediums and remains relevant within games.

What Is Inorganic Storytelling?

Inorganic storytelling occurs when narrative development relies on elements foreign to the medium’s inherent language. For games, a typical example is cutscenes—pre-rendered or scripted sequences borrowing cinematic techniques like framing, acting, and editing to convey story. These cutscenes interrupt gameplay flow, switching players from active participants to passive viewers.

While cutscenes offer rich, directed storytelling experiences and are beloved by many (e.g., the extensive cutscenes in Metal Gear Solid), they create a divide between gameplay and narrative. The story is told "around" the game rather than through gameplay mechanics themselves, potentially lessening emotional resonance.

Organic Storytelling: Gameplay as Narrative

By contrast, organic storytelling integrates the narrative within gameplay actions, environments, and player decisions. The story emerges naturally through interactive play rather than through external presentation modes. This approach aligns more closely with games’ unique expressive capabilities, fusing story and play into a seamless experience.

Case Study: Legacy of Kain: Soul Reaver

Dowsing highlights Legacy of Kain: Soul Reaver (Crystal Dynamics) as a game exemplifying inorganic storytelling via exceptional cutscenes that develop complex characters and story arcs. The story explores Raziel’s transformation from confident vampire to confused anti-hero, with cinematic sequences bringing narrative weight.

However, this separation of story (in cutscenes) from gameplay can limit storytelling potential, underscoring the need for balance between organic and inorganic methods.

The Future of Game Storytelling

As games mature artistically, developers and writers strive to expand narrative languages unique to interactive media. Recognizing and distinguishing organic vs. inorganic storytelling aids creators and critics in understanding how games communicate stories effectively.

• Organic narrative: Story unfolds active through gameplay mechanics, player choices, and environment.
• Inorganic narrative: Story told through externalized cinematic devices like cutscenes.

This evolving theory encourages games to harness their full capacity to tell immersive, integrated stories—pushing the medium beyond traditional cinematic imitation toward genuinely interactive storytelling.

Conclusion

Games are on the cusp of fully defining their narrative identity. By balancing organic storytelling embedded in gameplay with inorganic cinematic techniques thoughtfully applied, games can offer rich, emotionally engaging narratives that exploit the power of interactivity.

Reference:
Daniel Hunter Dowsing, “I don’t speak ‘Game’ – the theory of organic & inorganic game storytelling,” Game Developer Blogs, June 29, 2015. —

For more insights on storytelling and gaming industry trends, stay connected with our authoritative coverage of organic and sustainable storytelling in interactive media.

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.