Urban Myth Dissolution Center News

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)

One of the many charms of Urban Myth Dissolution Center is its Pixel art-style animation.


We interviewed Hafhaf-oden ( https://twitter.com/ohanhan ), the graphic designer behind 'Urban Myth Dissolution Center.' Using the game's opening scene as an example, let's explore its intricate creation and development process.

①Making the Storyboard

The process for Urban Myth Dissolution Center begins with Oden sketching out the storyboards. While they have a clear picture of the final image in mind when drawing, they intentionally leave some parts loosely drawn, giving room for further improvement in the next phase of rough sketches.

②Background Design

The background design is also done alongside storyboarding. The game aims to pursue a sense of realism and create a world that feels both authentic and immersive. Thus, substantial attention is given to maintaining authenticity even for locations that may not be featured prominently in the game. Once the layout is put together, it is rendered in 3D and placed under the following rough sketches.

③Sketching the Rough Draft

This background modeling process sets the stage for illustrator Kikkyawa (https://twitter.com/OvercomePeanuts) to breathe life into the game's characters based on the storyboard. The synergy between background modeling and character illustration proves invaluable throughout the development process. For example, if the team decides to adjust the camera angle to create a more dynamic scene, having the background already modeled eliminates the need to redraw the background from scratch. Allowing the illustrator to focus entirely on sketching the rough draft of the characters.

④ Creating the Pixel Art

Once the background modeling and sketches are complete, they then move on to creating the pixel art. When compressing the sketches to fit the size required for the pixel art, some details may get lost. This is where Hafhaf-oden meticulously selects and adds missing lines to ensure that each character and background pixel art accurately represents the original sketches.

⑤Animation Process

Finally, the characters and backgrounds are layered together, and animations are added to the characters to bring the scene to life and complete the final version. In this pixel art animation scene, the layers for the background, Azami Fukurai, and her hand are separated. By animating each layer independently, including the movement of hair, clothing with lace details, and Azami's outstretched hand, the goal is to visually immerse the audience in the mysterious world of urban legends. While we focused on the opening movie for this community post, pixel art animations are generously used throughout the game in various story-cut scenes. According to Hafhaf-oden, the plan is to implement as many pixel art animations as possible. We hope you’re as excited to see them as we are!

■きさらぎ駅

答え：はすみ
解説：
きさらぎ駅は、いつもの通勤電車に乗っていたはずが駅に停まらずに走り続けている、と携帯電話からある投稿者がネット掲示板へ書き込みしたことからスタートする都市伝説です。

この「都市伝説解体センター謎」についても、画像の四角は、携帯電話のキーパッドの配置を連想させます。

書かれている1-2などの数字は1文字目を2回押すという意味。しかし、日本語でこの順番で押しても意味不明な文字列になってしまいます。そこで、問題文の通りにアルファベットで打ち直してみると、HASUMI（=はすみ）になります。

はすみという名前は、ネット掲示板へきさらぎ駅の書き込みをした人のハンドルネームです。

■コトリバコ

答え：あなた
解説：
コトリバコは、ある特殊な箱に村の子どもたちの指を大量に詰め込んで作り上げられた呪物の都市伝説です。

分母が26になっていることから、アルファベットが想像できますが、アルファベットの1,15,24番目を拾っても答えらしき言葉にはなりません。しかし、代わりに26字を探すと、下にあるコトリバコの文字数が、一行あたりすべて26字になっていることがわかります。

各行から番号の字を拾うと、「あなた」となります。

■赤い部屋

答え：つぎはおまえ
解説：
赤い部屋は、「あなたは好きですか？」というポップアップ広告が突然現れ、それは消しても消しても表示され続け、それでもなお消そうとすると「あなたは」「好きですか？」の間から「赤い部屋が」という文字が現れた直後別のサイトにとび、そのサイト上には自分の名前が書かれており、その名前をみた後に殺されるという都市伝説です。

赤い部屋のウィンドウを消すと、各ウィンドウの下に隠れた文字が見えるようになります。

赤い部屋のウィンドウの中の文字が徐々に大きくなっていっていることから、下のウィンドウの消えていた文字を小さい順に読んでいくと答えの「つぎはおまえ」になります。

■メリーさん

答え：5番
解説：
メリーさんは、ある少女が、引っ越しの際にやむを得ず捨ててしまった人形から「わたしメリーさん。今公園にいるの……」「わたしメリーさん。今あなたの家のまえにいるの」と電話がかかってきて、それが徐々に近づいてきて最終的にはメリーさんに殺されてしまうという都市伝説です。

検索窓の中のメリーさんと異なり「わたしめりーさん。」がひらがなになっていることから、ひらがなをカギにして考えてみます。

メリーさんがいる場所の文字を50音表で見て、指定された方向にある文字を読んでみると数字に対応していることがわかります。（まちの左は、はし→84）

全ての扉に書かれている数字と照らし合わせると5だけが該当せず、安全なことがわかります。

■消えた乗客

答え：C
解説：消えた乗客は、消えるヒッチハイカーという都市伝説を元に謎をもとにしています。消えるヒッチハイカーとは、ヒッチハイクで自動車に乗った人が乗車中に姿を消し、それが実は幽霊だったという都市伝説です。
テキストをよく読むと、本当に幽霊を乗せたことがある人と、本当のことをいっている人が同じだとはどこにも書いていません。

それを前提にして、各人の言葉が本当だったと仮定していくと、Aが本当のことをいっている場合のみ条件に合うことがわかります。よって、本当のことをいっているのはAですが、幽霊を乗せたことがあるのはCです。

■ベッドの下の男

答え：ストーカー
解説：
ベッドの下の男は、ある女性の部屋に友人が遊びに来て、さあ寝ようとしたときに床で寝ていた友人が突然コンビニに誘ってきて、それがあまりにもしつこいので仕方なくコンビニに付き合うと、ベッドの下に刃物を持った男がいたという都市伝説です。

クロスワードパズルは簡単に解けますが、答えはそれだけでは見つかりません。

問題文にはベッドの下にいるのは誰？と書いてあるため、ベッド＝BEDの下を探します。

クロスワードの中の、ビー、イー、ディの下を見ると、それぞれカー、スト、ーとなるので、並べ替えてストーカーになります。

【都市伝説解体センター謎】正解がわかった方は、コメント欄に「わかった！」とコメントしてください！