Chapter 3 – Capes Skirts and Props staging hazard

Chapter 3: Capes, Skirts and Props – Staging Hazards

Created by Sarah Choi (prompt writer using ChatGPT)

Capes, Skirts & Props — Staging Hazards for Costume Concept Artists

Readability Across Cameras & Motion

Focusing on FPP, TPP, Isometric, VR / AR, and Marketing

1. Why Capes, Skirts, and Props Are Staging Hazards

Capes, skirts, and handheld or body-mounted props are some of the most charismatic elements in a costume. They add drama, flow, and personality. They catch light, show motion, and help sell a character’s fantasy. But from a gameplay and staging standpoint, they are also some of the biggest hazard generators in your design.

A staging hazard is anything in a costume that makes it harder to:

Read the character’s pose and intent.
See critical gameplay information (hitboxes, weak spots, tells, team color, role iconography).
Keep the character legible across different cameras, field-of-view settings, and motion states.

As a costume concept artist, you are not just designing a pretty outfit—you are designing something that will be animated, simulated, lit, and framed from multiple angles, in multiple modes:

FPP (First-Person Perspective)
TPP (Third-Person Perspective)
Isometric / top-down cameras
VR / AR experiences
Marketing imagery and trailers

Each camera type has its own vulnerabilities. A cape that looks amazing in a key art poster might constantly clip through geometry, cover weapons, or hide team color in TPP. A long skirt that works in a character select screen might occlude feet in an isometric view, making units blend into the ground. A giant staff or banner that sells fantasy in concept might poke through the player’s face in FPP or cause motion sickness in VR.

The goal of this article is to help you think like a partner to camera, animation, and gameplay, not a separate department. You’ll learn how to:

Recognize the common staging hazards created by capes, skirts, and props.
Design mitigation strategies at the concept stage instead of pushing problems downstream.
Communicate clear, actionable notes and callouts to production artists, riggers, and animators.
Run simple checks for FPP, TPP, iso, VR/AR, and marketing so your costumes stay readable in motion.

We’ll approach this both from the concept side (ideation, iteration, layout) and the production side (turnarounds, callouts, handoff notes) so the whole pipeline is supported.

2. How Different Cameras Break Your Beautiful Cape

Before diving into specific garments and props, let’s understand what cameras do to shapes. Costumes live inside a chain of constraints: camera → animation → collision → cloth / physics → lighting / FX. If you stay blind to the camera, the rest of the chain will constantly be playing defense.

2.1 FPP (First-Person Perspective)

In FPP games, the player sees mostly:

Their hands / forearms
Their weapons / tools
Occasional body glimpses in mirrors, reflections, or cutscenes

From a costume standpoint, FPP makes most of the outfit invisible to the owner, but highly visible to:

Other players (in multiplayer)
Enemies / AI
Spectators / broadcasters

Hazards with capes, skirts, and props in FPP:

Prop intrusion into camera. Large backpacks, banners, or spears might pass through or near the FPP camera when sprinting or vaulting, causing visual clutter or motion sickness.
Over-busy silhouettes for enemies. If every enemy has giant capes and multiple trailing props, FPP players can’t quickly identify threat type or weak spots.
Mismatched fantasy between FPP and TPP. The character feels like a regal caped knight in third-person killcam, but in FPP you only ever see generic gloves.

What FPP wants from you:

A clean front torso and arm zone so FPP weapon viewmodels can be framed without constant cloth collision.
Clearly staged back silhouettes and side reads for enemies and teammates.
Props that don’t swing into the camera during common actions (sprint, jump, vault, melee).

2.2 TPP (Third-Person Perspective)

In TPP, the camera usually sits behind and above the character, often slightly offset. This is where capes and skirts love to misbehave.

Hazards in TPP:

Occluding the spine line. A big cape can make it difficult to see whether the character is leaning, twisting, or charging.
Hiding weapons and gear. Back scabbards, holsters, and gadgets can disappear underneath flowing cloth.
Confusing team reads. If team color is primarily on the torso, a cape covering it can make allies and enemies harder to distinguish.
Camera collision. Long props (spears, rifles slung on the back, banners) can cause the camera to zoom in, jitter, or clip through geometry.

What TPP wants from you:

Open windows to the spine, shoulders, and hips so poses read.
Capes and skirts with controlled width and length, not endless rectangles.
A clear back-of-character billboard for role and team color.

