MASUMI Interview: Discussing Acting, Culture, and Vulnerability in Assassin’s Creed Shadows

Working on this video game has taught me the importance of endurance. I had never portrayed a character over a span of 2 to 2.5 years before, so it truly felt like a marathon. Developing long-term stamina—and learning how to keep my motivation and emotions fresh over such a long period—was something I really gained from this project.

Music has really taught me how to tell my truth through art. My songwriting began with me putting melodies to my own diaries and journals, so singing became a very personal and intimate form of expression for me. So I believe that approach has become what defines all forms of self-expression for me, whether it’s music or acting in any medium, I always try to be honest and sing my truth!

Naoe has such a layered emotional journey, which makes her story so compelling to root for. Personally, the most challenging emotion to navigate was her outward expression of rage. As Masumi, the angrier I get, the quieter I get! lol I’m not someone who naturally expresses outrage outwardly, which I think is very much tied to my Japanese cultural background. We tend to handle big emotions more discreetly. So those scenes, both in cinematics and VO sessions, I would say, were the more challenging things about Naoe’s character.

Growing up in Japan, we were taught to respect and honor the gods in nature- in the sun, the wind, and even in a single grain of rice. Words are believed to carry souls and power, kotodama (言霊), so we learn the value of choosing our words carefully before we speak. I loved that Shadows portrayed our deep connection to nature and the changing of the seasons. I believe it’s this relationship we have with nature and the spirit realm that truly defines us as Japanese. So those elements in the game made me feel seen and represented.

We would usually discuss before shooting, but even during the shoot if any line or movement didn’t feel organic or truthful to Naoe, I felt comfortable suggesting my ideas. They were very open to trying my suggestions, so it was definitely a collaborative atmosphere.

I actually didn’t get to see much of the animation during the shoot. Sometimes I got to see a little of the surrounding scenery in the scene, maybe, but most of the time it wasn’t something we got to work off of. So it was mostly discussing with the writing team and the animation director.

I never really had to worry about that, because we’re naturally so different. Not just in physical appearance, but in our backstories and cultural backgrounds, which clearly differentiate how we behave. I think the casting team and the incredible writers deserve a lot of credit for that. Of course, there were some adjustments along the way to align with the Assassin’s Creed tone, but overall, I was lucky to work with such well-written and thoughtfully developed characters.

PCAP helmets were! They have two cameras attached to it that capture my facial expressions. Moving the helmet an inch meant a timeout from shooting to recalibrate the cameras, which takes up about 10 minutes. It felt like I was my own camera person at times, especially during more of the emotional scenes or ones with bigger physical movements. Those were definitely some unexpected challenges.

I’ve trained in traditional sword fighting, but Ninja stances are adapted from traditional Kenjutsu for stealth and speed. So I was lucky I had the Animation Director, Mathieu Chouinard, who had knowledge of Ninja fighting stances!

I’m not well-versed in a ton of female protagonists in video games, but I’m really grateful that they wrote Naoe to be a multidimensional human being with complex layers of emotions, who needs to earn her skills. I think too often we see female protagonists written to be fearless or invincible from the start, almost as if being strong means you never have the inner struggle that we all face in life. I think real strength is found in vulnerability and growth! And I hope we continue moving toward stories that embrace that kind of complexity in female characters.