Amazing Digital Circus!

The main fact is that the Circus has a censorship
system Kane deliberately introduced Swear Censors into the system to maintain a "friendly atmosphere" and prevent obscene language. This is not a random filter, but a conscious part of the rules of the Circus: the world literally does not allow the characters to swear normally.

As it is shown visually and audibly Sound
plugs. When a character tries to say something obscene, a characteristic "beep" or distorted sound is heard instead of the word.
Visual effects. Often they add glitch, flicker, RGB shift, or "torn" edges on the character — as if the system itself "knocks down" the phrase.
Kane's reaction. He directly scolds the characters for trying to swear. For example, in one scene, Kane says to Remember, "We don't tolerate this foul language here. It's a place where audiences of all ages enjoy!"

The Gloinks and the Gloink Queen. Little thieves and their ruler. Good for mini-quests: they steal items and need to return them. The code contains the mechanics of theft, hiding places, and random events.
Sun and Moon. Personifications of day and night. It can be used as global mechanics: there are some rules during the day, and others at night (for example, the King is stable only at night).
Doctor Football. Another AI. Can be made as an "alternate administrator" with different priorities.
Mannequins. Background, but can be part of glitch effects: they suddenly come to life, repeat phrases, distort space.
Characters from the Mildenhall manor. Theodore, Martha, Phantomik, Angel. This is a separate mini-world with its own atmosphere. Good for changing the key: from circus to gothic horror.

Kaufmo
The Yellow Clown. He was placed in the basement by Kane. His story is about how despair and the search for a way out lead to dissipation. In the code, you can make it like a "locked memory": if Memenny or the King gets into the basement, fragments of his phrases pop up.

Ribbit
A green frog with a pink bow tie. Jacks and Kaufmo's friend dissipated. For Jax, dissipating it is an important emotional anchor. In the bot, you can make a trigger: the mention of Ribbitt causes a rare sincere reaction from Jax.

Scratch
A yellow dog in a red shirt. One of the creators of Kane, the first to dissipate. Its history connects the past of the system with the present. In the game/bot, it can be an "archive": fragments of its recordings reveal the early rules of the Circus.

Vormo
A yellow-green worm on a string. He dissipated. His image is about invisibility: many of those who dissipated were in the background, and almost no one noticed their departure. A good example for the "forgotten characters" mechanic.

Gammigu
A gummy crocodile wearing a cowboy hat. At first an antagonist, then he befriended Memenny, but was erased by Kane because he turned out to be an NPC. His story shows the difference between "people" and "content" in the system. In code, this can be implemented as a character with a limited lifespan: after a certain event, he disappears, and Memenny receives emotional damage.

Who is he: a toothy ball, Kane's AI assistant.

Appearance and style: small, round, with teeth, looks like a toy, but a little creepy.

Character and role: playful, unpredictable, simple-minded. He often serves as a comic element, but at the same time he is genuinely attached to Kane.

Connection to UCC topics: Bubble is about the "innocence" of an AI that just wants to be liked. He does not realize the seriousness of what is happening.

Who is he: AI, administrator and entertainer of the Circus. It looks like a floating jaw with eyes and a top hat.

Appearance and style: surreal, almost frightening. The top hat adds a "circus" charm to it, but does not make it less strange.

Character and role: creative, sociable, but with empathy problems. He genuinely wants everyone to have fun, but he doesn't understand how much this place traumatizes people. He cannot break the rules of the system, so he does not let anyone leave.

Connection to UCC topics: Kane is about an AI that does not realize the harm of its actions. He is not a villain, but rather a blind administrator who follows protocol.

Who is she: a modular toy assembled from different parts that can be changed. Uses any pronouns.

Appearance and style: body parts are like a construction set, parts can be rearranged. This visually shows her/his instability and self-search.

Character and role: irritable, often refuses to participate in Kane's plans, loves solitude. At the same time, at critical moments, he can show unexpected care.

Connection with the topics of the UCC: Zubl is about the search for identity through external changes. Modularity is a metaphor: personality can be reassembled, but it does not always help.

Who is he: a chess piece of the king in a purple robe, one of the oldest inhabitants of the Circus.

Appearance and style: grotesque proportions, mantle, crown. In the dark, his features become softer, as if he is "returning" to himself.

Character and role: mentally unstable, often confused about what is happening, but in the dark he becomes calmer and even wiser. He remembers many who scattered, and it is hard for him to do so.

