THE ART OF METAL GEAR SOLID 052 053

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This is the illustration that replaced the one on the previous page. I had to rush thi I was told that a polygon CG of the Ninja would be used due to limited time. The sign displayed
Shibuya Station was indeed spectacular!
THE ART OF METAL GEAR SOLID
CONTENTS

P a r t . 1
Official Illustrations 007

Publicity Illustrations 037

Illustrations for Magazines 057

Illustrations for Goods 067

P a r t . 2
Characters 098

Mechanics 116

Early Mechanics 124

Artwork 128

From the Sketchbook 140

Costumes & Large Square Cards 162

Opening Demo Movie Storyboard 164

Visual Effects Directions 166

P a r t . 3
Talk Collaboration vojishinkawa&emubmsi 169

Creative Direction: Hideo Kojima

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Metal Gear Solid Confidential Documents
Official Illustrations
 An engineer of ArmsTech company. White wearing glasses, and of
Hal Emmerich friendly nature. He is taken as one of the hostages in the terrorist act
of the time. Loves Japanimation (Japanese animation). His nick
name "Otacon" comes from the "OTAKU CONVENTION" that is a
real name: Hal Emmerich
fan event of Japanese animation held in the US, and of which he is
sex: male_ a regular participant. His grand father was also an scientist who
age: 30s_ took part in the Manhattan Project. He knows his grandfather's ago¬
ny of seeing what he created being used as a weapon, for he told
nationality: USA_ Otacon his experience.
height: 177 cm
 Ex-Commander of FOX-HOUND. Thqugh already
Roy Campbell retired from the armed forces, he has been called out

in touch with Solid Snake, the only man »*o can Inter¬
real name: Roy Campbell dict the terrorist act of this time. Before entering the
former' FOX-HOUND, he served in the'US Marine
sex: male_ Corps, Green Beret and Delta Force. In FQXrHOUND.
age: 60s_ he was assigned to X.O. of the unit for his strategic plan¬
ning capabilities backed up with his experiences. After
nationality: USA_ the death of Big Boss, he discarded the code namp sys¬
height: 185 cm tem in the unit, and had built up the ‘new" pfclX-HOUND
making full use of various hi-tech equipmsjt inauding

shows up in the military uniform wearing a beret.

The medical chief of FOX-HOUND. A

Naomi Hunter beauty. In charge of gene therapy and gene strength¬
ening. Her staffs affectionately call her ‘Doctor Naomi'.

real name: Naomi Hunter

age: 20s
nationality: USA
height: 165 cm

Mei Ling

real name: Mei Ling

age: 10s
nationality:
China (Kwangtung)
height: 160 cm
METAL GEAR SOLID
_
 Donald Anderson

Solid Snake, Infiltration, Alaska, Nuclear Weapon Storage, Terrorists, Revolution, Hi-Tech Unconventional Warfare

Unit, FOX-HOUND, Shadow Warriors, Next-Generation Special Force, VR Simulation, Gene Therapy, Soldier

Gene, Exoskeleton, Stealth Camouflage, Nanomachines, DDS, Dog Sled Race, Gulf War Syndrome, PAL, Psychic

Soldier, Soliton Radar, Real Time Burst Communication, Dismantled Nuclear Warheads, Dissolved Nucleus Plutoni¬

um, Trinity, Apoptosis, Asymmetry Theory, Black Project, Black Budget, National Security Agency, Defense Intel¬

ligence Agency, Department of Energy, OUTER HEAVEN, Zanzibar Land, Big Boss, Manhattan Project, Hiroshima,

MIRV, Inter-Continental Ballistic Missile, Submarine-Launched Ballistic Missile, Airbourne-Launched Ballistic Mis¬

sile, Mass Destruction Weapon, Comprehensive Nuclear Test Ban Treaty, Nuclear Nonproliferation Treaty, Anti-

Ballistic Missile Treaty, Theater Missile Defense, Sub-critical Nuclear Experiment, Nova, Nif, Nuclear Launch Simu¬

lation, Surface-piercing tactical nuclear bomb, START-3, Nuclear-equipped Walking Battle Tank, Liquid Snake

