Sentences with phrase «than character design»

This often meant that gameplay suffered, as the level design was a lower priority than character design.

(Where Type - 0 fails in keeping with the concept of «mature storytelling» is more to writing and overused JRPG tropes than its character designs.)

Not exact matches

Together, the innovative brands have collaborated on a series of one - of - a-kind prints influenced by tokidoki's larger - than - life designs and characters.

Frerichs designed the Snow site as a way of sharing the character and wisdom of a great man, but what I sense more than anything as I move through the space is the animating presence of Frerichs himself.

A wedding ring design is traditionally simple and plain, but with changing times, wedding rings have started to gain more character than previous decades.

Make sure that everything that person says checks out and they are in fact a real person rather than a fictional character designed to lure you into a trap.

Enemies and boss fights are bland, but this is more than made up for by excellent level design, hilarious dialogue, loveable characters, and an expertly realised, brilliantly Australian world.

In between beautifully designed and executed action set pieces, we get some extremely good character bits and, in a first for the franchise, a female character who is more than Hunt's match in every regard.

There are some issues: festival are less fun than usual, and the character design differs a lot from the classic.

Both the truths and the dares are tailored to the players, designed to ruin their relationships or to kill them trying, and delivered by familiar faces that contort into evil smiles, looking, as one character puts it, «like a messed up Snapchat filter» (much less scary than it sounds).

The real strength of Transformers: Fall of Cybertron is how expertly High Moon leverages the characters and mythology to create a cinematic shooter that stands on the strength of its design and gameplay, rather than leaning on its license as a crutch.

Undoubtedly the best of the character's three films, it's more confident than the others, more kaleidoscopically colourful, and more eye - catching in its design.

One could find fault with some wobbly elements of the production design: most of the ragged clothing on the poverty - stricken characters looks brand new rather than worn to the fraying point, while carefully applied smudges of soot on the photogenic cast's faces barely suggest a life in grime.

On a more negative note, the film is designed and crafted in such a way that you take one side, with a certain perspective more prominently presented than the other, while the fact we're dealing with an ensemble feature does mean there's a lack of emotionality attached, as with so many characters to explore, we drift between them without ever feeling as though we've truly got to the bottom of their respective character developments.

The character's design was clearly based on Sin - Eater, another Marvel villain, rather than the original Deadpool.

Jerry is designed to be the film's comic dynamo, but it's a character the makers love so much more than the viewer will.

Though realized on a more modest scale than other Aardman features, the film is still an absolute delight in terms of set and character design, with sophisticated blink - and - you'll - miss - it detailing to counterbalance the franchise's cruder visual trademarks.

While sequels like Iron Man 3 and Captain America: The Winter Soldier have overcome feeling like prequels to a different story audiences haven't seen yet, other entries into this super-powered universe, efforts like Thor: The Dark World, Avengers: Age of Ultron and Captain America: Civil War, struggled to come across as anything other than vehicles conceived and designed to get all of these characters into one place at the right time for this May's massive Avengers: Infinity War, none of them working outside of the larger story being told and as such aren't very entertaining or worth watching more than once.

So no great surprise here that The Lincoln Lawyer turns out to be superior piece of crime storytelling with some characters clearly designed for recurring roles (in other novels and perhaps other films should this one do well) while others are designated for showy guest appearances as larger - than - life evildoers or tough - guy eccentrics.

Character designs are gritty and realistic, more so than their respective games have portrayed them; it's a twisted view of a usually family - friendly world, and this is achieved without altering the original designs too much, barring one or two minor exceptions.

In 2014, Sonic Boom was announced for the Wii U and the Nintendo 3DS, setting the old Sonic Cycle back into motion due to changes in character designs, especially with Knuckles, whose brawn appeared to be more dominant than his brain thanks to steroid use.

The character design of the bosses aren't quite up to par with Dark Souls, although there are some truly unique and visually stunning encounters peppered throughout; the main issue is that many boss encounters generally feature some generic faceless hulk clad in armour rather than a lumbering giant or a bipedal ogre.

The design of the picture is a marvel, recalling that other masterful use of 3D, from 2012, Ang Lee's Life of Pi, and the voice talent — which includes Idris Elba (Beasts of No Nation), Scarlett Johansson (Under the Skin), Ben Kingsley (The Walk), Lupita Nyong» o (12 Years a Slave), Bill Murray (St. Vincent), and Christopher Walken (Seven Psychopaths)-- is more than up to the challenge of developing character and entertaining the audience.

For a horror film, this is unusually subtle and disturbing, rather than all - out scary, quietly profiling a creepy central character in ways that are designed to provoke the audience.

For Maria his design was much sexier in her initial character sketches than what is seen in her final game design.

You'll be running around large maps taking on armies by the hundreds, even thousands, with a character that (by design) is more powerful than most of what the game throws at you.