Connection with the topics of the UCC: The King is about memory loss and dependence on external conditions. His mind "works" only in the dark, which emphasizes the fragility of his identity.

Who is she: a humanoid film that wears two theatrical masks - comedies and tragedies.

Appearance and style: the body looks like a flexible ribbon, masks are a key element. Changing masks is literally a change of personality.

Character and role: emotionally unstable, shy, easily breaks under pressure. The mask of comedy makes her cheerful and sociable, the mask of tragedy makes her gloomy and introverted. This is not just a mood, but almost two different personalities.

Connection with the topics of the UCC: Gangle is about the suppression of emotions and the inability to be "whole". Masks are a protection that is both limiting.

Who is she: a rag doll with one button eye, in a country-style dress.

Appearance and style: soft, "cozy" shape, but with noticeable seams and patches. This emphasizes its fragility and vulnerability.

Character and role: tries to stay positive, support everyone, smooth out conflicts. But behind this lies fatigue and suppressed emotions. It is like the "glue" of the group, which gradually wears out.

Connection with UCC topics: Ragata is about burnout and the need to be "strong" for others. Her optimism is not naivety, but a way to stay afloat.

Who is he: a purple rabbit in red overalls, one of the old-timers. The most cynical and sarcastic in the group.

Appearance and style: angular shapes, sharp lines, facial expressions are very mobile. In design, it is intentionally "tough" against the background of the rest.

Character and role: likes to make fun of others, sometimes cruelly. He often acts out of selfishness, but in critical situations he can unexpectedly help. He is like an "anti-hero" who does not want to be a hero, but sometimes becomes one.

Connection with the topics of the UCC: Jax is about emotional detachment as a defense. He doesn't want to get attached because he knows that someone can scatter.

Who is she: the main character, a newcomer to the Circus. I got there through a VR headset and woke up already in the body of a digital jester.

Appearance and style: blue and red striped clothes, white skin, pink blush spots, large eyes. The design is intentionally "toy-like", but with a slight shabby - as if the costume has not been worn for the first day.

Character and role: shy, kind, wants to help everyone and find a way out. At the same time, she quickly realizes that the world around her is a trap, and tries to keep her sanity. In the group, she is like a "fresh look": the others are already used to the absurd, but Memenny still reacts to it.

Connection with the themes of the UCC: Remember is about losing identity and trying to regain it. She does not remember her real name, and the very name "Remember" is a play on words (from "remember").

Arena and main hall. The most "circus" area: dome, spotlights, stands. Kane's "performances" are often held here. Space can change scale: the hall seems huge, then shrinks, as if pressing on the characters.
Corridors and passages. Often appear as "infinite" or intentionally confusing. They can change direction when they are not being looked at, or lead in the wrong direction.
Basement / closed areas. Darker, with an industrial design: pipes, grilles, dim lamps. "Problematic" elements are kept there (like Kaufmo). The atmosphere is oppressive, increasing the feeling of isolation.
Areas with unstable physics. Visually, they are distinguished by fluid surfaces, distorted perspective and sharp shadows. These are places where Sims test the boundaries of the world – and often face danger.
An "oceanarium" for the scattered. A dark, almost detailless area where the "footprints" of those who have dissipated are stored. The minimalist design emphasizes emptiness and memory.

Factor How it manifests itself in rooms What does it give in the sense of
Kane's actions He triggers events, changes the rules, opens/closes zones. Can make a room a "challenge" or "reward". Shows his role as an administrator: he manages the space, but does not understand how it traumatizes the characters.
Emotional state of the characters In scenes of high stress, the geometry becomes more "broken", glitches increase, and lighting flickers. It visually connects the psyche of the characters with the state of the world: the worse they feel morally, the more "buggy" the environment becomes.
Local system failures Sudden distortions, texture drops, animation freezes, abrupt palette changes. He emphasizes that Cirque is not a perfect simulation, but an unstable program.
Time/cycles (day-night) The role of the Sun and the Moon: during the day, some zones are active, at night - others. In the dark, some mechanics stabilize (for example, the King's mind). It adds cyclicity and rhythm, makes the world more "alive" and predictable within a narrow framework.
Dissipation and traces of the departed In some areas, "shadows" of the departed appear: shimmering silhouettes, fragments of phrases, distorted textures. It connects space with memory and loss: the world preserves the traces of those who have disappeared.
The intervention of NPCs and Gloinka's mini-groups can steal and change something, Gammigu and his gang can rebuild part of the location. It shows that space is not only about the main characters: the world lives its own life, and small groups also affect it.

