Understanding Organic & Inorganic Storytelling in Games: A Theoretical Overview

Introduction to Game Storytelling

In his reflective essay, game writer-designer Daniel Hunter Dowsing explores the evolving narrative languages in video games, proposing a distinction between organic and inorganic storytelling. Games, as a relatively young medium compared to literature, film, and theatre, are on the brink of developing unique ways to tell stories—beyond simply borrowing techniques from other art forms.

Defining Organic vs. Inorganic Storytelling

• Organic storytelling refers to narrative methods inherent and native to the gaming medium itself, integrating story with gameplay in a seamless, player-driven manner.
• Inorganic storytelling involves using non-native languages or techniques to convey story elements, such as filmic cutscenes or external texts, which interrupt or exist outside of gameplay mechanics.

This distinction is critical for understanding how games communicate their stories to players and where the medium is heading as it matures.

The Nature of Story in Games

Dowsing defines story as “change through conflict,” where motivated characters overcome obstacles and are ultimately transformed. Structurally, stories progress with a beginning (inciting incident), middle (rising conflict), climax, and resolution. This traditional framework applies across many mediums yet must be adapted thoughtfully to games, where player interaction adds complexity.

The Role of Cutscenes: A Case of Inorganic Storytelling

Cutscenes epitomize the inorganic approach—they function like miniature films embedded within gameplay to provide exposition and character development. While cutscenes are valuable, engaging, and often artistically impressive (e.g., in Metal Gear Solid), Dowsing cautions that over-reliance on them can fragment the player’s narrative experience. The disconnect between active gameplay and passive watching may undermine emotional immersion.

Case Study: Legacy of Kain: Soul Reaver

One example illustrating the impact of inorganic storytelling is Legacy of Kain: Soul Reaver. The game’s cutscenes richly develop the plot and characters, but the narrative moments are distinctly separable from gameplay, showcasing the potential limitations of inorganic storytelling despite its narrative strengths.

The Future of Game Narrative Language

Drawing a parallel with the infancy of cinema, which initially replicated familiar storytelling before discovering its unique cinematic language, Dowsing believes that games are just beginning to realize their narrative potential. The challenge lies in developing organic storytelling methods where narrative and gameplay are truly integrated, enhancing both player agency and emotional engagement.

Conclusion

The theory of organic versus inorganic storytelling provides a vital lens for game creators and critics to better understand narrative design in games. As the medium matures, embracing organic storytelling could unlock richer, more immersive narratives that leverage games’ interactive nature, elevating the medium’s artistic and cultural significance.

For those interested in storytelling innovation within games, exploring this organic-inorganic framework offers valuable insights for both design and critique.

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