Gravity Ghost

Ghost Ghost Evolution

The main character of Gravity Ghost is quite dead. Though her look has evolved significantly, I'm afraid her death was certain from the start. But a dead protagonist creates all sorts of character design problems. Here I'm going to talk about how her design evolved, and the unexpected role that animation played in the process.

I wish I could refer to the main character by her name, but to date I haven't come up with one that really worked. The dev team calls her Gigi (GG) for short, so that's what I'll use here.

My first batch of designs for Gigi all looked a bit like this:

If you look closely you'll see there's actually no character there at all. All we've got is an empty cape, a mask, and some inexplicably lush hair. I was quite attached to this idea that the character herself was invisible, like the ghosts that wear sheets in old movies. But a quick survey among friends revealed that my exciting new character was actually pretty confusing:

"Extremely cute and incredibly weird."

"Is she supposed to be a doll?"

"What's up with her eyes?"

On that last point, my good friend Robin Hunicke of thatgamecompany had the best advice. Without visible pupils, she told me, people would have difficulty connecting with the character. I couldn't have a character be both cold and spooky, and also relatable and empathetic. We connect with things that appear human - deviate too far from that and people start seeing something as "other."

When I tried to drop this sprite into an early version of the game, other weaknesses of the design became clear. From a distance the color palette became muddy, and the lack of a clear profile made it was difficult to tell which way Gigi was facing.

Okay, back to the drawing board. I still really liked the idea of a character whose shape was mostly suggested by draped fabric, a somewhat masochistic idea for a wannabe-2D animator like myself. I returned to my tablet and came back with this.

First thing I learned: apparently hollow blackened eyes are more of a turn-off for people than no pupils at all. But at least this design kept the darker colors blocked towards the bottom of the sprite - I figured that would help with readability, especially if she were running.

I shouldn't have been surprised that she started looking more and more like a Japanese doll, as I was sampling origami paper textures. But I wasn't happy with this one - I felt like the design was getting away from me. I wanted to try and create an original sort of aesthetic. Plus it would've been hell to animate all that detail.

Time to simplify. I hit upon the idea that Gigi could be wearing both a dress and a cloak, where the cloak would imply her arm movement and her dress would cover her legs. I started doing some sketches of a character who was very soft and fabric-y. With pupils this time.

Looking better already. The character is more interesting to look at, despite having less detail. We can read into her actions a little more, and get an idea about her personality.

But how would such a character move? I answered that question by draping a large towel around my shoulders and running through the house. Fortunately I live with three independent game developers, who aren't generally fazed by eccentricities in the name of art.

When I returned from my mission I sat down and drew these.

It was useful to conceive of the bottom of her cloak being a single line that connected her arms. You'd see more of her cloak if her arms were fully extended, and less when her arms were by her sides. I really liked the clean shapes (and later, blocks of color) that were created by her dress and her cloak.

Okay on paper, but how did my new animation look in motion?

Hey, not bad for a first try! But her movement seemed far too stiff - I felt that she had lost some of the playfulness of the sketches. And her proportions were off. She seemed less cute, so I pulled an old cartooning trick and just made her head bigger in relation to her body.

Now that she was the right size, the jerkiness bothered me. I wanted to see how she'd look with a few more frames. Using some photoshop wizardry I added tween frames until I thought her movement was smooth enough.

Hurrah! The tween frames let me see where the animation had problems. Besides the little shuffle when her right arm came forwards, there were some irregularities in the size of her cape and the positions of her knees. I decided to try penning some line art to better pin down where the problems were.

Oof, well that didn't work too well. Trying to pen lineart over a bad animation isn't going to give you a good animation as the output. Time to go back to some basics. Animation is something I taught myself over the course of making games. It was a pragmatic decision: animation is expensive and time-consuming, and I had no money and a lot of free time. Anyway, I remembered a lesson from one of the animation books that I found acquired legally from a book store. Basically, to make an animation read better, you can add some squash and stretch.

Weirdly, realism takes a back seat when you're conveying motion. Here my beloved ghost girl's head squishes down when her foot lands on the ground, and stretches up into an oval when she's headed towards the height of her jump. It may not seem like much, but look how much the top of the image is stretched down when she lands.

Much livelier. Time to start sketching in the details for real. I added some consistency to her shape, too: no more pointy corners for her hands and feet.

And now for the real nitty gritty stuff. I created these bands of color to indicate the floor, the left and right extremes of her movement, the vertical path of her head, and the low and high points of her head.

Then I started adding some nice vector lines to make the whole thing less shaggy. Here's how she looked when the head was done. The vectorization probably took the most time, as I'd never done it before. To be honest I'm not sure it was worth the trouble, as the sprite is never too large on the screen. Next time I'll probably just paint the lines and hope for the best.

As a final step I came up with a style for her hair and painted it into all the frames. I think by the end the thought of doing any more vector art was just too exhausting.

Once all the lines were in place I decided to try out a color palette. I needed something that was very different from top to bottom, so her orientation would be readable. I did a quick color pass with a light on top, dark on the bottom rule. Here's how she looks in the game as it is now. It's not finished - I have big plans for her hair, and different ideas about colors - but I'm quite happy with how it turned out.

And here's the jumpcycle too. There are fewer frames than the runcycle, but they don't play in rapid succession. Instead, she gradually transitions between these frames over the course of her jump.

And that's it! Leave your comments in the comments.

Wuv, Erin.

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  1. The result you’re getting is awesome.
    I find the landing of the front leg in the walk cycle a little stiff. I think a light bend there would help.
    The overall effect of the mask is very subtle and very cool. Is the eyes blinking final? Will there be mouth expressions as well? Not sure if that adds or detracts from the effect, guess I’ll have to wait and see.
    Keep up the great work!

  2. Love it! I’m very new to animating myself, so this is some much appreciated insight. Thanks!

  3. great post! it’s pretty sweet to see the entire process as you go… great stuff! I also run around the house in a towel-cape… I guess you could say it might be research for a future game…

  4. I’ve swung a ruler as if it was a sword to try to get a decent-looking pose before. Thanks for posting this evolution!

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