' METAL GEAR SOLID

 -HOUND

: died in his
nationality: USA
height: 192 cm
Ex-FOX-HOUND
mercenary around the world
ed by people
dier*. In 90s, he
mander of hi-tec i
force, FOX-HOUND,
connections from his
build an independent
ER HEAVEN' but it was
Snake. After escaping to
again build a fortress
Solid Snake frustrated his ambition.
THE ART OF METAL GEAR SOLID
 ——

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Nationality: Unknown
Decoy Octopus Age: Unknown / Real name: Unknown
A master of disguise. Copies
real name: unknown
sex: unknown
age: unknown
nationality: unknown
height: unknown
THE ART OF METAL GEAR SOLID 028
THE ART OF METAL GEAR SOLID 032 033
X??7f-Lfc<f'n'S-8mm*/5t?««U-CfiVtri;?L. i-Mri?**?fcc-CMadefeoTST, x7x?h4-***0LT*^v>tUfc„
«as-c^orv»fcisc.-ei-fa. -K*o-c
I filmed the model with scratched texture with a 8 mm camera and displayed it on the TV monitor. Then I also took pictures with a digital camera to add effects with my Mac.
This was like what modeling magazines used to do In the past. I always wanted to try doing this myself.
THE ART OF METAL GEAR SOLID
Publicity Illustrations
 R8St:iiv-?-x-^fcgx.r#T, &ACi-®£fcffli>-CV'S«t;U*oTLiv>SLfc.
If*

is drawn with the same technique used for the postcards that were given out as a bonus to those who reserved the product. It got really crispy and dried up because I painted over it repeatedly
thin black ink and correcting ink on top of regular copying paper. Toward the end showed up matiere from underneath as if I was oil painting — something I used to do in the past,
experience was fun and brought back memories.

f
 r^UlftoTV'S+o £oTbiL***®<0**&*ffl+Ot;:4>'L1l8*iLfc.

This was tor the signs displayed by the Skywalk of Ebisu and JR Shibuya Station but never got used there. This is long sideways to serve that purpose. It was not easy to create such heavy colore.
Being able to implement many ways to add colors on the computer made it difficult for me to select the best touch.
 (p.40-41)PffM‘£i'o*0-eNINJA«!if,J:f*CG-CV*;3fcSfonfc«-e+>J'. &•>*•>«#*Lfco iS@IR«#«li*#<rttWCU*fa.
This is the illustration that replaced the one on the previous page. I had to rush this one since I was told that a polygon CG of the Ninja would be used due to limited time. The sign displayed at
Shibuya Station was indeed spectacular!
1. #*9~. «y?a«*tt4:ffl*Lr. Xffl-®ft(3+3JPN)Kx7x?h**-£Ti<bv>iLfc.

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1. This was used for the poster, package visual, and the title screen of the game. I asked Mr. Ichiro Kutome (Konami JPN) to add effects to the monochrome material I prepared.
2.1 drew this because I wanted something with Metal Gear itself being the central character. Details of Metal Gear do differ from those in the game since I drew this before the design was
finalized. Equipping Metal Gear with a rail gun was not part of the original plan.
 *#§a-e>4£nfc'f:i+-v5rt?L*iS<. y-AWWfeoifc«».fclc***-v??i’-»0'il?rt?*,>
Although he started out as a nobody from a graffiti, he ended up becoming one of the main characters to appear on the main visual. He is now oner of my most favorite characters.
THE ART OF METAL GEAR SOLID
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»"Lover's Rock".
Illustration for Magazines
 r-A*«UPSli. S«y777hrofc»»-f?xh4-«v>-cv>fc<0tf, *^*>#fcofcSCi6<LS-iiA/el,fc. L'SCKUPflag
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A series of magazine covers at the timing of the release of "Metal Gear Solid". When the game development was completed, I started working on illustrations for the front covers — the project
did not seem it was over yet. I haven't taken my vacation since, and I’ll probably never feel that way.

