Understanding Organic and Inorganic Storytelling in Games: Insights from Daniel Hunter Dowsing

In a detailed exploration of game narrative theory, Daniel Hunter Dowsing—a game writer and designer—distinguishes between organic and inorganic storytelling within video games, offering valuable perspectives for developers, writers, and enthusiasts.

Storytelling as a Medium-Specific Language

Each storytelling medium—books, films, theater, comics—has its own intrinsic language:

• Books rely on written word.
• Films use camera movement, framing, and mise-en-scene.
• Theater utilizes props and physical space.
• Comics combine images with minimal text.

Similarly, games, often labeled a “young medium,” are evolving their own unique narrative language. Dowsing places them at a critical juncture, akin to early cinema when filmmakers first experimented beyond static shots to establish cinematic storytelling norms.

Core Definition of Story

Dowsing adopts the thematic definition of a story as “change through conflict”, where characters face and overcome obstacles, resulting in transformation. Structurally, stories comprise:

• Beginning: Introduction with an inciting incident.
• Middle: Increasing conflict, tension, and character challenge.
• End: Climax and resolution (denouement).

Inorganic Storytelling in Games

What Is It?

“Inorganic storytelling” refers to narrative techniques not inherent to the gaming medium, borrowed from other forms of storytelling. A prime example is cutscenes—animated film sequences inserted at moments within gameplay:

• Use cinematic language (framing, acting, editing).
• Interrupt gameplay to provide narrative exposition.

Impact

While cutscenes are often well-crafted and beloved, they create a disconnection between story and gameplay, positioning the player alternately as an active participant and a passive viewer. This segmentation potentially diminishes emotional engagement by disrupting immersion.

Organic Storytelling: The Game’s True Narrative Language

Whereas inorganic storytelling imposes external cinematic methods, organic storytelling unfolds directly through gameplay, integrating narrative seamlessly with player actions. This approach is essential for developing games’ unique storytelling language—one that leverages interactivity rather than passive reception.

Case Study: Legacy of Kain: Soul Reaver

Dowsing highlights Legacy of Kain: Soul Reaver as a hallmark of inorganic storytelling excellence:

• Richly developed characters via compelling cutscenes.
• Intense narrative moments presented in a cinematic manner.

Though the storytelling within Soul Reaver is narratively strong, the dependence on cutscenes exemplifies inorganic narrative delivery, where gameplay and story exist somewhat independently.

Implications for Game Writers and Designers

Dowsing’s reflection prompts game creators to:

• Recognize the distinction and implications of organic vs. inorganic narrative.
• Seek greater integration of story within gameplay to harness the medium’s full potential.
• Preserve cutscenes as a storytelling tool without letting them overshadow interactive narrative opportunities.

Conclusion

As the gaming industry matures, embracing a unique narrative language that intertwines story and gameplay organically is pivotal. This evolution will shift games from being “just” interactive entertainment to profound cultural artifacts capable of sophisticated storytelling. Daniel Hunter Dowsing’s insights contribute meaningfully to this discourse, offering a roadmap for the narrative future of games.

Source

Dowsing, Daniel Hunter. (2015). I don’t speak “Game” – the theory of organic & inorganic game storytelling. Game Developer Blogs.
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This summary is crafted to aid understanding of narrative theories in games, beneficial for professionals in game development and storytelling research.

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