#masatsugu saito

[kuribo4indahouse]

[rikitravels]

Xenoblade Chronicles 3 1st Anniversary - Art from Masatsugu Saito

[scianvih]

[nintendo-europe]

This delightful illustration of Mio was drawn by Xenoblade Chronicles 3’s character designer Masatsugu Saito to commemorate the game’s launch.

Good luck to everyone starting their adventures today!

[toskarin]

masatsugu saito (xenoblade artist and the guy that designed the pussy fan figure) drew a pic of tohsaka rin on twitter :) (his art account _saitom_)

lfgggggggg

[andoryuanzuru]

Xeno Ahoge

Character designer Saito Masatsugu drew Mio for the 1 year anniversary for Xenoblade 3 and he added a fun little new detail on Mio~ [SAITO'S ART]

[TWITTER][COMMISSION][KO-FI][PATREON][PORTFOLIO]

[gardendumbbell]

by Xenoblade character artist Masatsugu Saito

[vocalsynthbdays]

happy birthday Suzuki Tsudumi(cevio cs) and Mimi Yorune(utau) !!!!! [feb 23]

(tsudumi)

(mimi)

Suzuki Tsudumi is a japanese synth developed by the CeVIO Project, and originally released on 26 sep 2013. she is voiced by Inami Anju and illustrated by Saito Masatsugu. tsudumis character birthday is feb 23. she also released for cevio ai on 9 sep 2022, voisona talk on 1 sep 2023, and voisona (singing version) on 26 sep 2023.

Mimi Yorune is a japanese synth created (voiced and managed) by moonst4r, and initially released on 4 apr 2011. mimi is illustrated by a few different people, but the art im showing is by subaloid. mimi has banks available in english also. her character birthday is feb 23, and she is a witch. shes a part of the utau group NOCTE, consisting of her and Souta Kumori

[kuribo4indahouse]

[mliter]

Taion!

If that helps put your heart at ease…If it settles the debt I owe Nimue… I’ll do it.

Monolithsoft are pretty damn good when it comes to character design, and they didn't at all disappointed when designing him. He's very clearly black. The features of a black person were adapted masterfully into the simplistic anime art style. The larger lips and nose are very present in his design, and it wasn't done in a demeaning way at all. It's something i aim to capture in my own art. Though it's not going well.. Saito Masatsugu has my utmost respect.

Growing up, a lot of the times when i see a black person be put into a game, anime, or something i generally liked, i see them without those features. And if they did, they were riddled with stereotypes. Mostly bad ones. None of that with Taion. In the world of Xenoblade, there are races, but humans are just... humans. The brand of racism that we're used to doesn't really exist in this world. And they chose not to include it, thank god. Taion is seen as and treated as an equal to the point where the idea of discriminating against him cause he looks different would be insanity. And i love that.

Fantasy racism is cringe to me. Making the decision to create a world and still taking that horrible aspect from our own is just annoying at this point. i know some people do it to add depth to the world, or maybe push a good message, but after years of it, seeing black people these limitless worlds like these and still ending up the same no matter the context i've grown to see as disheartening. Seeing Taion be himself without having to worry about any of that stuff just like the rest was fantastic. He just has to worry about a war and the outlaw life

In the game, Taion is the brains of the team. He calculates every move of his. He's a walking 🤓 emoji. And it's good! He's been shown to be not very good socially and his time with the party helps him get over that. He's caring, brave and have a wonderful voice. You see a lot of growth from him like with the rest of the gang. And that brain of his has gotten him and the party out of hairy situations.

I dont want to make this about representation but seeing a brother be treated like this in a game meant a lot to me specifically. He wasn't added to fill out a checklist of some sort, he was just a good character that they loved and respected like the rest. Thank you Monolith.

[stupidstupidratcreatures]

much has been said about masatsugu saito's character design but let me also say that the way he draws faces and the way those faces are animated is terrible to look at

[teto414]

tha nk you Mr saito masatsugu i never doujbted the plan,... noah JACKETLESS SWEATER PUPPIES !!!!!!!!!!!!!!!

[byneddiedingo]

Masayuki Mori and Machiko Kyo in Ugetsu (Kenji Mizoguchi, 1953)

Cast: Machiko Kyo, Mitsuko Mito, Kinuyo Tanaka, Masayuki Mori, Eitaro Ozawa. Screenplay: Matsutaro Kawaguchi, Yoshikata Yoda, Isamu Yoshii, based on stories by Akinari Ueda. Cinematography: Kazuo Miyagawa. Production design: Masatsugu Hashimoto. Film editing: Mitsuzo Miyata. Music: Fumio Hayasaka, Tamekichi Mochizuki, Ichiro Saito. 

When does beauty become a flaw? To put it another way, if beauty is only skin deep, how does an artist present it so that we don't linger on the surface of a work and fail to comprehend its depths? I raise this in connection with a viewing of Kenji Mizoguchi's Ugetsu, a film universally praised for its beauty. It's easy to be mesmerized by Mizoguchi's visual compositions and by the sinuous fluidity of Kazuo Miyagawa's cinematography, as well as the poetry of the screenplay, all at the expense of feeling the coherence of the film's story and characters and ideas with our own lives. I find myself preferring Mizoguchi's less exquisite films to Ugetsu: Sansho the Bailiff (1954), surely, but also The Life of Oharu (1952) and even an earlier film like Osaka Elegy (1936). A case in point: The scene in which Genjuro (Masayuki Mori) returns home after his dalliance with the ghostly Lady Wasaka (Machiko Kyo) is a crucial and mythic one, evoking among other things Odysseus's return to Ithaca. And Mizoguchi stages it memorably: Genjuro enters the near-ruin of his house and finds it empty and littered, the fire pit cold. The camera follows him through the house in a long unbroken take, watches as he goes out the back door and sees him through the windows as he circles the house and re-enters. Only this time when he enters, the room is clean and the fire is burning brightly; his wife, Miyagi (Kinuyo Tanaka), embraces him. Overwhelmed and exhausted, he lies down and falls into a deep sleep beside his son, only to wake in the morning to find the cold empty room he first entered and to learn that Miyagi is dead. It's a magnificent sequence, a tour de force of acting, directing, camerawork and editing. It makes a larger, deeper point: that Genjuro will never escape from ghosts. A less gifted director than Mizoguchi would have used conventional techniques like dissolves or double exposures to make the point. But there's also something distracting about instead employing a long, circular tracking shot with an invisible cut: We marvel at the technique at the expense of sharing Genjuro's experience. There is an art that conceals art, and I don't think Mizoguchi attains it here.

[blog-retrogradewear]

See Masatsugu Saito Xenoblade Chronicles 2 Pyra and Mythra 5th Anniversary Art https://t.co/tP9kGoCkFV

See Masatsugu Saito Xenoblade Chronicles 2 Pyra and Mythra 5th Anniversary Art https://t.co/tP9kGoCkFV

— Retrograde Wear Gaming (@RetroGradeWear) Dec 3, 2022

from Twitter https://twitter.com/RetroGradeWear

[gardendumbbell]

by Xenoblade character artist Masatsugu Saito