THE ART OF METAL GEAR SOLID 058 059

 LfcofcteT?, f5*otfb«L>»-ofc-C+(S0C0MI';<b*«CGtt&;W1fo*fc®'eU;;Mi-ti-/L)., SOCOMlTXh*/*r-AIC«)f! U*a*l±,
iqiitA-ar-tneifel-,, *i45P@T?*a;i«>*«i,> *issi;us.socoM-cES«fflsn*iro
kar*F't>iiWb<)i+' i^fflynh^^oWiKSirfa-MOi:!
This was the first illustration to appear on a magazine cover. I was happy when it did. (I didn't create the SOCOM pistol CG.) The SOCOM pistol was used in the game simply because it looks
COOL — period, it's big. very square, and looks great in polygons. Its being 45 caliber is also important. However, time went by while the game was being developed, and the design of the
pistol adopted by the US.SOCOM turned out different. I believe the prototype looks so much better!
THE ART OF METAL GEAR SOLID
t cover. The designer from the magazine asked me to "do something with the comic book flavor as done in ad a while ago."
 *ro»li«t)ii*-Cli4<.^'f»-ro*7-^-C‘KU-CAiL*o v>o«|l|tZ)J-3SS»y-ASrEDGEJOS*lc*o-C
KSL*. *C«**S*fflK.(i7i?hjS!*or. JI?t#73fi<*oTV>tU*)o -ewEDGE^ilUifiForv'i-ti-A. EDGESA. »«g£fcao-c<*!sv\>
I drew this to try out the software called Painter. The brush strokes were not scanned but created with the brush tool in the Painter. This turned out to be the front cover of ’EDGE* magazine
of the UK. It was only a graffiti...(though it looked kinda cool with some effects added.) I don't have this particular EDGE issue. I would love it if they could send me a copy.

: METAL GEAR !
Pink and purple are a couple of my favorite colors, and I r r them subconsciously. These colors supposedly have the power to charm people.
Illustration for Goods
DRAMA CD METAL GEAR SOLID Vol.1
DRAMA CD METAL GEAR SOLID Vol.2
LA?USP**ofciSt::i-fSo*£ili. 9mm£ofc®-e-PA,*i:»v>+vn*<. #irj33i*llSI»f,B*-e®o*l~rIt'sK.
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When I had the chance to fire an USP in LA, I noticed how well Japanese air guns are made. The relatively weak kick back from the 9 mm gun as well as how it felt in my hand was identical to
that of my toy gun in Japan. Although it was my first time to fire a real gun. it didn't feel that way! The weight balance was very similar as well, and the bullet seemed to be attracted toward the
target pleasantly. Firing a Government single-handedly was a totally different story - it was awesome! A 45 caliber was raw sensation! It felt like struggling to hold a door shut while being
banged from the other side with a hammer. How on earth would it feel if I fired a 50 AE Desert Eagle like this single-handedly?
THE ART OF METAL GEAR SOLID 074
 *&o»w<o®oi&*c\ ^•;/r»;ofcLr«v>-ctfeo
I did this one for magazine PR purposes but was rejected. We then used this for our Konami JPN New Year greeting cards. This goes back to the early stages of the project. Quite rough, isn't it?
y i s
THE ART OF METAL GEAR SOLID
L k e
: METAL GEAR SOLID
Psycho Mantis

: ART OF METAL GEAR SOLID

Decoy Octopus
w 1
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METAL GEAR SOLID TRADING CARDS
CODEC CARDS

THE ART OF METAL GEAR SOLID 086 087

M G S T C THE ONLY G I N A L ARTWORK
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When drawing swords and samurais, I went to Jimbocho (city famous tor many stores selling used books) to buy books on swordsmanship and did a lot of studying. Ideally. I should have taken lessons
from a teacher, but I did not have the time. I thought reading books would be better than doing nothing. Drawing the use of guns without knowing how to handle guns could be a disaster, you know.

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I was very happy when asked to do illustrations of the Shinsen-gumi. In the beginning, I had trouble doing the, but I hyped myself up and got into a roll and completed them.

