Space Leech
Spaceleech’s Top Ten Art Books: #8, Kaba by Katsuhiro Otomo

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When you think of Katsuhiro Otomo, Akira is usually the first thing to come to mind. It was the West’s first major flirtation with anime outside of the realm of children’s television and the manga version is a colossal tome of unparalleled action and cyberpunk ambiance. But for people outside of Japan, Akira is where Otomo’s body of work begins and ends. Only a fraction of his other manga titles, like Domu and The Legend of Mother Sarah, have been released in English and none of those are even still in print. Steamboy, his 2004 animated feature, failed to grab much attention and since Otomo is not the young man he once was, he’s not producing quite as much material as he used to, leaving all of his other works lingering in obscurity and away from Western audiences.

Otomo’s art book, Kaba, covers his most prolific period, 1971 to 1989, which included manga like Domu and Sayonara Nippon and anime work like Genma Wars and Robot Carnival. We also see his hand in novels, albums, whiskey advertisements, health insurance advertisements, travel guides, television, and even concept cars.  You might be saying “so Otomo knew how to be a shill? Big whoop.” But Otomo balances a fine line between craftsman and artist his work exudes personality. Even when he’s doing an ad for vodka he evokes Taoist and Chinese Zodiac imagery by crafting an elephant and a whale sharing a bottle of vodka emerging from a lotus blossom that is resting upon a tortoise.

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While Otomo is mostly known for ultra-violent cyberpunk fare, the cover to Kaba features a large friendly hippo standing upright in a pleasant looking living room that is also underwater.

The book is roughly the same dimensions of a record or laserdisc, which can’t be a coincidence when you consider how Otomo embraces music and analogue technology. Kaba is bilingual (Japanese and English) with informative captions and background info, possibly because Otomo would often use English on the covers of his books and illustrations to give his work an international feel.

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Otomo’s illustrations are full of expansive cityscapes, complex machinery, sprawling wires, and clothes of every fashion imaginable. At a glance it seems jumbled or overwhelming, but when you really look at it, you see an intricate attention to detail and how a complex and messy metropolis can be governed by a careful geometry. For lack of a better term, Otomo is great at drawing scenery porn, a style of art where locations play just as important a role in establishing motifs and story as characters. There are also some great photos of Otomo in his studio, which looks like a scene taken out of one of his comics as books, records, audio equipment and drawing tools spill out of every inch.

One of the most fascinating sections is on the illustrations Otomo did for the talk show, YOU. YOU ran on NHK in the 1980’s and featured Japanese teens discussing current affairs and important issues (it also had a soundtrack composed by Yellow Magic Orchestra front-man, Ryuichi Sakamoto). Otomo’s artwork was featured in the theme song and throughout the show. The pictures he made were simple stills depicting gleeful, but not malicious, destruction. A young girl in a red and yellow jumper squeezes an over-sized light bulb shaped balloon until it bursts. A chubby woman with a grin drops an enormous Casio keyboard from about four feet and it practically explodes. The pictures are intrinsically simple, but Otomo gives careful craft and detail to the characters, their clothes, and the destruction of the objects. The balance of destruction with cheery expressions and bright colors embodies Otomo’s entwinement of order and chaos.

Here’s a link to the opening of YOU: https://www.youtube.com/watch?v=WglFy8O-A2g

While the majority of the book is comprised of fragments of Otomo’s career, there are two short stories collected in Kaba, Farewell To Weapons (which was published in Young Magazine in 1981) and The Watermelon Messiah (also from a 1981 issue of Young). Both titles pre-date Akira, but they show where Akira’s themes and motifs start to form.

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Farewell to Weapons shows a battleground in World War IV after a massive explosion in the “Far East.” Sound familiar? The story lacks Akira’s polish, but one of the techniques Otomo uses is that for panels that are supposed to be from the perspective of cameras or HUD’s he takes the artwork, films it with a video camera, manipulate the images on a TV, then re-insert it into the comic. Photoshop? Filters? BAH!

The Watermelon Messiah simply shows a colossal melon crashing onto a post-apocalyptic planet and bringing refreshing salvation, prefacing the theme of life after cataclysmic destruction. You know, every day stuff.

Kaba is tough to find and not exactly on the cheap side, but it’s  one of the finest collections ever published of Otomo’s art and embodies the strange stylistic and technological orgy that was 1980’s Japan.

Spaceleech’s Top Ten Art Books: #9, The Art of Metal Gear Solid by Yoji Shinkawa

If you are reading this, chances are you have either played through or are at least familiar with the Metal Gear series of games. I don’t need to tell you how it was a huge hit and had reverberations in gaming to this day, but it is important to look at why we still care about Metal Gear, specifically Metal Gear Solid for the PS1. Yoji Shinkawa’s The Art of Metal Gear Solid shows why MGS had such an impact on gaming and media because of Shinkawa’s striking visuals and world building.

The cover grabs you right away. The charcoal black and white drawing of Snake with a red banner across the middle makes this look like half artist’s sketchpad, half secret government document, while the back cover features Snake in a triplicate pose evocative of Warhol’s Elvis series.

Shinkawa‘s color pallet isn’t what you usually associate with military themed games, making use of vibrant greens, and peach rather than exclusively drab grey or gunmetal. Even in simple sketches Shinkawa really shines in black and white drawings which appear deceptively simple, but make efficient use of line work and negative space.

Part of what draws me to Metal Gear Solid is the way it is grounded in reality, but does not feel beholden to it. The mechanical designs of the Metal Gear Rex and the Cyborg Ninja are far-fetched, but Shinkawa details their inner workings so meticulously that they feel almost tangible. This detail to mechanical design and the sci-fi aspects of MGS makes the series feel much closer to Neuromancer than Rainbow Six and the world of MGS feels like one that is very layered and full to bursting with technologies locked in perpetual conflict with each other.

Probably to reflect Metal Gear’s popularity in the States, art book is bilingual (Japanese and English) though the English can be spotty or just bizarre at times (Naomi Hunter is referred to as a “brown skinned beauty”). The MGS2 art book is also bilingual, but unfortunately, no other MGS art books have been since.

The English captions give some interesting insight into MGS’ development. Snake’s pistol of choice, the HK Mk. 23 SOCOM, was chosen not because of military accuracy or for tactical reasons, but because it looked cool and its square shape made it easy to accurately render in polygons.

Some of the real meat is the chapter devoted to concept and development sketches. This includes room lay-outs, like the office where you fight Psycho Mantis, simple items like crates and machines, size comparisons of all the previous Metal Gear units, costume breakdowns that would make cosplayers salivate, and lots of rejected ideas. Psycho Mantis was originally going to have a punk rock look and a mohawk, and Sniper Wolf was going to be a man (I wonde if they would have kept the romance subplot with Otacon).

A second edition of The Art of Metal Gear Solid was released that includes art from The Twin Snakes, but I don’t have that edition to I cannot comment on it. This art book is definitely a must buy for MGS fans, but I also highly recommend it to those interested in mechs, cyberpunk, or military and mechanical designs.

Spaceleech’s Top Ten Art Books: #10

Like I said earlier, I wanted to experiment with longer posts, so I will be counting down my top ten favorite art books.

Why art books? They give us insight into the creative process, they help us understands the trials and tribulations of our favorite artists as they give shape to their visions, and sometimes they’re just nice to keep by your nightstand and flip through.

Each book will get a write-up and while I don’t really have a schedule for them, I wont keep you waiting too long between entries. Also, the list order does not reflect rank or preference.

So without further ado, here’s  book #10…

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