Players can tap the R1 button to spring
off background walls and land on the other side of the screen, or grab nearby objects and hurl them at their opponents.
Not exact matches
For today, I couldn't wait to share with you my spring look on the second day of the new season and to top it
off, there's a love match between my spring look and the
background wall.
We then stumbled upon this graffiti
wall which I knew would be the perfect
background for my more monochrome outfit before wandering
off to happy hour at The Brazen Fox.
The flimsy storyline ultimately exists as a springboard for a myriad of eye - rollingly quirky interludes, as screenwriters Herzog and Herbert Golder eschew anything even resembling normalcy and authenticity and instead offer up one aggressively
off - the -
wall sequence after another (ie two men stop in mid-conversation and stare directly into the camera, while a tuxedoed Verne Troyer lurks in the
background).
That being said, if you have an
off - the -
wall sense of humour like I do then you'll find the character interactions, references, and
background scenes absolutely hilarious.
There's always something happening in the
background in «Dead or Alive,» and fighters have frequent opportunities to knock their opponents through
walls and
off ledges.
Like, a guy jumping through a window and doing a parkour bounce
off the far
wall and landing in a dumpster, but with «Just a Gigolo» by Louis Prima playing in the
background?
He cuts
off backgrounds with a tree, a
wall, a cliff, the el, or just plain darkness, but rarely as flat color and almost never parallel to the picture plane.
STANDING AT THE THRESHOLD of «Blues for Smoke,» one could see the following, reading from foreground to
background: a video monitor playing Richard Pryor Live in Concert (1979); a painting by Jean - Michel Basquiat; portraits of Jean Genet, Charlie Parker, and James Baldwin by Beauford Delaney; a row of fifty - one old - fashioned hard - top blue suitcases arranged by Zoe Leonard; a black - and - maroonish abstraction by Jack Whitten; a
wall drawing by Kira Lynn Harris; and, hovering
off to the left, a
wall of Glenn Ligon's black - on - gold Richard Pryor paintings, all inscribed with the same joke: «I was a
Flashes of identifiable imagery are now joined in equal measure with more direct visual sensations; in Birdcage,
Off the
Wall, and Mental Charms the picture plane is carved and contoured on top of distant, hazy, clouds of fluffy
background.
The Coloured Linen in Napoleonic Blue and Barcelona Orange on the chair is set
off against the Duck Egg Blue
wall in the
background.
Since the
wall is finished in a gloss black, when the TV is turned
off, it completely disappears into the
background.