Picking up from the last interview, we chatted with Hafhaf-oden ( https://twitter.com/ohanhan ), the graphic designer and artist behind the captivating pixel art animation in Urban Myth Dissolution Center. Join us as we dive deeper into the charm of pixel art animation and its entirety.

ーーQ: Speaking of limitations and constraints, "Urban Myth Dissolution Center" seems to have limitations on pixel art and some restrictions on color. Could you tell us more about that?
Hafhaf-oden: In Urban Myth Dissolution Center, we mainly use four colors for aesthetics. However, if you include tones for dark and light scenarios, it makes up to eight colors. With these, we illustrate everything from characters to backgrounds. This decision was made after our experimentation during the early stages of development. We’ve felt that if we had used five colors, we wouldn't achieve the same strength we have now, and if we had fewer, say, three colors, it would severely limit our expressive capabilities.

ーーQ: You’re right; if you pay close attention, the art in "Urban Myth Dissolution Center" is precisely depicted using four or eight colors, including shades.

Hafhaf-oden: Ah, but in addition to those colors, we treat red differently, using it as more of an accent color. Incorporating the color red along with the 4 color palettes intensifies when we want to enhance the mysterious atmosphere of Urban Myth Dissolution Center. Furthermore, although it's considered unconventional in pixel art, we sometimes use gradients and blurring techniques, so in reality, we use more colors. However, at its core, we express with the four colors (eight colors). I believe our character design stands out more distinctly this way, similar to how characters in manga are easily distinguishable when seen.

ーーQ: We also believe that is indeed the charm of Urban Myth Dissolution Center, reflected in your art style. As the team behind Andō Masaru no Jikenbo - with your next project being Urban Myth Dissolution Center - can you tell us about any new challenges you’re facing or new techniques you're trying out in the game?

Hafhaf-oden: Initially, Hayashi, our producer, told me, "Don't repeat what you did in your previous title, Andō Masaru no Jikenbo." While we draw certain elements from Andō Masaru no Jikenbo, we're introducing new challenges in Urban Myth Dissolution Center. For instance, while we do bring out the "night," "urban," and "coldness" feel using shades of blue, we deliberately limit the number of colors to maintain a colorful appearance. Additionally, we're illustrating characters in portrait style, which is a new approach for us. Another angle worth mentioning is the cut-ins. We could create more cinematic or anime-like cutscenes if we had unlimited resources. However, due to manpower limitations, we're keeping a balance by incorporating cinematic and anime-like cuts into our pixel art animations.

ーーQ: Can you elaborate more about the cinematic and anime-like cuts?

Hafhaf-oden: I mentioned in the last Urban Myth Dissolution Center Communication that we use background modeling, which allows us to switch camera positions flexibly and explore the best angles for various scenes. For instance, when Fukurai Azami hides under a bed, we capture it from a low angle, sometimes employing horror movie-like shots from below.

This flexibility in camera angles, which wasn't present in our previous work, Andō Masaru, adds to the unique feel of Urban Myth Dissolution Center.

ーーQ: Amazing cinematic and anime-like camera work! Now that you mentioned it, we also see it present in your released trailers! We'll be sure to keep an eye out for more in the future. Lastly, do you have any words for your fans and followers?

Hafhaf-oden: We're immensely grateful for the following our pixel art visuals have brought to Urban Myth Dissolution Center. However, we've also poured an equal amount of passion into creating captivating character designs, intertwining occult and mystery narratives, psychedelic music, and an easy-to-understand game system! We hope you're as excited about the completion and release of the game as much as we are!

In the previous episode we delved into one of the game's alluring features: pixel art animation. This time, we’re spotlighting the pixel art itself and hearing more from Hafhaf-oden ( https://twitter.com/ohanhan ), the graphic designer of Urban Myth Dissolution Center.

Although we initially planned to include a photo of him for the interview segment, our interviewee felt a bit shy about it. So, we've opted for a pixel art rendition instead. Even in pixel art form, the attention to detail is evident, capturing the essence of his character!

— — Q: Last time, we briefly discussed the pixel art animation within the game. However, we'd love to hear more about what makes the pixel art of
'Urban Myth Dissolution Center' so captivating. Could you please share with us, once again, the unique appeal of the game's pixel art style?

Hafhaf-oden： First, I believe one key aspect is the relatively low resolution. I mentioned in the previous interview that the initial sketches were drawn by illustrator Kikkyawa
( https://twitter.com/OvercomePeanuts ). She draws them in full HD, with a width of 1920px. When converting to the actual pixel art form, they are drawn at 240px and then enlarged eight times before returning to the original size.

ーー Q: Is there any particular reason for this approach?

Hafhaf-oden: I believe when it comes to pixel art, stretching one pixel as much as possible enhances its strength and allows it to be more expressive. I've been following this philosophy in my work because there's a delicate balance between wanting to enlarge each pixel for better expression
and avoiding over-enlargement, which could compromise the overall representation. With these in mind, I believe this size strikes the best balance.

ーーQ: This attention to detail has become one of Urban Myth Dissolution Center's major charms.

Hafhaf-oden: I would very much be pleased if so! While I could create more detailed pixel art or illustrations closer to the photos, I think using the actual photographs might be better. However, I firmly believe that the strength of pixel art lies in the amount of information condensed into each pixel, which makes it interesting.

ーー Q: What do you find most appealing about pixel art?

Hafhaf-oden: I kind of already touched on it earlier, but it's the idea that what may seem like just a "dot" actually contains more information than meets the eye. A mere black dot can become hair or an eye, and adding gray can depict light and shadow. These fascinating charms are why I continue to create pieces with pixel art.

ーー Q: You mentioned you are self-taught and haven't undergone any formal training in pixel art. Is it something anyone can pick up and do?

Hafhaf-oden: Yes, that's right. I've been drawing by watching others, so I haven't had proper training. While I do think having a sense of artistry certainly helps to some extent. However, I think it's easier to start by placing dots on a 16x16 grid than being handed paper and a pencil and being told to draw. At least in my opinion, what do you think? (laughs)

I don't find illustrating under restrictions or limitations particularly too challenging, but as you progress to advanced levels, those limitations can become more constricting. At first, it may feel manageable, but as you advance, it can start to feel restrictive. You find yourself unable to do more things. However, I find the challenge very intriguing.

ーー Q: Oh sort of like the concept of "Shu-ha-ri," isn't it? (the stages of learning and mastery. 'Shu' learning the fundamentals. 'Ha' to break away from the rigid forms and experiment. And 'Ri' is when you've mastered the art and can create your unique style.)

Hafhaf-oden：Yeah in sense. I see it more like a to when writing Haiku poetry. There are rules about the number of characters and seasonal defining words that can be used within it. Yet everyone puts their heart and soul into crafting something beautiful within those constraints. If those rules and constraints were a bit more flexible, like a “Senryu” style poetry. I believe it would be easier for more people to pick up and give pixel art a shot if they treat it more like “Senryu than Haiku”.

(To be continued in Inside the Myth vol.4)