Understanding Organic and Inorganic Storytelling in Games

In the evolving landscape of video games, storytelling has become a critical component that defines player engagement and emotional resonance. Daniel Hunter Dowsing, a game writer and designer, explores this dynamic in his reflection on organic and inorganic game storytelling, highlighting how narrative techniques shape game experiences.

Defining Storytelling in Games

Dowsing begins by outlining storytelling as “change through conflict,” where a motivated character faces and overcomes obstacles. Structurally, narratives typically follow a beginning (inciting incident), middle (conflict and rising tension), and end (resolution or denouement). This classic structure underpins most mediums—from books to film to theatre—but games, as a relatively young and evolving medium, are still crafting their unique narrative language.

Organic vs Inorganic Storytelling

Inorganic Storytelling

• Defined as narrative delivery through languages not inherent to the medium.
• Example: Using filmic language within games, primarily via cutscenes.
• Cutscenes are short animated films within the game that convey story elements through cinematic techniques like camera framing, acting, and editing.
• While cutscenes effectively relay exposition and deepen character development, they separate story from gameplay, creating a pause where players shift from interactive participants to passive viewers.
• Dowsing points out that although cutscenes are beloved and important—for example in games like Metal Gear Solid—they represent an inorganic storytelling approach that interrupts gameplay flow.

Organic Storytelling

• Implies the story emerges naturally through gameplay mechanics, player choice, or game world interactions.
• It uses the inherent language of games — player actions, system feedback, environmental storytelling, and game mechanics—to immerse players continuously within the narrative.
• This narrative approach strives for a more seamless integration between gameplay and story, allowing players to experience "story through play" rather than external narrative interjections.

The Current State of Game Narrative

Dowsing situates games as a medium on the cusp of developing its own rich narrative language, akin to the early days of cinema, which initially mimicked theater and literature before evolving distinct storytelling techniques like montage and framing.

In game development, the balance between organic and inorganic storytelling reflects this transitional phase: most games employ cutscenes to ensure narrative clarity, but there is growing recognition of the potential to immerse players in stories told organically through interaction.

Case Study: Legacy of Kain: Soul Reaver

• Highly regarded for its compelling storytelling and character development.
• The game uses well-crafted cutscenes (inorganic storytelling) to deepen the plot and emotional context.
• Protagonist Raziel’s journey showcases a narrative arc conveyed through cinematic sequences integrated with gameplay.
• Despite the excellence of these cutscenes, the division between story delivery and player interaction exemplifies the inorganic storytelling model.

Conclusion: Embracing Games’ Narrative Potential

As the medium matures, game writers and designers are encouraged to:

• Recognize the influence of diverse storytelling languages on games.
• Innovate ways for stories to emerge organically through gameplay rather than relying heavily on cinematic inserts.
• Develop narrative experiences that keep players engaged emotionally and interactively throughout the gameplay journey.

By understanding and balancing organic and inorganic storytelling, the gaming industry can advance toward richer, more immersive narrative forms that harness the unique power of interactive media.

Daniel Hunter Dowsing’s insights offer valuable guidance for game developers, writers, and enthusiasts aiming to explore the future of storytelling in video games—where narrative and interactivity fuse seamlessly to create unforgettable experiences.

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