2.3 Isometric / Top-Down Cameras

Isometric or top-down games miniaturize your character. The camera looks down at the scene, often from a fixed angle.

Hazards in iso:

Skirts flattening into blobs. Wide skirts or capes can merge with the ground or with other units, turning into noisy shapes.
Occluding feet and ground contact. It becomes hard to see movement direction or whether a character is on a different height level.
Props hiding silhouettes. Banners, huge staves, or back flags can create vertical noise that overwhelms the tiny figure.

What iso wants from you:

Simplified, bold shapes at the top of the body: helmet, shoulders, upper torso.
Capes and skirts that don’t swallow the legs completely from above.
Props staged to the side or at a readable angle in the top-down view.

2.4 VR / AR Cameras

VR places the player’s eyes inside the world with true head tracking and wide FOV. AR overlays characters into the real world, often on mobile or headsets, where scale and proximity are variable.

Hazards in VR / AR:

Comfort problems. Long swinging capes or props close to the viewer can induce motion sickness.
Proximity clipping. Large chest pieces, capes, or backpacks can clip into the player’s view when they lean in.
Spatial confusion. Transparent, particle-heavy capes or skirts can make it hard to read depth.
AR occlusion issues. Large flowing garments can hide real-world objects or multiple characters if not staged carefully.

What VR / AR wants from you:

Moderated secondary motion near the camera.
Clean front torso and head volume for close-up interactions and conversations.
Props with predictable arcs and no surprise sweeps through the player’s eye space.

2.5 Marketing Cameras (Key Art, Trailers, Thumbnails)

Marketing cameras are “cheating” in your favor: they can be staged, lit, and framed however is most flattering. But they still feed back into gameplay expectations.

Hazards in marketing:

False promises. Capes that are epic in key art but heavily trimmed in-game, causing player disappointment.
Over-complex reads at thumbnail size. Trailers and store thumbnails shrink your character down; busy capes and props turn to mush.
Conflicting silhouettes. Marketing may pick a ¾ front pose that hides how awkward the cape looks from behind during actual gameplay.

What marketing wants from you:

Iconic silhouette moments with capes, skirts, and props arranged like graphic shapes.
Costume elements that still read at tiny sizes.
Designs that can actually be delivered in-game, so expectations match reality.

3. The Big Three Hazards: Capes, Skirts, Props

Let’s look at the main categories and how they break staging — then what you can do in concept to pre-empt those issues.

3.1 Capes: Drama vs. Occlusion

Capes are the classic staging hazard: gorgeous in stills, chaotic in motion.

Common cape problems:

Full-width rectangles. Standard superhero style: wide at the shoulders, full down to the ankles. Looks great in posters; in TPP it:
- Completely covers the back and hips.
- Hides back gear and weapons.
- Easily clips into legs or ground.
No silhouette hierarchy. Cape, body, and weapon all share similar size and value, so the eye doesn’t know where to look.
Extreme length. Train dragging on the floor may look regal, but in gameplay it:
- Constantly intersects stairs, ramps, and clutter.
- Forces heavy cloth simulation or ugly shortcuts.
Uncontrolled wind / FX. If your concept only works when the cape is in a perfect hero wind pose, it will look dead in neutral or messy in normal gameplay.

Better cape strategies at concept stage:

Cape windows. Cut-outs, slits, or segmented panels that reveal spine, shoulders, and gear.
Cropped capes. Shoulder capes, mid-back lengths, or asymmetrical half-capes that give flair without swallowing the body.
Anchored silhouettes. Visually anchor the cape to the shoulders and hips so animators can predict how it moves.
Layered readability. Use value and color to make the cape sit clearly behind the character’s main action.

When sketching, force yourself to draw rear ¾ TPP views and top-down views early. If the cape covers everything, re-engineer.

3.2 Skirts: Elegance vs. Legibility

Skirts and long coats affect how the lower body reads. In motion and from certain cameras, they can obscure walk cycles and directional cues.

Common skirt problems:

Leg occlusion from above. In isometric views, a full skirt can hide all leg motion, making it hard to tell which way the character is moving.
Stride clipping. Tight or floor-length skirts clash with wide run animations, combat stances, or acrobatics.
Directional ambiguity. Large circular skirts read as a blob from above; it’s hard to tell front from back.
Hitbox confusion. Skirts extending far beyond the leg span can misrepresent the character’s actual hitbox width.