THE ART OF METAL GEAR SOUP 090 091

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I drew this tor the cover of "Game Hihyo" Magazine. The gun in the hand is a S6W M22A. It is a very beautiful design with scope mounted on the slide from the
very beginning. Really really cool. I'd call this functional beauty. This is exactly what I wanted
Characters
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Liquid Snake
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Characters
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Costumes & Large Square Cards
Opening Demo Movie Storyboard

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First Encounter
Shinkawa: I was about 12 or 13 when I first saw your work.
Until then. I'd only seen Japanese anime and manga. So when
I came across your drawings in the Western import section of
a bookshop, it had a great impact on me. It made me think,
“Wow, drawing can be done this way too”.
Bilal: Is it a front talk for about 20 years ?
Shinkawa: I didn't really understand the story because only
the original French version was available at the time. I simply
studied the drawings. BD (Bande Dessinee *') illustrations are
larger compared to Japanese manga works, so I cupped my
hand and peered at each frame up close as if I was looking
through a telescope. It made me feel like I was really part of
the story - a real interactive experience in the sense that 1
actually entered the world of the story.
Bilal: I know exactly what you mean. I think looking at the
drawings like that helps bring out all kinds of detail. And the
combined effect of that over the whole story can increase your
perspective of a new world that you’ve never experienced
before. Whatever the subject matter, a good illustration can be
interactive, with the power to let you witness a dream or
experience a journey without using any words to describe it.
Shinkawa: I agree. As I said, I've been influenced by your
work since my childhood. When I got a job at a game
company, the first project I worked on was “Metal Gear". At
the time, video games were all colorful and very much just
“games”. You got the impression they were all really designed
for kids. So I thought I'd incorporate the kind of color-sense
from BD into “Metal Gear”.
Bilal: I’ve seen several drawings and examples of work from
“Metal Gear”, and I’ve noticed that interspersed in the 7?vxB«M*«U:tMofcvvtfat,*®**.
futuristic world, there's quite a lot of modem-day technology. T Bande DessineeJ i‘lF.il *■»>?. rB.D.-<?J
Does that have some particular significance in the game? nntt-cii
-«9«
Shinkawa: Obviously, “Metal Gear” is set in the future, but S«- tfC.Zl)*Ai*'*t.»6JI:(tiL-CiE*
if everything in the game consists of things people have L-O'i.
never seen before, I think that actually detracts from the
futuristic impression you’re trying to create. For me,
including real-life items from the present, like weapons, is
the best way to get across the feeling that it’s set in the
future. Otherwise, the player can’t really get into the game.
I know you've produced quite a number of futuristic stories
too, and it’s the real world elements that really bring them
It2: sea#*.{Nikopol)
Bilal: I see. I like to include things from the present or the
past as well. By tweaking things that already exist and
placing them in a futuristic environment, you help the reader
get a better feel for the futuristic time and setting portrayed
in the story.
The Design Process
Shinkawa: With games, it’s normal to design the characters
and objects before they’re placed on the screen. In your case,
do you design the characters and things at the same time as
you're drawing the BD? Or do you create stories with
characters and objects that have been designed in advance?
Bilal: Generally I think about their design as I’m drawing the
BD. But there was this one time, for Nikopol*2, when I
designed the character beforehand. Actually, about 2 or 3 days
before I came up with the design for Nikopol, I saw a Swiss
actor named Bruno Ganz*3 in the movie “The American
iiiliiiii
Friend”. The character he played and his performance had
some similarities with my ideas for Nikopol, so I took some
inspiration from him. But that was the only time it worked out
like that. Of course, the design process is different for BD and
movies. With the CG that you use in movies, you have to
finalize the design first, just like you do in a game. With BD,