The Belko Experiment opts for a cartoonish, histrionic treatment rather than a nuanced exploration of specific characters, a design flaw in the writing that ultimately proves fatal to the infrastructure as a whole.

Each of their JRPG style games have been more addictive than the next, and they are classics despite suffering largely the same drawbacks of story, character design, and general immaturity that its peers are mired with.

So we had to indicate that through the wardrobe, and who better than Raf Simons — who started his career by designing punk clothing for young kids — to bring a sense of both constriction and rebellion to the lead character?

Other than that, we were able to make character proportions look slightly more natural this time around, thanks to the Motion Design crew.

Butch is a very different design than Arlo in that there's a lot of straight lines, he's a very graphic character, a lot of angles in his teeth his body.»

Some characters are more interesting and unique than others, but it's telling that the best time I had in Hotline Miami 2 is when I played as The Fans, a group of violent vigilantes designed to simulate the experience of playing the original Hotline Miami.

The character designs also seem more cartoony than before, which takes some of the magic away for me.

We get standard close - up or medium shots on characters taking part in a one - on - one conversation, but the design is never stimulating and says nothing about the moment other than, «I'm showing you this because I have to.»

At the film's recent press day, del Toro and Gutierrez spoke about the genesis of the project, Gutierrez's unusual pitch that convinced del Toro to produce the movie, Gutierrez's vision using authentic folk art characters, the film's humanistic tone, casting a talented and eclectic international group of actors to voice the larger than life characters, choosing Reel FX to tackle the complicated animation design, gaining the support of Fox's Jim Gianopulos, how Zoe Saldana and Diego Luna learned to sing, the film's amazing music, and del Toro's upcoming projects including «Crimson Peak,» «The Strain,» «Pacific Rim 2,» the «Pan's Labyrinth» Musical, and the possibility of a «Hellboy 3.»

The movie does have some pretty impressive production design considering its presumably small budget, so it's a shame to see all that hard work wasted on a director more interested in unnecessary visual flourishes (like a POV shot from a water bucket) than focusing on important things like character and story.

The characters are paper - thin and the whole film feels like it's been designed as a typical Tom Cruise film, rather than the set up for something bigger.

Composition Anderson is nothing if not meticulous, and often packs each frame of his films with incredible details, to the point that his detractors accuse him of being more concerned about the production design than the characters.

But if you were suddenly without thought, you'd still find in Cowboys & Aliens a collection of disconnected explosions and flat production design, with characters who declare things to each other in inhuman exchanges very much like the ones in Relativity Media's last fucking disaster that's worse than you already think it will be, Season of the Witch.

Never is the waning impact more pronounced than in sections designed to recall Jackson's other trilogy, from the clumsy inclusion of superfluous characters — Cate Blanchett's Elvish royal Galadriel, for example — to the constant mirroring of important moments in the aesthetics, cinematography and score.

But there is more formula than drama, with each character specifically designed to represent a place on the spectrum of culpability.

The character design meanwhile has been handled by a designer from the Shrek movies, with Spyro himself looking more psychotic than usual.

By contrast, Mission: Impossible is a spy caper, and by design it is more concerned with the nuts - and - bolts of convoluted espionage plots than anything about the characters.

It's not until late in the film's third act that a different feeling emerges, a looser hand that provides room for characters to be more warm and human than pieces in a constricted design.

Thoughts from editor Peter Sciretta: «Spirit of Vengeance is better than the first film, and the character design is drastically improved.

The piece on the Hyde costume (designed by Johnson, a Rick Baker protégé) is probably the most enlightening, since the character looks CGI more often than not.

Slapping the nickname «Needy» on Seyfried's only - possibly - nerdy - by - movie - standards - otherwise - hotter - than - 99 % - of - my - hs - classmates best friend character (full name: Anita Lesnicki, her nickname seems designed to add superfluous character the incredibly - talented Seyfried can supply with a mere inclination of her head) is the first hint of Cody doing her thing; by the time Jennifer is mocking Needy's bf Chip (the sublime Johnny Simmons) as «lime green Jell - o» the Cody Dialogue Effect is in full force within the film.

In the movie's design, Faulkner's novel functions chiefly as a source of imagery and atmosphere; a good chunk of the dialogue is unintelligible (it's doubtful that even viewers raised in the Deep South will be able to understand more than a third of what Tim Blake Nelson says), which creates the impression that the characters are as textural as the swaying trees in the background.

Instead, there are plenty of poorly crafted and uninspired character designs that are usually more laughable than intimidating.

The virtues essentially stop with the shot design and the work of Edward Norton (himself being a sort of walking meta joke, as his character arrives on scene and immediately begins armchair directing and taking control, something for which Norton himself has been infamous on set), and while the other actors are fine, they do not manage to separate themselves as anything other than puppets for Inarritu's agenda, who looms over every frame like some petulant child with a grudge and a budget that allowed him to force his opinions on an unwitting public.