Copyright © 1999 Izubuchi Yutaka / Mizuno Ryo / Group SNE

If someone mentions the name Izubuchi Yutaka, what would you associate with him first? Will it be the mighty Nu Gundam in CHAR'S COUNTERATTACK? Or will it be the not so mighty, but equally cool looking GM Commandos in WAR IN THE POCKET? Perhaps it is the sleek contours of Ingram from PATLABOR? How about the realistic, utilitarian looking Tactical Armors in GASARAKI?
Indeed, Izubuchi is world renowned for his mechanical designs. Many people however, have overlooked his reputation as an established character illustrator. Those of you who have seen GUNDAM WING may notice the stylish costumes worn by the characters. Izubuchi designed them. He also drew a fantasy manga called RUNE MASQUER. On top of that, he has been doing illustrations for RECORD OF LODOSS WAR for 14 years, going back to the very beginning of the saga. It was Izubuchi who first put a face to our beloved Deedlit and other characters. And now, he has picked 170 of his best LODOSS artworks and published them in a deluxe art book.
ANAM (Gaelic word meaning "Soul") comes in a slipcase made of soft cardboard stock. The center of the case has been cut out, leaving a window revealing the focus of the cover art—Deedlit holding a ritual dagger with her eyes closed in concentration. Take out the book, and you'll realize she's actually levitating above a magical ring of fire. This beautiful illustration is titled after the book and is an original work commissioned specifically for the occasion. You will not find it anywhere else. The book itself is bound in hard cover, and printed on excellent A4 sized (8" x 11") paper stock.
I have to say Izubuchi named his book well. ANAM contains the soul of his LODOSS illustrations. It encompasses the entire span of LODOSS' existence, from its humble origins as RPG Replays and novels, to its recent multimedia productions. There are artworks created for books, magazines, calendars, posters, console games, CDs and laser discs. Most of these are color pieces done with mixed media; the rest are black and whites in pencil or charcoal. If you are savvy in the craftsmanship of painting, you will delight at the mastery Izubuchi exhibits. One of the techniques our resident expert at EX identified is the use of correction fluid to create blending and highlight effects with copic markers. When matched with a watercolor background, the final outcome is nothing short of visual harmony. My ignorance in such matters prevents me from giving Izubuchi full justice, but I do know that every time I turn a new page, the beautiful images take my breath away.
Because the book draws materials over a span of 13 years, you can see distinctive differences in character designs as Izubuchi refines them. His early depictions of the LODOSS cast show a lot of broken, undefined sketch lines, with simple, fuzzy hair and facial features. For example, Deedlit at this stage is often drawn as a woman with a huge patch of fluffy long hair, her pointy ears sticking out. The characters received a major facelift around the time productions began for the LODOSS OVA. The draft-like quality disappeared, replaced by strong, defined lines. Hair and facial features also became clearer and more complex. Perhaps the biggest change is the influence from Yuuki Nobuteru's animation designs. Izubuchi adopted Yuuki's sharp, chiseled feel to the characters, as well as his clothing and equipment ideas. It is at this time when Deedlit exchanged her mop-style hair for fine, wispy strands. She began to wear leather bracers instead of long gloves on occasions, and gained the use of her quarter rapier.
After the anime had its run, Izubuchi gradually shifted away from Yuuki's models. He used an exaggerated angular form that, in my opinion, did not work very well. (Imagine Deedlit with chopstick ears. When I asked Izubuchi about her ever-lengthening ears at a convention several years ago, his response was "My hands slipped.") So I'm glad to see that by 1997 he abandoned the angular approach and returned to drawing characters with soft, round features, while retaining a sharp, defined outline. This is the style he uses today.
In terms of subject, the majority of the illustrations are character portraits or narrative art. The former reveals something about the personality of the people in the picture, while the latter tells a particular scene in a story. All of them have a tranquil, dream-like quality to them. It is not Izubuchi's style to draw dynamic, energy-charged visions. Even his most dramatic paintings have a faded out atmosphere to it, like a half-remembered dream. If you are used to Yuuki's LODOSS artwork, with sharp colors and energetic characters, you may think Izubuchi's style as lackluster. Nothing can be further from the truth. Izubuchi takes a different approach to his subjects, one that emphasizes elegance from a serene composition. Given that LODOSS is a tale of high fantasy with strong Tolkien elements, the quiet grace in the illustrations matches the mood very well.
Going back to the book, it is divided into four chapters, each with a Gaelic title. The first one, "Anam" (Soul), contains mood-setting pieces that provide a feel of what LODOSS is like. You can find a good number of narrative pictures here. The second chapter is "Naofa" (Sacred). This is where you will find lots of Deedlit and other elves/fairies illustrations, plus some Leaf and Little Neese ones. "Uafas" (Terror) is next. While Naofa is for the good guys, Uafas dedicates itself to the evil ones. In addition to the Marmo camp, there are drawings of monsters, plus a few scenes from LODOSS' darker moments. The last chapter, "Tine" (Flame), deals with events and persona from Kashue's desert kingdom, as well as the redheaded sword-woman Shiris.
If you haven't guessed it already, I like ANAM a lot. Izubuchi's excellent artwork aside, this book boasts a fine collection value. Many of the illustrations included are rare and hard to find, even for LODOSS collectors. If you have a taste for fantasy art, or appreciate good craftsmanship, get this book—before all the LODOSS and Izubuchi fans grab the remaining copies.

Published by Kadokawa Shoten
143 pages (170 illustrations); Color and B/W
ISBN4-04-853065-8 C0076
¥7600
Available now in Japan
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