Kaski villager sprites

Tenth pass, on standing and on what people wear and carry. Side-on, a standing villager now shows both legs, straight and apart, with the far one a shade back. The wardrobe widens: woven bands with beads picked out along hems, a rich coat opening down the front with metal closings, baggy trousers gathered into knee-high bindings, curled boot tips, bear and wolf pelts over the shoulders, packs on the back, axes and swords hanging from the belt, knives, pouches in three sizes, crown braids, and moustaches alone, heavy walrus ones, or worn over a beard. Age shows as grey hair, a lost posture, a careful short-stepped walk and, often, a cane planted ahead with each step.

Hour 16:00

Wind 0.60

Blowing toward east

Gusts 0.60

Drawing rate 10 fps

Step bob 0.4 px

Carrying

Everyone, now

Zoom

One wind for everything. A coarse velocity field over the yard is relaxed toward the prevailing wind, gusts are pushed into it from the upwind side, and the whole field carries itself along each step. Every sprite reads it at its own position, so a gust is seen crossing the grass before it reaches the people.
Spring bones for what hangs. A chain is a few point masses held at their spacing, pulled by gravity and a weak return to hanging straight, and pushed by the air it hangs in less its own motion. Its layer follows it row by row in the vertex stage, so a cape bends along its length and a braid swings from the head. Seen side-on, a cape cannot swing forward through the body. A hem is still a single spring over the garment, and a bucket a pendulum on its handle.
Builds and bearing as warps. One garment drawing serves every build: the vertex stage scales each row of the body by a width profile and pushes a belly or chest forward side-on, then leans the upper body for the posture. Arms, head and everything hanging follow the same warp, so they stay attached. A partial turn is the same kind of warp across a layer, wider on one side and tighter on the other, applied a little to the body and more to the head.
Standing is not still. Five stances, a foot lifted to move between them, a stone kicked from the toe, and an idle pose taken and dropped on the villager's own timing: hands on hips, one hand on the hip, arms folded, or a restless sway.
Stepped, and never in unison. Everything about a villager is sampled on its own clock at a slow drawing rate, hands included, so motion reads as frames rather than as smooth tweening. The rates, phases, strides, arm swing, walk speed and every gesture's timing and reach vary per villager and per play.
A rig of layers. Far arm, body, carried thing, near arm and head are drawn as separate sprites and put together every frame. The legs follow the walk; the arms take the walk's swing, a carry pose, or a gesture laid over either; the head keeps its own facing and nods.
Softer, stylised light. The surface is one broad form across each layer, with folds cut into it, instead of a bevel around every part. The scene lights it in three bands, and cloth that moves in the wind catches the light as it moves.
Norse wardrobe, composed per slot. Knee-length tunic, wrapped or straight trousers, apron dress over a shift with oval brooches and a bead string, cloak pinned at the shoulder, hood or scarf or cap, belt and knife. Hair: loose, tied, braided, knotted, shaved at the sides. Beards: long, forked, braided, full, short.
One palette. Dyes and skins come from a small curated set (undyed wool, linen, madder, woad, weld, walnut, lichen, birch and bog iron), so any mix of villagers sits together.