Better skirt strategies:

High slits / panels. Allow the legs to be visible in key angles and poses.
Tapered silhouettes. Keep base width closer to hip width to avoid huge blobs in top-down views.
Layered lengths. Outer skirt shorter, inner layers longer—this gives movement but keeps outline manageable.
Directional cues. Add strong front markers (trim, emblem, value contrast) so the top-down read has an obvious “front” direction.

In concept, test skirts with a top-down thumbnail pass and a run-cycle stick figure overlay to see what remains visible.

3.3 Props: Personality vs. Collision

Props include anything the character carries or wears that isn’t strictly the clothing: weapons, banners, instruments, tools, backpacks, trophies, familiars, etc.

Common prop problems:

Camera-piercing silhouettes. Long weapons on the back may extend past the character’s head and intersect with the camera, especially in TPP.
Overlapping with team reads. Large backpacks or banners placed where team-color is supposed to be displayed can cover crucial readability.
Unclear resting positions. Props that aren’t obviously holstered or slung make it tough for animators to place them sensibly.
Cluttered silhouette. Multiple hanging props (charms, trophies, pouches) turn into noisy detail in iso or distant shots.

Better prop strategies:

Propose clear holster / stow positions. On the hip, back, chest, or hand—show it in your concept.
Reserve billboard zones. Keep a clean area for team color, faction insignia, or role icons.
Limit big props per character. One hero prop and a couple of supporting pieces is often enough.
Use negative space. Make sure props carve interesting but controlled negative space around the body, instead of fuzzing the boundary.

Include small storyboard-like scribbles in your concept sheet showing idle, sprint, attack, and emote states with props stowed and in use.

4. Designing for FPP, TPP, Iso, VR/AR, and Marketing — Practical Passes

Now let’s translate all this into actionable passes you can run on your own designs, whether you’re on the concepting side or supporting production.

4.1 FPP-Aware Costume Design

As a concept artist, you may not always paint FPP viewmodels, but you can make their lives easier.

Key questions to ask:

What does the player see of themselves?
- Gloves, sleeves, bits of chest and shoulders.
- Occasionally legs when looking down.
What does everyone else see?
- Full costume, including cape, skirt, and props.

Concept-side guidelines:

Clean forearm zone. Avoid extreme flares, bangles, or dangling items at the wrist that will constantly intersect FPP weapons.
Moderate shoulder volume. Huge pauldron + cape stacks can cause visual obstruction if the FPP camera is slightly offset.
Back-of-body storytelling. Put major fantasy beats (emblems, cape design, backpack shape) on the back, since that’s what other players see most.

Production-side callouts:

Mark “FPP safe zone” on your front orthos: an area around shoulders, chest, and arms where protrusions should be minimal.
Suggest “FPP variant” elements if needed: simplified gloves, shorter shoulder spikes, or trimmed cape for the player’s own view.

4.2 TPP-Aware Costume Design

In TPP, you’re designing primarily for a rear ¾ view.

Concept-side guidelines:

Start your exploration with rear silhouettes instead of front.
Keep a clear spine line visible: use cape windows, V-shaped cutouts, or narrower drapes.
Stage major props on the far side from camera (if the game has a fixed over-the-shoulder side) to avoid blocking center screen.

Pose testing:

For each costume with capes/skirts/props, thumbnail:

Idle stand
Sprint / run
Combat stance
Jump / vault
90° turn

Silhouette them in black and ask: “Can I tell what this character is doing? Can I still see their direction, role, and main weapon?”

Production-side callouts:

Provide a separate rear view focusing on cape behaviour: spread, resting width, and shortest/longest extents.
If you know the camera side (left or right_over_the_shoulder), note which shoulder should be less cluttered.

4.3 Iso / Top-Down-Aware Costume Design

Iso games demand brutal simplification. You have tiny pixel real estate.

Concept-side guidelines:

Draw the character as a tiny pawn early.
E.g., 1–2 cm tall on your canvas at the intended resolution.
Ensure the head + shoulders + major prop create a clear, simple graphic shape.
Limit the effective radius of skirts and capes.

Best practices for capes/skirts in iso:

Use high front hems and longer backs: a mullet-like silhouette that preserves leg visibility in top-down.
Add strong directional marks on the upper body: a chest emblem, a strong collar shape, or asymmetrical shoulder piece.

