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

Introduction

Daniel Hunter Dowsing, a game writer-designer and passionate storyteller, explores the evolving narrative language unique to video games in his 2015 blog post, "I Don’t Speak ‘Game’". His reflection distinguishes two fundamental storytelling approaches in games—organic and inorganic—and examines their impact on how narratives are conveyed within the medium.

Storytelling Mediums and Games’ Narrative Evolution

Every storytelling medium (books, film, theatre, comics) possesses a distinct language inherent to its form. For example:

• Books rely on written word.
• Films utilize camera framing, movement, and editing.
• Theatre emphasizes props and spatial dynamics.
• Comics use images instead of descriptions.

Games, often dubbed a “young medium,” are still crystallizing their unique narrative language. Like early films that began by filming simple scenes before developing cinematic storytelling, games are gradually exploring beyond conventional or market-safe narratives to realize their true storytelling potential. This maturation is accompanied by critical discourse, elevating games from mere entertainment to recognized cultural artifacts.

Defining Story: Change Through Conflict

For Dowsing, a story is thematically “change through conflict” — a character, motivated by desires, faces obstacles and emerges transformed emotionally, morally, or physically. Structurally, it comprises:

• Beginning: An inciting incident triggers irreversible change.
• Middle: Rising conflict and obstacles build tension.
• End: Climax and resolution (denouement).

This classic formula provides a lens through which to evaluate storytelling in games.

What is Inorganic Storytelling in Games?

Inorganic storytelling employs narrative techniques not native to the gaming medium to deliver story content. This often involves:

• Cutscenes: Pre-scripted, filmic sequences using cinematic tools like camera angles, acting, and editing.
• External media: Requiring engagement with novels or other formats to fill narrative gaps.

In games, inorganic storytelling is exemplified by cutscenes interrupting gameplay to convey plot or character development. While valued for artistic merit and emotional engagement, reliance on such filmic methods may decouple story from gameplay. This separation can dilute the emotional impact as players switch between active gameplay and passive watching.

Organic Storytelling: Narrative Through Play

(While the original excerpt did not include a full definition, organic storytelling typically involves narratives emerging naturally through gameplay mechanics, player choices, and interactive elements—story that is integrated and inseparable from the game experience itself.)

Case Study: Legacy of Kain: Soul Reaver

Dowsing highlights Legacy of Kain: Soul Reaver as a seminal example of inorganic storytelling done well:

• The game features traditionally cinematic cutscenes with strong writing and voice acting.
• The story arc follows vampire Raziel’s complex emotional journey, exploring themes like identity and free will.
• However, the separation of cinematics from gameplay indicates an inorganic approach where narrative and gameplay remain distinct.

Conclusion: Towards a Mature Game Narrative Language

Dowsing’s reflection underscores an ongoing industry realization: the development of a native narrative language for games that balances storytelling within gameplay rather than around it. While inorganic methods like cutscenes remain important tools, the future of game storytelling lies in crafting organic stories that grow seamlessly from the player’s interactive experience, maximizing emotional resonance and immersion.

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References:

• 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).

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