Art Of Metal Gear Solid I-iv by Y. Shinkawa, , available at Book Depository with free delivery worldwide. These books contained concept and key art by Yoji Shinkawa from Metal Gear Solid 1 through Peace Walker (even though the latter isn't. After The Art of Metal Gear Solid V, Dark Horse is publishing another Metal Gear Solid art book, titled The Art of Metal Gear Solid I-IV.
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Twenty years of tactical espionage action concept art, design, and creativity! Coming in a collectable slipcase, this two book set contains concept and key art. Finally, a solid artbook for the Metal Gear Solid franchise. I've reviewed a couple of MGS artbooks before, such as the Japanese artbook for. The perfect companion to Dark Horse's The Art of Metal Gear Solid V! * Two- volume set in a designer slipcase. Genre: Video Game, Art Book.
It focuses, as the title suggests, on artwork drawn by Shinkawa for Metal Gear Solid 1 on the original PlayStation, although it features some work from other artists as well. This book originally came in a blue foil with a numbered sticker plate. However, as this is a secondhand item this is no longer the case. The sticker is still there though, and has been attached to the frontcover of the book. The frontcover features a charcoal drawing of Solid Snake by Shinkawa, and is protected by a dust cover.
When you look at them as a series, Snake hides, comes out, and shoots. With this game, I did many monochrome illustrations. Maybe I'm not good at working with colors. My illustrations are all red or all blue or something like that. Doing monochrome ones are the easiest.
I don't have to think about colors. This was for the front cover of the Japanese game magazine "The PlayStation 2. Very "Japanese", isn't it? What I did was paint think black ink on regular copying paper and then take photocopies of that. Normally, I do not care much about the texture of the paper for my illustrations. But this time I wanted the "material" look.
It turned out good and I ended up using it. I used this texture quite often. The illustration for the Japanese game package. Shinkawa: I used the texture paper mentioned above. I did not want the colors to be too dark. I wanted to the illustration to have an incomplete look. That's why I made it look as if I suddenly stopped drawing.
I wanted people to look at the white spots and think that I should have finished painting. Always completing an illustrations is fine, but that does not leave any room for the viewer to do any imagining. This concept is similar to the textures used on the character models in the previous game. KCEJ: The next illustration was used as the "reversible jacket.
The layout of the illustrations contrast the Tanker and Plant Chapters -- a contrast of Snake and Raiden. Shinkawa: Originally I drew them separately. KCEJ: Really? Shinkawa: No one asked me to work on reversible illustrations.
Snake was drawn for the cover of an American magazine. KCEJ: So Snake came first and when you were told that we were doing a reversible cover, you then drew Raiden in contrast. Since there was some time between these two illustrations, it was hard to match the colors.
I had to recall what I did last time. Shinkawa: Pointing at Raiden's right arm Here, this line didn't have to be here. I drew too many. Even here at his right thigh. I really had a hard time trying to draw back then. Or you couldn't draw in general? Shinkawa: And I ended up with this.
KCEJ: About 8 cm? Shinkawa: Yes, I drew a 5 cm X 8 cm Ocelot. KCEJ: Any modifications? It looks like I used a big brush and did it quickly. Actually I used a very small brush -- not a dynamic work at all. Listening to you, we get the impression that you take interesting drawing approaches. Shinkawa: Interesting Shinkawa: No, it's more like going this way, that way, going and coming back KCEJ: Next page. Shinkawa: This was for a magazine front cover.
KCEJ: This looks very different from your other works. You see pinkish particles flowing from the upper right. Cherry blossom?
Shinkawa: Cherry blossom Shinkawa: Yes, like wood block printing style. I wanted to simulate wood block printing style paintings. I wanted to do an actual wood block printing style painting but did not have the chance to. So it's a fake wood block painting. The ink portion -- if I scan it and use it as data, it does not look like wood block printing. So I took a black and white photocopy of the original illustration and then took this rougher image and scanned it.
That's how you get this roughness. I almost never scan the original illustration directly. I almost always take a photocopy of it. KCEJ: Does the original illustration look very detailed -- delicate? Shinkawa: Not really delicate. It looks like a filter has been applied. You can do this with Photoshop, but I wanted to use a more analogue means to add this effect. And running a photocopy makes it more suitable for the digital means to follow. This was used for the front cover of the Japanese soundtrack.
