Understanding Organic and Inorganic Storytelling in Games: A Theory by Daniel Hunter Dowsing

Daniel Hunter Dowsing, a seasoned game writer-designer, explores the evolving narrative landscape of video games in his 2015 blog post “I Don’t Speak ‘Game’ – The Theory of Organic & Inorganic Game Storytelling.” This reflective piece outlines a theory differentiating two fundamental storytelling forms in gaming—organic and inorganic—and examines how these influence the medium’s narrative potential.

Video Games as a Narrative Medium: Approaching Maturity

While games are often labeled a “young medium,” Dowsing asserts that gaming is rapidly approaching a narrative maturation akin to early cinema. Just as the first films initially mimicked simple scenes before evolving storytelling language, video games are beginning to develop unique narrative techniques and move beyond formulaic or commercially safe stories. This shift is supported by increased cultural critique and discussion that recognize games as a form of art with distinct storytelling possibilities.

Defining Story and Structure in Games

Dowsing defines a story as “change through conflict,” where a motivated character overcomes obstacles, leading to emotional or moral transformation. This classical structure includes:

• Beginning: Introduction of an inciting incident—a point of no return.
• Middle: The core conflict with rising tension.
• End: Resolution and character change (denouement).

Games that embrace this structure effectively engage players in meaningful storytelling experiences.

Inorganic Storytelling in Games: Cutscenes and Narrative Segments

Inorganic storytelling occurs when a narrative is delivered through languages or methods not inherent to gaming as a medium. A prime example is the use of cutscenes—non-interactive, cinematic sequences developed using film language (camera work, editing, acting) distinct from gameplay mechanics.

While cutscenes excel at character development and exposition, Dowsing highlights a detachment between story and gameplay. Storytelling becomes segmented—gameplay interrupted by passive viewing—which may undermine emotional cohesion and player immersion.

Case Study: Legacy of Kain: Soul Reaver

Dowsing considers Soul Reaver (Crystal Dynamics) a quintessential example of inorganic storytelling done well. The game’s cutscenes are beautifully rendered and provide deep character arcs. Protagonist Raziel’s journey from certainty to confusion and vengeance is powerfully developed through cinematic sequences that complement the gameplay but remain distinct within the overall experience.

Organic Storytelling: Emerging Narrative Language in Games (Preview)

Although Dowsing places significant focus on inorganic storytelling, he alludes to organic storytelling in games as an emerging approach where narrative is integrated directly into gameplay mechanics and player actions. This represents the future of gaming narratives—stories told through the act of play, not just interspersed cinematics.

Conclusion: Games Are Crafting Their Unique Storytelling Voice

Daniel Hunter Dowsing’s theory encourages game creators and writers to recognize the nuances between organic and inorganic storytelling. As games continue to evolve, crafting narratives that are inherent to gameplay will be key to unlocking the medium’s true storytelling potential, moving beyond cinematic borrowing to a unique, playable narrative language.

Source

• Daniel Hunter Dowsing, “I Don’t Speak ‘Game’ – The Theory of Organic & Inorganic Game Storytelling,” Game Developer Blogs, June 29, 2015.
• Related works referenced include Legacy of Kain: Soul Reaver, Half-Life, Portal series, Journey, and Prince of Persia: Sands of Time.

This insight is vital for game developers, writers, and enthusiasts aiming to deepen their understanding of narrative design in the fast-growing field of interactive storytelling.

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