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Exploring Organic vs. Inorganic Storytelling in Games: A Theory by Daniel Hunter Dowsing

Published: June 29, 2015 | Author: Daniel Hunter Dowsing | Source: Game Developer Blogs

Introduction: Games as a Storytelling Medium in Evolution

Daniel Hunter Dowsing, a game writer and designer, offers an insightful exploration into storytelling within video games. He frames games as a "young medium" still discovering its unique narrative language—much like early cinema, which evolved from simple filmed scenes to complex storytelling. Dowsing believes games are on the verge of fully realizing their narrative potential, moving beyond safe, market-driven stories to richer, more experimental narratives.

Defining Storytelling: The Core of Narrative

According to Dowsing, a story fundamentally involves “change through conflict.” A protagonist, motivated by internal or external forces, encounters and overcomes obstacles, resulting in emotional, moral, or physical transformation. Structurally, stories have a beginning (inciting incident), middle (rising conflict), and end (resolution/denouement). For example, a princess rescues her robot boyfriend amid obstacles and eventually introspects about her desires, illustrating classic narrative progression.

Organic vs. Inorganic Storytelling Explained

• Inorganic Storytelling:
  Defined as delivering narrative through a language not native to the medium. In games, this is exemplified by cutscenes—film-like sequences using cinematic language (camera angles, framing, acting) to advance the story. While cutscenes are celebrated and effective in character development, they separate story from gameplay, creating a disjointed player experience where narrative moments halt interactivity.

• Organic Storytelling:
  Although less explicitly defined in the excerpt, organic storytelling can be understood as narrative that arises naturally through gameplay mechanics and player interaction. This method leverages the inherent language of gaming (player choices, environmental storytelling, interactive systems) to convey story without interrupting gameplay flow.

Case Study: Legacy of Kain: Soul Reaver

Dowsing highlights Legacy of Kain: Soul Reaver as an example of inorganic storytelling done well—richly scripted cutscenes provide in-depth character development for Raziel and Kain. However, this also illustrates how strong narrative cutscenes can sometimes overshadow or fragment the immersive potential of gameplay-driven story.

Implications for Game Writers and Narrative Design

Dowsing urges game writers to be mindful of the balance between cinematic storytelling and gameplay integration. Relying solely on filmic cutscenes may limit games from developing their unique narrative voice. Instead, embracing the distinctive interactive elements of games could foster a more cohesive emotional connection and storytelling impact.

Conclusion

Daniel Hunter Dowsing’s theory of organic and inorganic storytelling challenges game narratives to evolve beyond borrowed languages (like film) and embrace gameplay as a storytelling tool. As the medium matures, the fusion of story and play promises a richer artistic and cultural contribution, distinguishing games as a unique narrative form.

For game developers, writers, and enthusiasts interested in sustainable storytelling innovations, understanding these narrative dynamics is critical to crafting engaging, immersive, and culturally significant games.

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