Shinkawa: Here again I took a photocopy. The original illustration is done with thin ink. Very light. When "raw", it simply looks gray. This roughness -- as if it is like stone -- is something you get when taking a photocopy. This reminds you of Snake and the Ninja from the previous game.
Who did you have in mind when doing this? Shinkawa: Raiden. I gave it a blur, with is skull mask on. This I did with the Photoshop brush tool and not with a real brush. I had to do this illustration quickly. I did not do too much thinking for this. KCEJ: Next. An illustration for a poster in Japan. Shinkawa: "Something very black", I was told when asked to do this one. Snake posters and Raiden posters seemed very white.
So I guess they wanted something in black for contrast. Black and white posters at retailers would stand out more than things with colors. Black -- evil. These guys are villains, so I used black.
That simple. KCEJ: You did? Shinkawa: I redid this one over and over again. Probably 50 times. KCEJ: 50 times! Shinkawa: You know what? I ended up using the 3rd one KCEJ: That's what you did with the postcard shown in the previous artbook.
Shinkawa: Yes! That's when I came up with this technique. Shinkawa: Just simply drawing normal lines with it. That's how I worked on Fortune's face.
Since I carve into regular A3 size copying paper, I do a lot of damage to the paper. Shinkawa: I drew this while on the train. That's it? Snake and Raiden -- this was for the first soundtrack.
KCEJ: The eyes are pretty big. KCEJ: You can't tell because of the shadows on his face. Shinkawa: Otacon was done by Mr. Nakamura who worked on the controller vibrations of the game. He is a dot matrix graphics master. He draws really well. Snake was for the package of MGS2 Kubrick dolls. First I was told they did not need any of my illustrations. Then I was told to do some.
I worked on this one while picking my nose. So the data is monochrome. KCEJ: Do you draw in this style often? Shinkawa: I used to. But not recently. Shinkawa: What was this used for? I don't remember. I don't know. I didn't do this. Not me! This was used for the soundtrack. Shinkawa: This was used with monochrome colors. So I did not do too much painting.
The data was on with colors by then I changed the data to monochrome colors. Since we can use colors here, we are showing it as it originally was.
Shinkawa: This is actually much bigger. The original illustration is very big too. I drew this before the Metal Gear model was completed. It's flying! This was for front covers for two consecutive weeks. The editor of this magazine saw that illustration in the previous artbook and wanted something similar -- with similar cuts. But as I said before, I do get bored. I did not want to repeat what I have done before. There is an abstract artist that I like very much called Piet Mondrian.
I wanted to use cuts boxes like one of his works -- "Composition. The boxes filled with red and blue colors only. That's why I applied the illustration. This is the end of the 1st section. Let's continue with the 2nd section. Shinkawa: This interview is taking a long time Shinkawa: 3D diagram used for actual game development and an image illustration to convey the image of the character.
KCEJ: You really do give a lot of detail to the setting illustrations, don't you? Shinkawa: What I did was gave these to the designer along with photocopies of photos of pouches and camo uniforms.
You have written down "morphs to SD in 3D polygons" laughs Shinkawa: That would have been really grotesque. I'd really love to do that. Mesh patterns. It says you can see through his underwear.
His suit is really tight too. Shinkawa: I wanted something sexy A very unisexual sexiness. KCEJ: I have heard that drawing the contours of a young character is difficult. Is this true? Shinkawa: Not really. You'll see some rough sketches later on, and I had some trouble over the new sneaking suit design initially. Once we decided on the "bonelike" concept, it was quick from there.
The breathing apparatus is like a "scroll". You know, ninjas and scrolls. Shinkawa: When she appears at the very end of the game , Raiden is wearing black gear. So I made her wear a light color suit and give her black hair in contrast. Shinkawa: With the Colonel, it's only his chest and up.
Did you struggle when working on the setting of the President? Like giving him gear allowing him to do a back flip. He wasn't supposed to do a back flip initially. KCEJ: Which character did you have trouble with the most when working on the setting? Shinkawa: Fatman. He's fat, you know? He had to be fat and good looking.
How can I make a fat person cool, I asked myself. Raven from MGS was big but not fat. When someone is fat, he looks cute.
