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docs/CHARACTER_ART_DIRECTION.md

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+# Character Art Direction
+
+## North star
+
+Papaya Shooter is **urban anime first, expressive utility tech second**.
+Grace Howard from *Zenless Zone Zero* is a directional reference for the
+relationship between character and machinery: confident, readable streetwear
+and personality remain dominant while a few believable tools explain
+extraordinary movement. It is not a costume, silhouette, or prop set to copy.
+
+The working ratio is:
+
+```text
+90% character / urban anime
+10% functional mechanics / technology
+```
+
+The ratio is perceptual rather than a polygon count. At combat distance, the
+player should identify face, hair, body language, clothing silhouette, team
+colour and weapon before noticing a mechanism. Technology earns attention only
+when its related action begins.
+
+## The 90%: character and city
+
+- Strong hair, face, garment and pose silhouettes carry recognition.
+- Clothing uses broad graphic panels, asymmetry, layered streetwear and one
+  clear accent rhythm instead of dense sci-fi segmentation.
+- Materials stay readable: cloth looks soft, rubberized trim looks matte, and
+  skin/hair keep their anime value grouping.
+- Decals, seams and accessories describe taste, job and attitude before lore.
+- Animation sells confidence and intent. The body leads; hardware follows.
+
+Avoid full exosuit coverage, exposed machinery on every limb, uniform emissive
+strips, or greebles spread evenly across the body. Those invert the ratio and
+turn a character into a vehicle.
+
+## The 10%: hero tools
+
+Each character may express the same movement verbs through a different form
+language, but the function and timing remain legible.
+
+### Jump jets
+
+Jump jets support bunny-hopping, air correction and quick direction changes.
+They may live at heels, calves, a belt, coat hardware or a compact backpack.
+The visual event is a short deployment, a graphic thrust wedge, and a fast
+retraction. The audio is mostly air/thrust with one soft actuator detail.
+
+### Grappling hook
+
+The grapple needs three readable beats: launch, latch, and loaded reel. Its
+housing may be wrist-mounted, weapon-mounted, hip-carried or deployed by a
+small companion device. Cable direction and tension matter more than housing
+detail. The mechanism stays quiet enough that the body swing remains the hero.
+
+### Thrust dash
+
+Dashing is a decisive impulse, not sustained flight. Thrusters may appear at
+the waist, shoulder blades, boots or weapon rig. Use a clean ignition core,
+directional air wedge and brief afterimage. Do not add a rattling engine loop;
+the device should be visually dormant again by the recovery pose.
+
+## Shared visual and audio law
+
+- **Idle:** technology is folded, dark and quiet.
+- **Anticipation:** one seam opens, nozzle pivots, or latch arms.
+- **Action:** a single bright shape and clean thrust/mechanical cue explains
+  the verb.
+- **Recovery:** the tool retracts quickly and character animation takes focus.
+- **Sound ratio:** roughly 90% motion, thrust and body; 10% relay, latch or
+  servo. No constant rattle, scrape wall, or narrow high-frequency chirp.
+- **VFX ratio:** one authored wedge/ring/line is preferable to many particles.
+
+This law lets characters share technology without looking mass-produced.
+Function, gameplay colour and timing stay consistent; placement, casing,
+fasteners, deployment motion and wear pattern belong to the individual.
+
+## Review questions
+
+1. Does the silhouette still read as a person before it reads as equipment?
+2. Can the movement tool be understood during its active animation?
+3. Does the hardware disappear from attention when inactive?
+4. Is every mechanical sound attached to a visible or gameplay-relevant cause?
+5. Would removing half the greebles improve the character? If yes, remove them.
+