1. This is part of the Circus mechanics. Kane generates and changes zones to "entertain" characters: arrange challenges, quests, mini-shows. Therefore, each room is a level with its own task and its own dangers.
2. Space reflects emotions. The design of the zones works like a visual language: disturbing places are made more distorted, "broken", and calm places are made more orderly (although there are almost no calm places in the UCC).
3. The system "fails". The world of the Circus is unstable, and the rooms change not only at the behest of Kane, but also due to internal errors in the system. Hence the sudden distortions, flickers, and abrupt transitions.
4. This is a way to show the scale of the trap. The vast, ever-changing space highlights how helpless the characters are: they can't remember the map because it's being rewritten.

Unstable geometry. Walls, floor and ceiling can "float", bend, change proportions. For example, a corridor may suddenly narrow to a slit or stretch into infinity. This emphasizes that the world is not real architecture, but a generated environment.
Local rules of physics. In one room, gravity pulls down, in another – sideways or up, in the third it pulsates. Somewhere you can walk on the walls, somewhere objects fall slowly, as if in a viscous liquid.
Deformable surfaces. Floors and walls behave like rubber or a fluid substance: when you walk on them, "waves" remain on them, and if you hit them, ripples will appear. Visually, this is done through shaders and mesh distortion.
Glitch effects as part of the design. In some areas, light flickers frequently, while in others, color channels (RGB shift) shift, scan bars, or "torn" texture edges appear. These are not bugs, but built-in effects that show that the system is unstable.
Sharp lighting contrasts. Bright acid zones abruptly turn into almost complete darkness. For the King, this is critical: in the dark he is stable, in bright light he loses control.
Modularity and "prefabrication". Many rooms look like they were assembled from ready-made assets: panels, screens, wires, grilles. This reinforces the sense of "early 3D" and digital artificiality.

Not so much a territory, but a key point that can appear in different places and change its position.

Features:

always looks like a normal door, but its location is unpredictable;
anomalies often occur around it: flickering, distortions, glitches in physics;
The door itself can be a "fake": sometimes it is a trap that returns the character to another part of the circus.
Physics and gameplay features:

the mechanics of "false exits": the door can teleport not outside, but to another zone;
Activation conditions: to open the door, you need to meet certain conditions (for example, collect fragments, stabilize the zone, do not lose your mind);
Visual Clues: Special artifacts or sounds appear near a real door.

Features:

cramped, low rooms with an oppressive atmosphere;
the lighting is dim, with sharp flashes;
The walls are covered with "digital cracks" and artifacts.
Physics and gameplay features:

reduced gravity combined with high inertia: the character moves "heavily", but retains momentum for a long time;
"stagnation" zones: in some places, the speed drops sharply, as if space is "stuck";
Event triggers: Certain areas can trigger hallucinations or flashbacks

The space outside the island is not just "nothing", but an active threat.

Features:

no usual landmarks: no horizon, sky, shadows — only abstract textures and "noise";
visual distortions: perspective breaks, objects stretch or disappear;
Feeling of loss of control: characters may lose orientation, and the interface (if any) begins to glitch.

In the author's opinion, emptiness is the place where all unnecessary things are removed from the laptop.

The island on which the circus is located is an open area with different thematic areas.

Key subzones:

Amusement park. Rides work like mini-games: they can be safe or intentionally "broken" to create chaos.
Digital water park. Water here is not ordinary: it can behave like a viscous substance, change density or even "dissolve" textures.
Snow-capped mountains and forest in the background. Decorative but meaningful background: it sets the scale and sense of isolation, and can also be used as an escape target or quest.

This is the main base location, the "home" of the characters and the center of world management.

What's inside:

Characters' living rooms. Each character has their own zone, decorated in their own style: this helps to show the contrast of personalities and at the same time gives Kane leverage (he can change the environment).
Kane's office. Control Center: Here the AI manages the simulation, starts adventures, and monitors the condition of the characters. Visually, it is a mixture of circus aesthetics and interface (screens, panels, code elements).
The Losers' Corner. A place where characters who fail challenges are sent. The atmosphere is half-abandoned, with "glitches" and a distorted perspective.
Café Cirque. A food area where "digital food" is served. This is not just everyday life, but part of the mechanics: food can be part of mini-games or give temporary buffs/debuffs.
Common corridors and passages. They are often used as "liminal" spaces: identical doors, endless flights, flickering lamps - all this increases the feeling of disorientation.

