In the decades since, the Star Wars Saga has become a phenomenon impacting cultures across the globe. Just as George Lucas drew upon the work of N. C. Wyeth and Norman Rockwell for his own visual inspiration, he has now invited more than 100 well-known and promising artists to draw upon the entire Star Wars galaxy for inspiration. Star Wars: Visions collects these magnificent artworks for the first time. Featuring pieces by renowned artists such as Amano, Allan R. Banks, Harley Brown, Gary Carter, James Christensen, Michael Coleman, Kinuko Craft, Jim Dietz, Phillipe Druillet, Donato Giancola, Ann Hanson, H. R. Giger, Daniel Greene, Ron Kleeman, Arantzazu Martinez, Syd Mead, Moebius, Paul Oxborough, Alex Ross, Anthony J. Ryder, Dolfi Stoki, William Stout, Dan Thompson, Julie Bell and Boris Vallejo, Scott Waddell, and Jamie Wyeth, Star Wars: Visions is a breakthrough tribute to the worldwide inspiration that is Star Wars.Praise for Star Wars Art: Visions:"Star Wars Art: Visions . . . acknowledges what fans have felt all along. They don't want to be mere spectators, but involved in the storytelling too." -Los Angeles Times

    From legendary game creator Hideo Kojima comes an all-new, genre-defying experience for the PlayStation(R)4 system. In the near future, mysterious explosions have rocked the planet, setting off a series of supernatural events known as the Death Stranding. With spectral creatures plaguing the landscape, and the planet on the verge of a mass extinction, it's up to Sam Bridges to journey across the ravaged continent and save mankind from impending annihilation.The Art of Death Stranding is packed with hundreds of pieces of concept art for the characters, equipment, locations and creatures featured in the game, as well as early and unused concepts, including artwork by acclaimed artist Yoji Shinkawa.

    And of her Friends, male and female, and her acquaintances as well. But Merritt's favourite motif is herself: she poses almost every minute of the day for her camera, taking photographs of herself in bed, in the shower, having sex with her friend, masturbating with and without accessories, from every imaginable angle and with the camera usually at arm's length. Merritt, born 1977, works with a digital camera, the Polaroid of the 90s, breaking down the most intimate details into universally accessible bits of information. Eric Kroll came across Natacha Merritt by chance in the internet, where she had put several of her photographs. This was something that left the tradition of classical pin-up and fetish photography, in which Kroll himself works, far behind. Face to face with Merritt's photographs one can reflect on intimacy and publicity in the digital age, on narcissism even, or on radical self-exploration with the help of the camera. But this all sounds better as Natacha Merritt herself puts it: in her view, she has found a new mode of masturbating her way into the next millennium.

    Featuring concept art and commentary by BioWare on the games' characters, locations, vehicles, weapons, and more, "The Art of the Mass Effect Universe" is the most complete companion available to gaming's most compelling series.

    It avoids the typical encyclopedic approach of surveys in favor of examining selected but highly representative works in greater depth and from an enlarged spectrum of critical discourse. Organized along chronological lines, topics explore the ideas, forms, events, artists, and works with each chapter devoted to a style, movement, or decade from Cezanne, Seurat, Gauguin, and Van Gogh through Minimalism and the general reaction known as Post-Modernism. Ideal for readers with a "general" interest in art. "

     Dramatically raising the bar for realism and invention, his trademark battle-weary spacecraft, dramatic alien landscapes and crumbling brutalist architecture irrevocably changed the aesthetic of science fiction art and cinema. Featuring work for books by Isaac Asimov, E. E. ‘Doc’ Smith, Arthur C. Clarke, A. E. Van Vogt and Philip K. Dick, and film design for Ridley Scott and Stanley Kubrick, this volume brings together many rare and classic images that have never been seen or reprinted before. The first comprehensive retrospective of Chris Foss’s SF career. “Chris Foss’ name has become pre-eminent among sf artists... He is in love with the monstrous, with angular momentum, with inertia-free projectiles and irresistable objects.” — Brian Aldiss “[Foss’] creations are real machines, not just an artist’s dreams. They combine the two elements so essential to science fiction: realism and a sense of wonder... A medieval goldsmith of future eons.” — Alejandro Jodorowsky

    McGinnis began his career in 1947 as a cartoonist, and produced his first cover illustrations for 1956 issues of the magazines True Detective and Master Detective. Then in 1958, he painted his first paperback book cover, and from that day forward his work was in demand.   The emergence of the “McGinnis Woman”—long-legged, intelligent, alluring, and enigmatic—established him as the go-to artist for detective novels. His work appeared on Mike Shayne titles and the Perry Mason series, and he produced 100 paintings for the Carter Brown adventures. Yet McGinnis became famous for his work in other genres as well: espionage, romance, historicals, gothics, and Westerns.   McGinnis’s first major magazine assignments were for The Saturday Evening Post, and his work has graced the pages of Cosmopolitan, National Geographic, Good Housekeeping, Guideposts, and others. McGinnis women frequently cropped up in the men’s magazines of the ’60s and ’70s.   His first movie poster was for Breakfast at Tiffany’s, with an iconic rendering of Audrey Hepburn. Almost instantly, his poster artwork could be seen everywhere—in theaters, on billboards, in newspapers, and even on soundtrack albums. His work for Hollywood became a who’s-who, with posters for James Bond, The Odd Couple, Woody Allen, The Private Life of Sherlock Holmes, and many more.   Some of his most ambitious works have been his gallery paintings, often depicting stunning American landscapes, vast Western vistas, and of course, beautiful women. The Art of Robert E. McGinnis collection reveals the full scope and beauty of the work of a true American master—one whose legacy continues today.

