The Theory of Organic and Inorganic Storytelling in Games
By Daniel Hunter Dowsing, Game Developer Blogs | June 29, 2015
Understanding Storytelling in Games: Organic vs. Inorganic
Daniel Hunter Dowsing, a game writer-designer, explores the evolving narrative language unique to gaming, distinguishing two key storytelling forms: organic and inorganic storytelling. His insights shed light on how video games are carving out a distinctive niche in narrative art, much like film and literature did in their infancy.
What is a Story?
Dowsing frames a story as “change through conflict” — a protagonist driven by motivation faces and overcomes obstacles, leading to emotional, moral, or physical transformation. Traditional story structure comprises a beginning (inciting incident), a middle (rising conflict), and an end (climax and resolution).
Example: A brave princess defies orders to rescue her robot boyfriend, faces challenges during her quest, battles a villain, then ultimately reconsider her commitment, representing change and closure.
Inorganic Storytelling: Narrative Outside the Game Language
- Definition: Inorganic storytelling happens when narrative is conveyed through media or language not inherent to the gaming form, like cutscenes or external novels.
- Cutscenes as Inorganic Elements: These cinematic sequences interrupt gameplay, using film techniques (camera work, acting, editing) to tell the story. While popular and well-crafted (e.g., Metal Gear Solid), they create a disconnection between gameplay and narrative — story feels like a separate entity rather than integrated experience.
- Pros & Cons: Cutscenes can offer rich character development but break game immersion because the player alternates between “active” gameplay and “passive” watching.
Organic Storytelling: Narrative Native to Gameplay
Although Dowsing’s summary is cut-off, the implication is that organic storytelling aligns narrative progression tightly with gameplay mechanics and player agency, making story and play indistinguishable. This approach leverages gameplay actions and environments to reveal plot and character growth without external devices like cutscenes.
Legacy of Kain: Soul Reaver Case Study
- Dowsing highlights Legacy of Kain: Soul Reaver as a pivotal game in his career.
- The game uses inorganic storytelling through extensive cutscenes that enhance plot and character arcs, particularly of protagonist Raziel and antagonist Kain.
- It demonstrates the strengths of inorganic methods: strong writing, voice acting, and cinematic direction enriching the experience.
- Yet it subtly illustrates the organic-inorganic tension: story segments remain somewhat isolated from gameplay immersion.
The Future of Game Narrative Language
- Games are a “young medium” in storytelling terms, still developing a robust narrative vocabulary.
- Just as early film relied on simple scenes before mastering cinematic storytelling, games are evolving beyond safe, market-driven narratives towards rich, culturally reflective stories.
- Recognizing and balancing organic and inorganic storytelling will be key to harnessing the medium’s full narrative potential.
Why This Matters for Developers and Storytellers
- Understanding the distinction helps writers and designers craft stories that maximize player engagement and emotional impact.
- Awareness of narrative language encourages innovation beyond cutscenes, fostering truly integrated game experiences.
- This reflection encourages the industry to mature into an art form on par with literature and film, expanding storytelling possibilities and cultural influence.
Source: Daniel Hunter Dowsing, “I don’t speak ‘Game’ – the theory of organic & inorganic game storytelling,” Game Developer Blogs, June 29, 2015. For more insights on game design, storytelling theories, and industry trends, explore our curated collection of developer interviews and GDC talks.
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