Ever since I found out that “Noir” is the French word for the color “Black”, I’ve been fascinated by, and addicted to, the aesthetics and execution of the Noir genre. Whether in comics or animation. Interest in this genre is at an all time high in the mainstream and in the international film and comics world. From the Sam Noir graphic novel, to the French animated film Renaissance, to the anthropomorphic Cerebus-esque painted comic book Blacksad, to the live action adaptation of Frank Miller’s equally neo-noir comic book Sin City, to my own comic book cover style. Noir, or “Black Cinema and Comics” seems to be everywhere, particularly in French comics and animation, and in live action film. Black, while seemingly one dimensional and traditionally considered “evil” on the surface, allows for much expressive potential in the arts, literature, and cinema.
I’m quite proud and more than happy to at least appear like and feel as though somehow I pave a path to in other people’s eyes, somehow come across like I’m one of those modern day auteurs who have his finger on the pulse of something like that. Or not.
The French were some of the first appreciators and connoisseurs of the Black Cinema movement, the “Noir Thing”.
To me, Black and Dark are the same genre. Noir Fantasy, Dark Fantasy, Gothic Fantasy. Future Noir (“Future Black”; Blade Runner). Noir and Goth. German and American Expressionism. Though other people don’t always think this way, they’ve always been integrated in the creative parts of my mind. The words and terms can be translated and intermixed both ways. Not just one way. Noir is not as big in Japan, but if you ask me, it’s only a matter of time, what with stuff like Darker Than Black, Hipira, Big O I & II, Black Jack, Ghost in the Shell (Noir), Berserk, Akira, Strait Jacket, X/1999, Hellsing, Vampire Hunter D, Trinity Blood, Sword of the Stranger, and Karas I & II. I don’t know if the color black will ever be as heavily used in Japan