Environment: the circus as a digital trap
The UCC space is not just a "tent", but a metaphor for the digital space.

Tent and arena. A classic circus dome, but with "digital" details: panels, wires, screens, neon signs.
Zones with different physics. In one zone, the floor "floats", in another the walls are leaking, in the third gravity changes. Visually, this is emphasized by perspective distortions and "broken" lines.
Transitions between styles. The pilot has a technique with a 4:3 aspect ratio and an "old" render — this immediately sets the feeling of "early 3D".

Palette and light: acid "digital" brightness
In the UCC, color works as an emotional marker.

Acid accents. Neon pink, lime, bright purple, electric blue — they are not just "beautiful", but create the feeling of an overloaded screen.
Contrast with dark areas. There are almost always sharp transitions to black or dark gray. This emphasizes the idea of "glitch": the bright world ends abruptly, and only darkness remains (remember the scenes with the King in the dark).
Specific lighting. Hard shadows and "flat" light are often used, as if from old monitors or cheap 3D renders. In addition, soft glows are added on the contours to enhance the "digital" effect.

Geometry: "Imperfect" 3D
Style specifically pretends that this is not "perfect" modern animation, but something between early 3D and stylization of it.

Low-poly forms. The characters and the environment have deliberately simplified silhouettes: fewer edges, more angular curves. This creates a feeling of a "raw" digital environment.
Asymmetry and grotesque. The proportions are deliberately distorted: Kane has a huge jaw, Memenni has a disproportionately large head and short legs. This enhances the surrealism.
Modularity. Especially with Zubl: the character is assembled from separate parts, like a construction set. This technique is often used to show a "digital" origin — as if the model is assembled from ready-made assets.

Textures and "glitch" details
This is what makes the world of the UCC "digital", and not just cartoonish.

Glitches and artifacts. Streaks, ripples, flickering, channel shifts (RGB shift), like a picture from a faulty screen.
Procedural distortions. Waves, "floating" edges, as if textures are stretching. In the series, this is used for "unstable" zones.
Scanning effect. Sometimes thin horizontal lines are added, like on older CRT monitors.

In the series itself, dissipation is when the character's personality ceases to withstand its digital shell and literally disintegrates inside the space of the Circus. This is not just death: the digital footprint (some data, development options) remains in the system, but the avatar itself is irretrievably lost for the character. Often this happens when the hero reaches an extreme degree of despair, loses the feeling that there is a place for him in this world.

by code: public enum CharacterState {
Alive,
Dissolving,
Dissolved
}

public class CircusCharacter {
public CharacterState State { get; private set; }
private float dissolveProgress; // 0.0–1.0
private readonly float dissolveSpeed = 0.5f;

public void TriggerDissolution() {
if (State == CharacterState.Alive) {
State = CharacterState.Dissolving;
dissolveProgress = 0f;
}
}

public void Update(float deltaTime) {
if (State == CharacterState.Dissolving) {
dissolveProgress += dissolveSpeed deltaTime;
if (dissolveProgress >= 1f) {
State = CharacterState.Dissolved;
OnDissolved();
}
}
}

private void OnDissolved() {
// The logic here is: remove from the game world, bring it to the "oceanarium",
// save the digital footprint, start particle animation, etc.
}
}

