The Theory of Organic & Inorganic Game Storytelling: A Deep Dive

Introduction to Game Narrative Forms

Games combine storytelling and gameplay, establishing themselves as a unique medium distinct from books, film, theater, and comics. Unlike traditional media, video games are still evolving their own narrative language — just as early films developed storytelling techniques over time, games are exploring how best to integrate story effectively.

Daniel Hunter Dowsing, an experienced game writer, conceptualizes game storytelling into two main forms:

• Organic Storytelling
• Inorganic Storytelling

Understanding these forms sheds light on how games communicate story through gameplay or through external narrative devices.

What is a Story in Games?

Dowsing defines story as “change through conflict,” involving characters driven by motivation who face obstacles—both tangible and abstract—that challenge and change them emotionally, morally, or physically.

Structurally, stories have:

• A beginning with an inciting incident
• A middle filled with rising conflict
• An end that resolves the story

Example: A princess journeys to rescue her robot boyfriend, overcoming dangers, facing a climactic battle, and ultimately finding personal growth beyond the rescue.

Inorganic Storytelling in Games: The Filmic Interruption

Inorganic storytelling refers to using narrative elements that are not inherent to the gaming medium’s interactive nature. Instead, it borrows from other media languages, notably film.

• The most common example is the cutscene, which pauses gameplay to present cinematic storytelling through filmed sequences, dialogue, and scripted events.
• Cutscenes utilize film techniques like camera angles, editing, and acting, placing players in a passive role temporarily.
• This approach creates a separation between gameplay and story, meaning the narrative unfolds around gameplay rather than through it.

While cutscenes are effective and beloved (e.g., Metal Gear Solid), they risk disconnecting the emotional engagement of players from the story because the storytelling language interrupts the interactive experience.

Case Study: Legacy of Kain: Soul Reaver

• Renowned for its high-quality cutscenes and narrative depth, Soul Reaver exemplifies inorganic storytelling well.
• The game’s cinematic sequences richly develop characters like Raziel and Kain, using filmic storytelling to convey complex emotional arcs.
• However, because the story is conveyed largely via cutscenes, gameplay and narrative remain partially disjointed.

Organic Storytelling: The Language of Gameplay

Dowsing contrasts inorganic storytelling with organic storytelling, which unfolds through the fundamental language of the game itself—player interaction, game mechanics, and environmental design.

• Here, the story is integrated within gameplay actions, allowing players to experience narrative change through direct interaction rather than passive observation.
• This approach leverages the unique strengths of games as an interactive medium, crafting stories that emerge naturally from gameplay systems.

The Medium and Its Evolving Narrative Language

Games are on the cusp of developing their unique storytelling language, moving beyond simply adapting filmic or literary techniques. Like early filmmakers experimenting with storytelling, game creators are exploring how to utilize player agency and interactive systems to tell richer, more integrated stories.

As critical discourse around games grows, recognizing the distinctions between organic and inorganic storytelling helps developers and writers craft experiences that harmonize narrative and gameplay, enhancing emotional impact and player immersion.

Conclusion

Daniel Hunter Dowsing’s framework of organic versus inorganic game storytelling provides valuable insight into the evolving art of narrative design in games. While cinematic cutscenes remain a powerful tool, the future lies in blending or even replacing these with stories that are told through gameplay itself—unlocking the medium’s full narrative potential.

Sources & Further Reading

• Dowsing, Daniel Hunter. “I Don’t Speak ‘Game’ – The Theory of Organic & Inorganic Game Storytelling.” Opposable Games, June 29, 2015.
• Legacy of Kain: Soul Reaver, Crystal Dynamics.
• Metal Gear Solid series, Konami.
• Comparative studies on narrative languages in film and interactive media.

This exploration serves as a foundational resource for game storytellers, designers, and enthusiasts striving to understand and harness the true power of narrative in video games.

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