The hand
drawn cartoon visuals look great, and there is a surprising amount of different enemy appearances which helps to vary up the gameplay.
Not exact matches
Meticulously Hand -
Drawn Graphics:
Visual stylings of the game are inspired by the work of Ralph Bakshi, old - school Disney
cartoons and the Soviet animation studio «Soyuzmultfilm» of the 1960's.
All of the
visuals in the game are of a hand
drawn nature and really look like a
cartoon.
As self - confessed
cartoon buffs, the Kobayashis
drew visual inspiration from 1930s
cartoons like Mickey Mouse in Steamboat Willie and in Oswald the Lucky Rabbit.
As self - confessed
cartoon buffs, the Kobayashis
drew visual inspiration from 1930s
cartoons like
Graphics options are a bit slim, allowing antialiasing,
draw distance, field of view, and individual aspects like that to be adjusted manually, but the retro space
cartoon visual theme of Sublevel Zero doesn't really need options for texture quality.
The incredible hand -
drawn visuals and vibrant animation paired with the great writing and charming characters make Battle Chef Brigade often feel like an adaptation of some cult classic
cartoon show I missed out on.
Inspired by
cartoons of the 1930s, the
visuals and audio are painstakingly created with the same techniques of the era, i.e., traditional hand -
drawn cel animation, watercolour backgrounds and original jazz recordings.
Inspired by
cartoons of the 1930s, the
visuals and audio are painstakingly created with the same techniques of the era, i.e., traditional hand -
drawn cel animation, watercolor backgrounds and original jazz recordings.
Describing his work as «long - form,
visual, comedic poetry» and «glorified political
cartooning,» the artist continues to use his unique background to create heroically - scaled installations, most often anchored by wall - sized, photorealistic
drawings utilizing charcoal, graphite and colored pencils.
These creative works take the form of intensely detailed
drawings uniting a range of
visual elements, from
cartoon to cartography, from written text to musical scores, to explore personal and collective histories.
Taking its title from the comics section of twentieth century American newspapers, The Funnies
draws upon the
visual language and humour of the
cartoon.
Tracing the evolution of Hancock's vision by showing the genesis of his mythology, including that of the epic Mound saga, and his wide range of high and low influences (comics, graphic novels,
cartoons, music and film, as well as
visual art), this catalogue demonstrates the fundamental, continuing importance of
drawing in Hancock's work up to the present day.
This new study looks at three subjects: abstraction and
drawing, how
drawing came into its own when notions of art and the employment of media were radically challenged;
drawing as narrative, borrowing and developing ideas on illustration,
cartoon art, and the use of
drawing with the moving image; and
drawing as engagement, offering a
visual description of our environment.
Her images are
drawn from memory and inspired from different levels of
visual culture, from
cartoons to films, daily events and art history.
So she
draws from TV's
visual vocabulary, referencing everything from old propagandist
cartoons to anime.