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like I said before, you can work on the design as you’re
drawing the character, and sometimes that process can help
develop the character and the story.
Shinkawa: I make a clear distinction between designing my
characters and drawing illustrations for things like packaging. I
think of them as totally separate procedures. For me, drawing
illustrations is quite stressful. I much prefer the state of
thinking, “It would be fun to make the character do this,” and
coming up with a design for that. When you said that the design
process can help develop the story, what did you mean exactly?
Bilal: Take my most recent BD, “32 decembre”*4, for
example. I didn’t prepare any kind of characters or story. I just
started from the single idea that there’d be 3 main characters
that would eventually meet each other again. But in actuality
the story ends without them seeing each other at all! [He
laughs] So the story went in a totally different direction from
the idea I had six months earlier. The reshaping and remaking
process, which began from that original idea, produced really
interesting results. I enjoy working like that. But I don’t
always change what I’m doing based on ideas I have at the
time. I’ll soon start production on the sequel for “32
decembre", and since it’ll become the concluding part of a
trilogy *s, I think the story must be carefully thought out and
the ideas finalized as I approach the drawing process.
Shinkawa: Does it seem that the movie which made the “La
Trilogie de Nikopol” 5 the original will be exhibited in Japan
soon if it is called a trilogy ?
Bilal: Yes. I hope you’ll get a chance to see it *6. Another
point about ideas stemming from design work is that I often
find my work governed by events happening around the
world. For example, there’s an evil character called Warhole
in “32 decembre” who is responsible for a horrific event in
the story. While I was creating him, 9/11 happened.
Witnessing it with my own eyes had a huge impact on my
concept of the character. Have real-world events ever had an
impact on your work?
Shinkawa: Well, 9/11 had a significant impact on “Metal Gear
Solid 2" as well. I was working towards the climax based
around an event happening in New York. Just when I was
about to start work on that final scene, 9/11 happened. So we
deleted all related scenes. There were quite a few similarities
between the actual event and what the team had envisaged for
the scene. As you can imagine, we were all really shocked. We
were all speechless for a while...
Bilal: It’s one of those cases of “reality exceeds fiction”
that happens every now and then. That’s why artists have to
create fiction that continues to progress and develop, or
else it will be suffocated by reality. It’s always a constant
battle against reality.
BD and Movies
Shinkawa: Are creating a movie and writing your own BD two
totally different things?
Bilal: Absolutely. When you’re drawing a BD, you get more
and more passionate and focused on it. When you make a fiSt-Tvi. A«'l*l>6+
movie, it’s not just you; you’re working with the CG creators ft=«tn*»t*ISJ. -3#»tUCl6t+4 • =
and all sorts of other people. But amidst all of this group
effort, you have to try and maintain the "sparkle” of the
original idea as the work goes on. It becomes really important
how you convey your original enthusiasm and opinions to the
production staff. But it can be interesting to incorporate the
ideas of the staff into the final concept as well. It can make
movie production really fun in a different way.
Shinkawa: Game production is the same. The “Metal Gear”
series is directed by Hideo Kojima, and it’s important that
every member of the production staff understands the image
he has in mind for the production.

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Bilal: There’s another crucial difference between drawing BD
and making movies, and that’s “image reproduction”. For
movies you have to consider the budget, and very often you
can’t achieve the story or imagery you’d originally imagined.
On top of that, the production time is limited too. So it
becomes difficult to produce a movie scene on the screen as
you imagined it in your head. Movies have bigger budgets, but
I feel like the ways of bringing ideas to reality are more
limited than they are with BD.
Shinkawa: Speaking of image reproduction, once a scene has
been shot from a particular angle for a movie, that's often
enough. But for games, objects created with CG have to be
fully and completely designed because the player can go inside
and move about within them. To make matters worse, “Metal
Gear” is set up so you can get an overhead view of everything,
so it all has to be created in really fine detail. When I look at
your work, I get the same sort of impression of a world created
in minute detail. It's really inspirational.
Bilal: [He laughs] Thank you. So have you ever drawn
Shinkawa: I gave it a shot, but it’s really not my thing.
[He laughs]
Bilal: I’ve tried movies too, and that’s all I can say! It
was really hard work, but I wanted to do something a bit
different. Do you think the world of manga is still growing
and maturing?
Shinkawa: Manga was really popular when I was in junior
high and high school. But that seemed to cool off a bit when I
started doing this sort of work... Maybe games stole the
limelight a bit. For me, since going from being an observer to
a creator. I’ve hardly read any manga at all. I realized that I
much prefer drawing my own illustrations.
Bilal: In France, the BD scene keeps growing .
Shinkawa: Do you think there are still new areas and new
methods of expression to be explored with BD?
Bilal: The new generation of artists is creating a genre of
auto-fiction; in other words, their drawings are detailed
reflections of their own lives and experiences. I think it's a
movement we should all embrace. Just like books, new
genres of BD are bom, and I think it’s good to cultivate all
these new areas.
Shinkawa: When manga was in its heyday it was exactly
like that too. New genres used to pop up one after the next.
But I get the impression that the things have settled down a
bit. I thought it would be great to discover a creative new
stimulus through our meeting, and now I’m really looking
forward to reading the new genre of BD.
On Games
Bilal: What are your thoughts about your work on games from
Shinkawa: Of course I really want to focus on the concept of
interactivity - to make the player really feel like they’re in
another world... That's the sensation I’m really striving for.
The player should become the character they’re controlling
within the world created by the game. In that way, I think my
goals are similar to those of BD.
Bilal: Aren't there interactive games out there like the one you
just described?
Shinkawa: Well, not quite yet. A long time ago I thought of a
game where the player just wanders around a city, doing
nothing more than looking at the buildings and other living
beings: an attempt to recreate the excitement of being a tourist.
But I’ve come to realize just what a technological challenge it
is to create a city like that.
Bilal: Aren't there games around now that stimulate and
incorporate emotional elements like love?

