While the Gear Sport shares some of those features, it doesn't quite have
the same aesthetic appeal of the S3 Classic and Frontier models.
All of the menus in Mercury Hg are slick and well presented and most objects in the game world have
the same aesthetic appeal.
Revelations: Persona, originally released on the PS1, obviously doesn't have
the same aesthetic appeal of the more recent iterations, its lack of a social links system and modified battle structure making it a closer cousin to the Shin Megami Tensei series, with its first - person dungeon crawling and ability to communicate with demons during battle.
Not exact matches
Your defense of Bay's «auteurist»
aesthetic sense - «a man who never outgrew directing Super Bowl commercials»; «Bay has a style - a weird one, certainly, a hybrid of a nose - picking jock and a slick ad man who shoots a can of Pepsi, a Chevy Camaro, and a leggy blonde with the
same voyeur's eye, and his bizarre gallery of ethnic sounds, voices, and faces is not without precedent» - makes this movie sound about as
appealing as... well, exactly the things you described.
Beyond the gameplay the other elements prove to be of the
same quality, with intelligent
aesthetic design in all departments making the visuals both
appealing and functional.
It's an odd thing to say, given its niche
aesthetic appeal and unproven gameplay formula, but it acquits itself well by ensuring that players grow into the
same skills as its refreshingly winsome heroine.
Peskine bridges the gap between graphic design and fine art by using the
same design
aesthetic to
appeal to the masses, as his work often touches on the ideology of consumerism and mass consumption.
What instantly
appeals to me about Barber Osgerby's work is that, just as great designers like Dieter Rams, Achille Castiglione and Vico Magistretti followed this
same modernist «tradition», each interpreting it to their very personal
aesthetic, similarly the design duo are doing the
same in our 21st Century.