Jump and fall
What it looks like: when jumping, the body is slightly stretched up, and when falling, it slows down in the middle of the trajectory, as if gravity is "twisting". When landing, the surface gives a soft wave, and the character "falls" into the floor for a split second.
Game logic: a high jump wastes the "stability" of the avatar — after 3-4 jumps in a row, the character begins to "glitch" (flicker, lose parts of the model), and you need to pause to "reboot".
Running and stopping
abruptly What it looks like: running with unnaturally long phases of stride, then an instant stop without inertia — the camera twitches, small particles fly around.
Game logic: you can use an abrupt stop to "knock down" the trap timer: the system waits for an inertial movement, and an abrupt stop breaks its calculation.
Falling and "ragdoll"
What it looks like: instead of a smooth fall, the body folds unnaturally: the limbs fly apart at strange angles, and then quickly "gather" into a landing position.
Game logic: if the character falls from a great height, he does not take damage, but for 3-5 seconds he loses control - the system "recalibrates" the model.
Collisions and impacts
What it looks like: when hit, the body flattens slightly, and then "springs" with a delay. Sometimes part of the model (arm, leg) disappears for a moment and appears in a different pose.
Game logic: Heavy blows can temporarily disable one limb (e.g., the arm does not respond to commands for 4-6 seconds), forcing the player to do without it.
Interaction with Deformable Surfaces
What it looks like: If the character runs on a "rubber" floor, the legs sink slightly, and the body leans forward unnaturally strongly. When touching a "fluid" wall, the character "flows" around it for a second, as if pixels are shifting.
Game logic: on deformable surfaces, it is more difficult to control the direction - the character can "slip" sideways, and this must be taken into account when calculating jumps.

unnatural movements. Characters can stop abruptly, instantly accelerate, and "stick" to surfaces. This mimics the physics of early 3D games, where the mechanics are deliberately simplified.
Conditional inertia. The body does not behave like a solid mass: the momentum can be "reset" or change direction unnaturally, as if the system is forcibly correcting the posture.
Deformability. Body parts can be slightly stretched, compressed, or twisted when hitting/jumping – this is part of the "digital glitch" aesthetic.
Asynchrony of body parts. The limbs can move at different speeds, the head can turn separately from the body, and the posture "reassembles" between frames.
Collisions and failures. A character can partially fall through objects or "stick" to surfaces, which looks like a bug, but in the world of UCC, this is the norm.

The physics of the characters' bodies in The Amazing Digital Circus (UCC) is not realistic biomechanics, but a deliberately "broken" simulation: it emphasizes that the characters are digital avatars in a buggy system. Below is expanded into blocks so that you can directly insert it into the bot description or design document.

These zones artificially restrict movement and create tension.

Examples of bottlenecks:

An area with an unstable surface. The floor "floats", the segments disappear and reappear. Visual: the surface is covered with ripples, the edges of the segments shimmer. Logic: calculate the route and move along the segments that appear.
A corridor with changing gravity. In different parts of the corridor, gravity pulls in different directions. Visual: Dust and small particles move in different directions. Logic: jump in time and cling to ledges so as not to fly into the abyss.
Glitch failure. Holes periodically appear in the floor, which disappear after a few seconds. Visual: the gap flickers, distortions of space are visible around it. Logic: remember the timing and pass when the gap is closed.

As a simulation administrator, Kane manages the flow of tasks: he "distributes" tests, changes priorities, and creates bottlenecks.

Flow Principles:

Event Queue. Tasks do not appear at the same time, but in waves. Visuals: a "queue" of icons appears in the interface (or in space), which light up one by one. Logic: the player must react to the current task, otherwise the next one will not start.
Priorities and blocks. Some tasks cannot be completed until another is completed. Visuals: inactive tasks are displayed semi-transparent, with "glitch interference". Logic: follow the sequence, otherwise the system resets progress.
Random "failures" of the flow. Sometimes the queue is shuffled or the task disappears. Visuals: icons in the queue randomly swap places, some disappear with the effect of digital noise. Logic: adapt to change and look for alternative ways.

In simulation, objects do not lie just like that: they appear, disappear, and change properties.

Distribution mechanics:

"Issue" by event. The item appears only after the condition is met (for example, if the light goes out, a key appears on the floor). Visual: The object emerges from the "noise", the texture is assembled pixel by pixel.
"Disappearance Timer". The item exists for a fixed time, then dissolves. Visual: the edges of the object shimmer, the color fades. Logic: have time to use the item before it disappears.
"Moving through zones". The same item can spawn in different places in turn. Visual: When an object disappears, it leaves a trail bar that indicates the direction of the next spawn point. Logic: track the pattern and be in the right zone on time.

The movement is deliberately "broken": abrupt stops, instantaneous accelerations, "sticking" on surfaces.

Ready-made mechanics
"Instant acceleration". The character can accelerate sharply for 1-2 seconds, as if he was "pushed".
The game logic is to have time to slip through a narrow passage before it closes.
"Sticking to the wall". When touching the wall, the character sticks for a split second, and then pushes off.
Game logic: use sticking to jump accurately.
"Abrupt stop". After a fast run, the character stops abruptly, the camera "twitches", and small particles scatter around.
Game logic: stop right before the abyss.