Props in iso:

Favor props that read from above: hammers, staves, banners held high.
Avoid lots of tiny dangling items.

Production-side callouts:

Include a dedicated iso thumbnail row on your sheet: same pose, multiple iterations, at tiny scale.
Label “iso-critical reading shapes“: headpiece, shoulders, main weapon.

4.4 VR / AR-Aware Costume Design

For VR/AR, think about proximity, parallax, and comfort.

Concept-side guidelines:

Avoid aggressive spikes, swinging chains, or long protruding props near chest/face level if the player will be able to get very close.
Favor controlled, weighty cloth over extremely light, noisy fluttering capes.
Consider eye-line staging: keep the face and upper torso relatively clean so users can focus on expressions.

Motion testing:

Sketch a head-space bubble around the character. Ask: “If the viewer’s eyes were floating here, what parts of the costume would constantly sweep through them?” Adjust those elements.

Production-side callouts:

Suggest maximum swing angles for long props/extras.
Note whether any elements might require reduced physics in VR to prevent nausea.

4.5 Marketing-Aware Costume Design

Marketing art is your opportunity to show the idealized version of the costume—but you must respect in-engine reality.

Concept-side guidelines:

Design two hero moments for each major garment/prop:
- A key art pose: cape or skirt in full drama.
- A practical gameplay pose: more subdued, but accurate.
Keep capes and skirts in marketing within 10–15% of their in-game length/width, unless clearly stylized.
Compose outfits so they read in grayscale at thumbnail size.

Production-side callouts:

Provide marketing-friendly angles: front ¾ hero pose and rear ¾ gameplay pose.
Indicate which shapes are non-negotiable brand elements vs. which can be simplified in-engine.

5. Working as a Partner: Concept vs. Production Mindsets

Both concept and production artists touch capes, skirts, and props—and both can accidentally create staging hazards if they work in isolation.

5.1 Concept-Side Responsibilities

As a concept artist on the concepting side, your job is to:

Explore silhouettes that express fantasy while respecting likely camera setups.
Flag risk zones and suggest mitigations in your designs.
Provide multiple views and motion thumbnails, not just one glamour shot.

Think of your sheets as a conversation starter with character art, rigging, tech art, and animation:

“This cape is mid-back, split, and anchored; it’s meant to allow a full twist without total occlusion.”
“Skirt has high slits at sides so you can see leg motion in iso.”
“Banner staff is designed with a short stow configuration so it won’t pierce the camera in TPP.”

5.2 Production-Side Responsibilities

As a costume concept artist on the production side (or if you’re doing production-adjacent concepting), you:

Translate high-level ideas into buildable, testable costume packages.
Support character artists by providing clean orthos, layer breakdowns, and material hierarchies that align with staging.
Communicate with riggers and animators about cloth zones, collision needs, and safe motion arcs.

You might add:

Culling notes (e.g., “Cape should be culled for certain parkour moves” or “Skirt collision can be simplified to a capsule”).
LOD guidance (e.g., “At far LODs, cape collapses into a simplified wedge”).
FX alignment (e.g., “Ultimate VFX is projected from under the cape; please ensure cape lifts slightly on cast”).

Both sides benefit from shared checklists and language, so let’s build that next.

6. Staging Hazard Checklists by Element

(With writing prompts for your notes)

Use these checklists as quick passes over your designs. Each item has a small “Write:” prompt so you can jot down specific decisions or risks.

6.1 Capes Checklist

Silhouette & Length

Is the cape length compatible with stairs, vaulting, and sprinting?
Write: target cape length and any animations you’re worried about (e.g., “mid-calf; risk on climbing ladders”).
Does the cape’s width allow the hips and shoulders to remain readable from TPP rear ¾?
Write: quick note on how much torso you still see (e.g., “hips visible, spine half visible, shoulders clear”).
In top-down thumbnails, does the cape avoid completely swallowing the legs?
Write: describe what is still visible from iso (e.g., “knees + feet readable from above”).