I had to come up with a way to make him cool instead of cute. An actual bomb blast suit comes with nothing else, but I applied a lot of extras on the front. KCEJ: Why is he wearing inline skates? Shinkawa: That was Mr. Kojima's idea. He said "Inline skates! Any special memories with Olga? Shinkawa: Olga is the first character I drew after Snake. I thought the stripe shirt Russian soldiers wear in reality would look good on her.
And I made her wear it, and it did look good. Of course the Ninja in MGS2 is fatter, she is wearing her uniform inside! Shinkawa: I made a suggestion to include an African-American lady in the game. KCEJ: For what reason?
They really look cool -- actually beautiful. I wanted to show that in the game. KCEJ: She is wearing shades here, unlike in the game. Shinkawa: In the beginning, all of them wore sunglasses. They were supposed to remove them right before battle.
Then we saw "The Matrix" and everyone in that movie were wearing sunglasses. We didn't want to do something someone else has already done. It was supposed to be an item in the game that allows to stay in water without breathing at all. But then including this design would have been extra work that would not be worth it. Shinkawa: When he opens up his coat, it looks like the wings of a bat.
Shinkawa: Originaly, his arm was supposed to be a cyborg arm. But then I was told that his arm was Liquid's. If I were told that, I have no choice. I like his clothes in the Plant Chapter. It's horseriding gear. He wears a gunbelt with a suit. Hikozo Ito, who is mentioned in the talk at the end of the artbook , did a photo with a man in a suit with a saber.
I really liked how they didn't match. Shinkawa: There was the joy to give birth to him. I love powered suits. I enjoyed drawing it. KCEJ: Are there things that you drew but did not make it in the game? Shinkawa: I really wanted to have more powered suits in the game. But then the game would no longer be Metal Gear. When the world of Metal Gear pursues reality, I came up with the exoskeleton instead. KCEJ: As for the mechanical setting, you said you like powered suits and mechs.
Shinkawa: No, it goes back even earlier. KCEJ: Do you want to come up with robots that merge? Shinkawa: That would be tough. Doing powered suits would be tough too. KCEJ: Would you like to include them in a game? Shinkawa: Its joints.
With REX, the joints looked like they were parts of construction machines. But with RAY, which is a robot that goes under water, I wanted to come up with joints you've never seen before. I first thought of a bunch of discs forming a chain mail like armor, with the discs sliding when RAY moves. I thought it would give RAY a grotesque look. But when expressing all this with polygons, it would be a problem. They are all circles, and when they are drawn as the texture, I was told that "the circles, when the joints elongate, would stretch and become ovals.
Also, RAY originally came with a tail. But since there were too many joints, that fell through. With REX, I thought too much of polygons, saying to myself that "polygongs must make up squares. With RAY, I tried not to think about this at all. I thought of these joints and a streamline shape armor.
KCEJ: You really work on the details of the setting of the cockpit, don't you? Shinkawa: The same is true with the modeling too, you know. You only see this in a few cuts in the game. Please pay extra attention when seeing these cuts. I just love the idea that this old guy with a mustache is controlling this really complicated robot. Shinkawa: I had to do a lot of thinking for Arsenal Gear.
How can I make it look gigantic? I tried not to give much detail and left it very smooth like the surface of a submarine to make it look huge. It does have some grooves, though. Shinkawa: How on earth can yo fight it! Shinkawa: This RAY on the bottom left of page 96 -- I drew it on a whiteboard, took a digital photo of it and turned it into digital data.
This one is huge. Shinkawa: This is about half of all stage settings. The rest was done by designer Noguchi. I drew the Tanker Chapter settings while looking at photos and other reference materials. There are no retinal scanner doors around us, you know. KCEJ: What did you find tough doing? Shinkawa: I had to draw a lot. Another things was the process. Then at the end of the game your are brought back to reality. This process is similar to that of MGS in which you start out and stay in a dark world and at the end come out in broad daylight.
Shinkawa: I've been working on settings for such a long time then, and I finally had to work on illustrations again. But it was not easy to return to illustrations. I was almost crying while doing these. I was asked to do illustrations based on his designs. I then started designing a lot of Metal Gears. So I used one of these old designs. KCEJ: Part 4 is rough sketches. Shinkawa: This interview is too long! We've already talked about them in Segment 1 of these interviews.
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