Beginning development for PlayStation 3 in 2008 under the title Gravité before moving to the Vita, Gravity Rush was conceived by director Keiichiro Toyama prior to his work on Silent Hill and the Siren series.

[3] These gems are rewarded by completing quests given by non-player characters (NPCs), and can be used to buy and upgrade new abilities for Kat, or attributes such as health and energy.

Kat becomes involved in operations to catch Alias, a criminal linked to the Nevi — she eventually defeats him, sending him into a garbage crusher where he is killed.

Alongside this, Kat helps restore sections of Hekseville swallowed by spatial rifts with the aid of Gade, a man who claims to be a "Creator".

Kat wakes to find herself captive in Boutoume, a city beneath the Pillar, where a group of children are living under the protection of their leader Zaza.

Attending a rally with Gade and Syd where D'nelica unveils the Nevi-destroying weapon Sea Anemone, Kat responds to a Nevi attack and is captured by Yunica together with Dusty.

D'nelica activates the Sea Anemone's self-destruct function, heedless of the collateral damage, but Kat, Raven and Yunica are able to stop it before that happens, and fling it at Neu Hiraleon, where it explodes.

[10] When creating the project, the team combined the concepts of gravity manipulation and a protagonist flying through the air, with the gameplay being inspired by Toyama's experience with the Sixaxis wireless controller prior to the PS3's retail release.

[12] Development on the PS3 version ran between 2008 and 2009, with a concept video to help the team finalize the art style and gameplay being put together using Autodesk Maya during 2008.

[10] The pressure to create a first-party Vita title in time for the platform's year of release put a large burden on the development team.

[9] The lack of a targeting reticle or automated aiming was included partially to focus player attention on the Vita's gyroscope functions and to prevent the game from being too easy.

To this end, they included flying vehicles, distinct architectural styles with clear tops and bottoms, and other elements such as the movements of people and how Kat's clothing behaves.

[14] The central story concept of two rival characters with similar superpowers was taken from comic books of the 1970s, with Toyama comparing the scenario to Hancock, The Bionic Woman and Majokko Megu-chan.

Despite being a direct shift from the dark tone of the Siren series, Toyama used the similar premise of a protagonist getting involved in a crisis in a strange town.

[29] When creating the town of Hekseville, Yamaguchi drew directly from comics, using line drawing to exaggerate building outlines and choosing unusual environmental colors.

[31] Kat went through multiple drafts, with her final design meant to have no exact origin and hold an exotic quality similar to popular female game heroine Lara Croft.

[26][32] The style and cel shaded graphics of Gravity Rush was influenced by Franco-Belgian comics, with Toyama citing artists Jean Giraud and Enki Bilal as direct inspiration.

[14] A constructed writing system, made mainly from English and romanized Japanese with letters removed in certain positions, was used for maps, in-world signage, and visual sound effects.

[36] The music was composed by Kohei Tanaka, noted for his work both in anime and on video games such as the Sakura Wars series and Resonance of Fate.

[38] Tanaka used a mixture of acoustic orchestra, electric guitar and bass, drums, and saxophone; in addition, he used a Synthesound board to create more experimental sounds.

[14] Toyama was worried during the recording process due to the lyrics being fictional, but Tanaka advised Toda to sing the song as if she were humming a tune in a bar.

[72] GamesRadar's Lucas Sullivan likewise enjoyed Kat as a protagonist and praised the cast,[76] while Dan Ryckert of Game Informer felt that the story quickly lost focus and left the player wanting.

[5] Official PlayStation Magazine's Louise Blain called Kat a "perfect, charmingly reluctant heroine", but said that trying to describe the story would be like "trying to explain five seasons of Fringe in one sentence".

[4] Edge likewise enjoyed exploring the city and positively compared the wall walking segments to climbing in Crackdown, and despite finding aspects of general gameplay and combat weak did not feel this brought down the experience too much.

Awards, the Academy of Interactive Arts & Sciences nominated Gravity Rush for "Handheld Game of the Year" and "Outstanding Achievement in Gameplay Engineering".

[82] Reviewing the Asian English release of Remastered, Josh Tolentino of Destructoid praised the technical upgrade despite it still being clearly a Vita game, but criticized the lack of new content.

[71] IGN's Marty Sliva said that the game's art style and smooth framerate allowed it to hold its own despite its age, but did not enjoy the motion control options.

[78] Justin Towell of GamesRadar also gave the remastering praise, noting its graphics and improved sense of scale, but criticizing persistent camera difficulties experienced in the original.

[75] Upon its debut in Japan, Gravity Rush reached second place on game charts, selling over 43,400 units and coming in behind the PlayStation Portable (PSP) title Genso Suikoden: Tsumugareshi Hyakunen no Toki.

[89] In the United Kingdom, the game failed to reach the top 20 best-selling titles of that week despite a lower price tag than other new releases, coming in at thirty-fourth place.