Windows & Cutouts

Is there a visible spine line in at least one common camera angle (often TPP rear ¾)?
Write: which angle and how you reveal it (e.g., “rear ¾ via V-shaped gap in cape”).
Are back weapons and major props still partially visible and not fully buried under cloth?
Write: list key props and how they peek out (e.g., “sword hilt and radio antenna always exposed”).
Do cutouts create interesting negative spaces without over-complicating the design?
Write: one sentence on your shape logic (e.g., “two long triangular cuts; avoids lace-like noise”).

Motion Behaviour

Does the cape design still look good when hanging straight down (no hero wind)?
Write: what it communicates in neutral (e.g., “reads as heavy and regal, not limp or sad”).
Are there clear anchor points for riggers to attach cloth bones or simulations?
Write: where anchors sit (e.g., “anchored at shoulder pads + mid-back clasp”).
Is there a simplified silhouette version that could be used for distant LODs?
Write: how you’d compress it (e.g., “LOD = simple wedge shape, no scallops”).

6.2 Skirts Checklist

Form & Coverage

Can you still see leg direction from TPP and iso perspectives?
Write: which parts of the legs remain visible (e.g., “from iso, shins + feet visible on run”).
Is the skirt width reasonable for doorways and tight spaces?
Write: max width vs. character hip width (e.g., “1.3× hip width; safe for standard door collision”).
Do you avoid confusing the skirt outline with the hitbox boundary?
Write: how far skirt extends beyond hitbox (e.g., “skirt extends ~10% beyond feet only”).

Mobility & Slits

Are there slits or panel breaks aligned with common motion directions (front, side, back)?
Write: slit placement and purpose (e.g., “front + side slits for lunges and sprinting”).
Does the design support the game’s level of acrobatics (rolling, sliding, wall-running)?
Write: any moves the skirt struggles with (e.g., “rolling okay; wall-run may need cape/coat variant”).
Have you considered a tiered length to keep most of the motion near the knees and below visible?
Write: rough length tiers (e.g., “outer panel to mid-calf, inner to ankle; legs still read”).

6.3 Props Checklist

Placement & Stow

Does each large prop have a clear resting / holster pose?
Write: where each major prop lives at rest (e.g., “rifle on back, pistol on thigh, banner collapses to staff on hip”).
Are props placed away from primary camera axes (e.g., not directly behind the head in TPP)?
Write: camera side and how you offset props (e.g., “camera over right shoulder, big quiver pushed to left side”).
Does the stowed position avoid blocking team color zones?
Write: where team colors live and how props avoid them (e.g., “team color on upper back panel; backpack stops below it”).

Quantity & Hierarchy

Is there a single hero prop and a small set of supporting props, instead of a noisy cluster?
Write: name the hero prop and limit (e.g., “hero: banner, support: dagger + toolkit bag only”).
Does the hero prop complement, not compete with, the body silhouette?
Write: how its shape echoes the body (e.g., “banner angle echoes spine; doesn’t widen silhouette too far”).

Motion & Interaction

Could this prop plausibly move through animations without constant clipping?
Write: specific risky moves you foresee (e.g., “two-handed overhead swing may clip tall backpack”).
Have you shown at least one attack or interaction pose with the prop in use?
Write: where to find that sketch on the sheet (e.g., “see bottom row, frames 3–4 for swing arc”).

7. Staging Hazard Passes You Can Run on Any Costume

Here are practical, step-by-step passes you can adopt as part of your workflow, regardless of camera type.

7.1 The “Black Silhouette” Pass

Take your main costume pose (front, side, rear ¾).
Fill the character with solid black.
Shrink it down to typical gameplay size.
Ask: “What are the big reads?” If cape, skirt, and props all blend into one blob, adjust.

Do a variant where:

Cape is closed and hanging.
Cape is spread (jumping or turning).
Skirt is mid-stride.

Check whether the direction of motion, weapon, and role remain identifiable.

7.2 The “Camera Rotation” Pass

Sketch a quick turntable of the character:

Front
Front ¾
Side
Rear ¾
Rear

At each angle, mark:

Where capes and skirts expand or collapse.
Where props break silhouette in a good way.
Where they block or confuse readings.

This pass is especially useful in TPP and iso games, where camera rotation is common.

7.3 The “Motion Strip” Pass

Create a row of tiny sketches showing a short motion sequence:

Idle → step → run → stop
Idle → wind-up → attack → follow-through
Idle → jump → mid-air → landing

In each frame, put a simple shape for the cape/skirt/props. Look for:

Unexpected intersections.
Shapes that explode into unreadable tangles.
Moments where the cape/props completely cover the body.

