Design Delight Studio

I Don’t Speak “Game” – The Theory of Organic & Inorganic Game Storytelling

By Daniel Hunter Dowsing, June 29, 2015

Understanding Storytelling in Games: Organic vs. Inorganic

Video games as a storytelling medium are still evolving, much like early films that initially captured simple scenes before developing a unique cinematic language. Games, often called a “young medium,” are now on the cusp of defining their own narrative form, breaking beyond established, marketable, or mainstream storylines into richer, more experimental narratives.

Daniel Hunter Dowsing, a game writer-designer, reflects on two distinct types of storytelling in games:

• Organic Storytelling: Narrative elements inherent to the game medium itself, where story emerges through gameplay and player interaction.
• Inorganic Storytelling: Narrative delivered through mechanisms foreign to gameplay, such as cutscenes or external media (e.g., novel sections during a film), which use languages from other media like film or literature.

What is a Story?

Dowsing defines story as “change through conflict”—a character’s journey driven by motivation, facing obstacles and conflicts that challenge and potentially transform them emotionally, morally, or physically. Stories structurally consist of a beginning (inciting incident), middle (rising conflict), and end (climax and resolution).

Inorganic Storytelling and Its Role

Inorganic storytelling in games typically involves cutscenes, cinematic sequences that interrupt gameplay to deliver exposition, character development, or plot progression. These use filmic techniques such as framing, editing, and acting, which are not native to gaming’s interactive language.

While cutscenes can beautifully enhance narrative, relying heavily on them can disconnect the story from gameplay, reducing player immersion and emotional impact. The storytelling language shifts from interactive play to passive viewing, which may dilute the unique potential of games as a storytelling medium.

Case Study: Legacy of Kain: Soul Reaver

Dowsing highlights Legacy of Kain: Soul Reaver as a seminal example of inorganic storytelling. The game integrates articulate, well-acted cutscenes that deepen character development, showcasing complex protagonist Raziel and antagonist/master Kain. However, despite its excellence in cinematic storytelling, the reliance on cutscenes illustrates the tension between narrative immersion and gameplay interaction.

The Future of Game Narrative Language

The gaming industry stands at a pivotal moment—poised to embrace storytelling that is native to interactivity (organic storytelling) alongside cinematic influences (inorganic). Critics and developers alike are increasingly recognizing games as a cultural and artistic medium, beyond mere entertainment or economic products.

As games mature, development of their own distinct narrative language will be crucial. This evolution promises richer player experiences where story and gameplay are seamlessly intertwined, harnessing the medium’s full expressive power.

Key Takeaways

• Games are developing their unique narrative language, balancing organic (game-driven) and inorganic (cutscene-driven) storytelling.
• Organic storytelling leverages gameplay as a storytelling vehicle, enriching immersion and emotional connection.
• Inorganic storytelling, often through cutscenes, uses cinematic techniques that can enhance but also disrupt gameplay narrative flow.
• Awareness of these storytelling forms is vital for writers and designers aiming to innovate in game narratives.
• Mature game narratives will integrate both forms, evolving the medium into a truly unique cultural art form.

For professionals interested in game narrative design and storytelling innovation, Daniel Hunter Dowsing’s reflections offer valuable conceptual frameworks to better understand and craft compelling game stories that resonate through gameplay and cinematic artistry alike.

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