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Masahiro Ito

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Masahiro Ito
Ito Masahiro
Masahiro Ito
Designer and illustrator
Character, monster and environment designer; art director.
Silent Hill
Silent Hill 2
Silent Hill 3
Silent Hill: Homecoming
Silent Hill: Downpour

Other media
Dying Inside
Cage of Cradle
Double Under Dusk
White Hunter

Masahiro Ito is a designer and illustrator best known for his work as monster designer for the three first games in the Silent Hill series.


Ito was born in Saitama, Japan in 1972, and graduated from the graphic design department of Tama Art University. He joined Konami in 1997 and became part of Team Silent, where he worked as background and creature designer of Silent Hill, art director and creature designer in Silent Hill 2, and art director, creature and background designer in Silent Hill 3.

After the split of Team Silent, Ito did a few more contributions to the Silent Hill series, being credited with a "special thanks" for Silent Hill 4: The Room, drawing one of the alternate covers of Dying Inside volume 3, the art for the comics Cage of Cradle and Double Under Dusk, creating the cover art and the comic White Hunter for the Silent Hill: Origins soundtrack, and drew the covers for the Japanese versions of Silent Hill: Homecoming and Silent Hill: Downpour.

Non-Silent Hill related work includes drawing art for KIBA, a Japanese trading card game, and Metal Gear Solid 4. He has released an art book titled The 2nd Wild Pig, which is only available in Japan.


  • Ito claimed on Twitter[1] that he had been contacted for work on Silent Hill: Revelation, but that he turned it down due to being busy. Director Michael J. Bassett disputes this, saying he's never spoken with him.
  • Ito drew inspiration in his work from his favorite artist, Francis Bacon.
  • Masahiro Ito has stated that when it came to designing monsters in the Silent Hill games, he tended to remain astray from the orthodox beasts resembling demons, etc. Instead, he preferred to make the enemies mostly human, but distort each in a unique manner to only make their symbolism more morbid and repulsive, rooted in the idea of turning what human beings are so accustomed to into monsters.

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