Adjust the design to reduce the worst offenders—perhaps a shorter train, fewer dangling items, or a more anchored cape.

7.4 The “Tiny Thumbnail” Marketing Pass

Shrink your hero illustration to storefront thumbnail size (think small app icon or YouTube thumbnail).

Does the cape just turn into a dark rectangle behind the character?
Can you still tell the character’s action or attitude?
Does the hero prop read clearly, or is it lost in the cloth?

If necessary, exaggerate certain shapes in concept so they survive at small scale.

8. Communicating with Other Disciplines

Capes, skirts, and props touch many departments. Good communication turns staging hazards into manageable design features.

8.1 Talking to Character Artists

Provide:

Clean orthographic views (front, side, rear) with cape/skirts both as-designed and in simplified outlines for collision proxies.
Clear layer breakdowns: body base, inner skirt, outer panels, cape, props.
Notes on material behaviour: “heavy leather, low flutter” vs. “light silk, high flutter”—this affects how they sculpt folds and thickness.

8.2 Talking to Riggers and Tech Art

Include:

Suggested bone / cloth zones: where rigid bones might control a cape vs. fully simulated regions.
Ideas for safety shapes: fallback positions for capes during certain animations.
Flags for high-risk motions: “During spinning attack, cape may need constraint to avoid face occlusion.”

8.3 Talking to Animators

Pose tests showing how the costume supports strong gestures.
Secondary motion hierarchy: which elements should move the most (cape hem), which should stay more stable (collar, top of skirt).
Notes on character attitude: a regal character’s cape moves differently from a wild berserker’s, and that informs animation style.

8.4 Talking to UI / Marketing

Help them with:

Clean silhouette icons for HUD or selection screens.
Suggestions for pose and angle that best showcase cape/skirts/props while staying readable.
Simple color and value schemes that survive UI scaling.

9. Practical Exercises for Costume Concept Artists

To internalize staging hazard thinking, try these exercises on your next costume design.

Exercise 1: Cape Trios Across Cameras

Design a character with three cape variants:

Full cape (traditional).
Segmented cape (panels, cutouts).
Cropped cape (shoulder or mid-back).

For each variant, draw:

FPP owner view (small torso/arms view).
TPP rear ¾ view.
Iso top-down view.

Compare:

Which variant preserves the clearest pose and role read?
Where do capes create the worst occlusions?

Exercise 2: Skirt Modes for One Character

Take a single character and design three skirt or lower-garment options:

Long, closed skirt.
Slitted or panelled skirt.
Tunic-length garment over leggings.

Thumbnail:

Run cycle (4–5 frames).
Attack swing.

See how much of the leg motion is readable in each and which cameras they suit best.

Exercise 3: Prop Management Challenge

Start with an over-loaded character: multiple weapons, tools, trophies, and trinkets.

Then:

Reduce to one hero prop and two support props.
Re-stage them to avoid blocking back reads in TPP and team color zones.

Compare the silhouettes before and after. Note how much clarity improves.

Exercise 4: VR Comfort Sketches

Take a character with a long weapon and cape.

Draw the character at “arm’s length” from the viewer in VR.
Sketch arcs of movement for weapon and cape.

Mark where these arcs intersect the viewer’s head space. Adjust design to minimize those intersections.

10. Building a Long-Term Staging Mindset

Capes, skirts, and props will always tempt you to go bigger, longer, more dramatic—and that’s part of their power. The trick is to channel that drama into shapes that support gameplay clarity and camera realities instead of fighting them.

As you keep designing:

Collect references of capes/skirts/props from games with similar camera setups. Study where they cut length, where they allow motion, and where they avoid cloth altogether.
Build a personal staging hazards checklist and tape it near your drawing station.
Save paintovers and breakdowns where you solved occlusion problems; they become teaching tools for your future self and your teammates.

When you design with Readability Across Cameras & Motion in mind, your costumes stop being post-production firefighting problems and become trusted tools for animation, gameplay, and marketing. Capes feel epic without hiding everything. Skirts feel elegant without sabotaging motion. Props feel iconic without breaking the camera.

That’s when you’ve graduated from simply “drawing cool outfits” to designing game-ready costume systems that respect every eye that will ever look at them—player, teammate, enemy, spectator, and art director alike.