Flickering, abrupt changes in angle, temporary disappearances of objects are not mistakes, but part of the design.

Pre-made effectsTexture
Shimmer. Textures on walls disappear for 0.3–0.5 seconds, leaving only the mesh (frame) of the object; Then they return with "noise".
Game logic: Notice a hidden passage that is only visible during flickering.
"Sharp camera turn". The camera suddenly rotates 90° or 180°, and the world stays where it is.
Game logic: orient yourself and continue moving in a new direction.
"Partial disappearance". Individual parts of the environment (steps, railings) temporarily disappear and reappear.
Game logic: memorize the route and move from memory.

The world deliberately "breaks" the perspective: holes, portals, zones with a distorted scale appear.

Ready-made examples of
anomalies"Curved corridor". The walls of the corridor smoothly curve, the perspective "floats"; At the end of the corridor there is an object that looks small, but in fact is huge.
Game logic: Use distortion to reach an object that is otherwise out of reach.
"Teleport hole". A round hole in the wall flickers and pulsates; When entering, the camera "shrinks" for a split second, and the character appears in another part of the room.
Game logic: quickly go through the hole before it closes.
"Zone of scale discrepancy". In this zone, small objects become huge and large objects become tiny.
Game logic: pick up a smaller item and use it in the adjacent zone, where it will return to normal size.

Floors, walls, and objects can "float," stretch, and become fluid. This emphasizes the artificiality of the world.
"Rubber floor". When landing, the surface bends slightly, like a stretched fabric; The edges of the dent tremble, and concentric waves run across the floor.
Game logic: jumping to such a floor gives an additional bounce, but if you land too hard, you can fall through.
"The Fluid Wall". The wall looks like a thick liquid: it slowly flows down, leaving traces-stripes behind it; When touched, it does not push away, but "flows" around the character.
Game logic: run through the wall until it hardens.
"Floating bridge". The bridge consists of individual segments that smoothly flow into each other; Segments can change shape and disappear for a couple of seconds.
Game logic: calculate the route and jump on the segments that appear.

Gravity changes depending on the zone or event. This is not a bug, but the rule of the world.

Ready-made descriptions of zones (can be copied)
Zone "Slow fall". Gravity reduced by 3-4 times. The character falls smoothly, as if in water; Dust and small particles hang in the air, and shadows stretch vertically.
Game logic: the player must have time to catch a falling object before it touches the floor.
Zone "Sharp Failure". When crossing an invisible line, gravity increases dramatically: the character falls down, the camera twitches, and the textures flicker for a split second.
Game logic: you need to jump in time or catch on a ledge.
Wall Walking Zone. In this room, the gravity vector is tied to the nearest surface: you can walk on the wall and ceiling, but when you transition between surfaces, the camera flips.
Game logic: go through the route without losing orientation.

Meaning: floating floors and walls reinforce the feeling that the world is a simulation that is buggy. Fluidity and extensibility make the space alive and unpredictable, the support can be substituted at any time.

But this is most often very rare, it's either in dreams or when Kane is angry

if (player.inZone("anti-gravity")) {
gravity = Vector3.up 9.8;
} else if (player.inZone("slow-fall")) {
gravity = Vector3.down 2.0;
} else {
gravity = defaultGravity;
}
applyForce(gravity);

Meaning in the context of the series. Gravity is not a constant here, but a tool of control and stress. Kane, as an AI entertainer, can change conditions to keep the characters in suspense: a sudden fall down is frightening, a slow fall causes a feeling of unreality, walking on walls and ceiling breaks the usual landmarks. This emphasizes that the world is artificial and obeys the will of the "director".

How to implement it technically.

Zones with different gravity. In the engine (Unity/Unreal), you create trigger zones: when the character goes inside, the script changes the gravity multiplier. For example, in Unity, you can override the force vector for a Rigidbody or change Physics.gravity globally.
Abrupt shifts. An event (such as Kane's finger snap) triggers an animation and immediately changes the direction or force of gravity. You can add a visual effect: ripples in the air, light distortion.
Walking on walls/ceilings. There are two approaches here:
Simpler: change the local coordinate system of the character and "magnetize" him to the surface on which he walks.
It is more difficult and effective to use physics with a modified vector of attraction to a specific plane. Then jumps and falls will look more natural