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Shinkawa: Well, the foundations for the story in “Metal Gear”
are the feelings of love between the characters. But a lot of
gamers are impatient, and they want action and fighting
immediately! [He laughs] So it’s pretty hard to insert an
emotion-based story. I guess you could think of “Metal Gear”
as a series that’s evolving those themes.
Bilal: I think it would be fascinating to see “true love” that is
unbound by pre-programmed limits developing within a
game. To give the characters in the game feelings like real
humans, not just robot-like responses, and to let the player
experience that.
Shinkawa: I’ve heard about players falling in love with each
other on Internet games, but it’s beyond our current abilities to
give the characters in games a sufficient emotional depth that a
player could fall in love with. It might be possible to give
characters emotions using something like AIBO, where the
programming can expand and grow of its own accord. I’m
really interested in the production of interactive things with
sensory awareness that can self-develop like that, not just in
games. Maybe in the future we’ll have things like the feeling
female android that you drew.
And “3 ”
Bilal: There’s a whole host of games available now, but
they’re treated more as products for sale than works of art. But
looking at your drawings for “Metal Gear”, I don’t get that
impression at all. As a fellow artist, I get a real sense of
affinity. I can really understand your work. I think it’s brilliant
because it uniquely depicts characters that are realistic, but not
larger-than-life.
Shinkawa: Rather than depicting a complete character, I try to
leave room for the reader to fill out the image. In novels for
example, the reader is told a character has eyes like this, and
looks like that, and they fill in the rest. But a picture can be
taken in exactly as it is drawn. So I feel it’s better to let the
viewer just get a flavor by deliberately drawing characters
with a few ambiguous omissions.
Bilal: It’s certainly true that if you draw in too much detail,
BD gets pretty stale too. Your pictures leave just the right
amount of distance between reality and the image. Is the work
you’re creating now going to be used in subsequent releases of
the “Metal Gear” series?
Shinkawa: Yes. The third one will be set in U.S.S.R. during
the ‘60s, and the main character will wander through a jungle.
Right now I’m trying to figure out if I can include some of the
elements of older U.S.S.R..
Bilal: It always produces interesting results when Japanese
artists include European culture in their work. Like Director
Mamoru Oshii’s “Avalon” *7.1 would say “Metal Gear” is one
of those works too.
Shinkawa: Up to now in the series, the setting has been a
futuristic one. But in “3”, I’m hoping to portray "a futuristic
Bilal: I see. I think stories that aren’t based on history, but
re-work the past in a new way can be really fascinating. I can’t
get excited about history just being replayed from another
person’s perspective. In my case, I like to put present and past
images into a futuristic environment, but it’s just as feasible to
put futuristic images into a past environment.
Shinkawa: Well, I’ve been a fan of yours for a long time now,
and it has been a great honor meeting you.
Bilal: The honor’s been all mine. I’ve been hoping to meet you
ever since I first saw your illustrations. Thank you.
Shinkawa: You’ve given me lots to think about. It’s made we
want to explore various new areas from now on.
Bilal: Well, I’ve decided to try my hand at the game world!
[He laughs]
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2001" exhibition. Has also been actively involved with movies since the *80s.

Keep" (1983). Made his debut as director in 1989 with “Bunker Palace Hotel”,
starring Jean-Louis Trintignant. Also directed "Tykho Moon” in 19%, starring
Julie Delpy. Stage design work includes Angelin Preljocaj’s 1991 production
of Prokoviev's “Romeo and Juliet".
TACTICAL ESPIONAGE ACTION

METAL GEAR SOLID

THE TWIN SNAKES
 a
1