The movies were originally black and white, and the method of lighting these films relied heavily on shadow to create mood. The subject matter is also dark, as are the heroes. Noir as an English adjective means all of this and more; a small word with many meanings. We call films that reflect the noir hallmarks "noir" to identify them. We call heroes with a checkered past "noir." We call movies, even if brightly lit, and in color, "noir," if they strike us a certain way.
This week, The Escapist tackles the subject of noir games. What are they, and why? It's Issue 107, "Dark and Stormy Night." Now get out of here kid, you bother me.
In my previous Adventure Architect installment, I mentioned interactive storytelling as my primary approach in the creation of an adventure game. I also emphasized how important a role the story plays in such a game, and how all other things must be subservient to it. This time around, however, I am going to be placing my emphasis on the word "interactive" in interactive storytelling, which is of equally paramount importance. After all, without interactivity, I wouldn't be creating a game so much as I would be creating a machinima movie.