    Focusing on the youth-driven phenomenon of otaku (roughly translated as “geek culture” or “pop cult fanaticism”), Takashi Murakami and a notable group of contributors explore the complex historical influences that shape Japanese contemporary art and its distinct graphic languages. The book’s title, Little Boy, is a reference to the atomic bomb dropped on Hiroshima in 1945, thus clearly locating the birth of these new cultural forms in the trauma and generational aftershock of the atomic bomb.This generously illustrated book showcases the work of key otaku artists and designers, many of whom are cult celebrities in Japan, and discusses their feature film and video animations, video games and internet sites, music, toys, fashion, and more. In the process, the following questions are posed: What is otaku, and what does it tell us about contemporary social, economic, and cultural life in Japan and throughout the world? How is it related to the pervasive and curious fixation on “cuteness” evident in Japanese popular culture? What impact did the atomic devastation of World War II have on the development of Japanese art and culture?This brilliantly designed, bilingual (English and Japanese) publication examines these themes to explore how contemporary Japanese art has become inseparable from the subcultural realms of manga and animé (Japanese animation)—a world where meticulous technique, apocalyptic imagery, and high and low cultures meet.Little Boy concludes Murakami’s “Superflat” trilogy, a project conceived in 2000 to introduce a new wave of Japanese artists and to place their work in the historical context of traditional styles and concepts.

    Includes art from Dead Space, Dead Space: Extraction, Dead Space: Ignition, and Dead Space 2.

    Features commentary, color stills, sketches, storyboards, and illustrations used to envision the rich fantasy world of the film. Also includes a complete English-language script.

    Conceived and closely edited by Gerhard Richter himself, Atlas cuts straight to the heart of the artist's thinking, collecting more than 5,000 photographs, drawings and sketches that he has compiled or created since the moment of his creative breakthrough in 1962. Year by year, the images closely parallel the subjects of Richter's paintings, revealing the orderly but open-ended analysis that has been so central to his art. Offering invaluable insight into Richter's working process, this encyclopedic new edition, which completely revises and updates the rare, out-of-print 1997 edition and includes 147 additional plates, features 780 multi-image panels, each reproduced full page and in full color. Richter redefined the terms of contemporary painting as he looked to photography for a way to release painting from the political and symbolic burdens of Socialist Realism and Abstract Expressionism. From pictures of family and friends to images from the mass media, Richter's photographs--sometimes found, sometimes original--have provided the basis for many of his paintings, often re-emerging in a luminous, monochromatic palette, and falling ambiguously between documentary and historical painting.

    Toby has been waiting for years to finally get his chance to see the game, but after server problems and issues with the download he only has a few minutes to do so before real life calls. And nothing seems to go right. His first glimpses of the world leave him confused, and it turns out he isn’t alone. Someone has broken into the server and changed things to suit themselves. Everyone has only one character, one life, and an impossible goal: make it to the end in a week. Everyone is mortal, and everyone is a killer. It’s open season on other players. The man who usurped the world chose Toby to be the champion of this cause, despite his lack of knowledge of game… or perhaps because of it. He is given a terrible weapon, the only one capable of setting things right. Yet he is just as mortal as everyone else. Or worse, as his character remains in the world even if he logs out. But with the future of their hard work on the line, the developers are not about to sit out of this fight. Their game, their reputation, and their very company are on the line. With Toby’s help they take up the challenge and fight to reclaim their world.

    Internationally famous Czech photographer Jan Saudek is no exception, and equally as uncompromising in pursuit of his own unique vision. For over four decades Saudek has created a parallel photographic universe, a two-dimensional home full of longing, peopled with the most extraordinary characters and colored by desire. The timeless strength of his hand-tinted photographs lies in their poetic compositions and their forceful?at times ribald?pictorial language, with its overtones of medieval genre pictures and Baroque mythology. Rejecting the traditional beauty in his famous nude photographs, Saudek shows the distinctively different: old women, fat women, children; real people in tableaux vivants that remind us of everything from surreal early movies to fin-de-siecle carnival nights. They exist outside time, a uniquely colored and almost mythical theater of dreams. Covering his debut in the 1950s through his lesser-known work to recent images, this dazzling collection offers us the true "velvet revolution," fertile and unsettling images from the dreams we might still have. The author: Daniela Mr?zkov?, critic and editor of the Czech magazines Revue fotografie and Fotografie-Magaz?n, is the author of sixteen books on photography published in the Czech Republic and abroad, and the curator of around fifty photography exhibitions. She has been a member of international juries, and has authored film and television documentaries on photography and photographers. She hasfollowed Jan Saudek's work since his early years and is the author of Saudek's first Czech monograph, The Theatre of Life.

    From the world's greatest fantasy artist Yoshitaka Amano comes a masterful interpretation of the classic opera The Magic Flute by Wolfgang Amadeus Mozart.Mateki is a beautiful and tragic tale of a young prince who must put away his flute and become a warrior to save his love from the lord of darkness.

    In this first book collection of his work, readers can see a fascinating combination of adorable girls with large, manga-influenced eyes, and soulful Japanese landscape illustrations. Momentary features never-before-published finished work and sketches, as well as written commentary (in both Japanese and English) from the artist himself.Kuvshinov has a significant social media following on Instagram, Twitter and DeviantArt. On Instagram alone, 785,000 followers from all over the world eagerly await his latest posts.