Hellblade: Senua's Sacrifice custom box cover by Bastart48

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For example, the gold color on the Zelda box art may appear more brownish / green. We cannot offer replacements or refunds due to such issues. FULL ORDER SHIPPING DELAY – If you order other products along with BitBox prints in the same order your whole order shipping will be delayed until the prints are ready. Snes full set inc artwork. Super nintendo full set with cover art and screen shot Addeddate. Download 111 Files download 105 Original. About BOX = ART. BOX = ART is a site dedicated to the history of video game box art/ cover art and the artists responsible for them. Box arts are profiled from a variety of angles using high quality scans and with the intention of acknowledging the men and women who have played such a major role in shaping our gaming experiences. SNES 2D Box Pack (HQ) 20151004. Create an account or sign in to download this. Views 23,317; Downloads 3,758; Submitted October 6, 2015; Updated March 9, 2016. Here you will find many thousands of images of video game covers, computer game covers, game box art, box art scans, game cover scans, game covers, cart labels and cart boxes, game cases, CD labels and tape covers. The box art or game cover database is always growing in size as we constantly add to it.

Acorn - 8 bit Acorn Archimedes Acorn BBC Micro Acorn Electron Amiga Fullset Amiga Fullset (TOSEC 2012) Amstrad CPC (GoodCPC v2.02) Apple 2 Atari - 5200 (No Intro) Atari - 7800 (No Intro) Atari - Jaguar (No Intro) Atari - Lynx (No Intro) Atari - ST (No Intro) Atari 2600 (Good2600 v1.00) Atari 5200 (Good5200 v2.01) Atari 7800 (Good7800 v2.04) Atari 8-bit Family Set Atari Jaguar (GoodJag v2.01. Once you’ve added all your games, it’s time to add the box art. Select all the games in your list, then right-click anywhere in the list and select “Download box art for selected games.” This will search Hakchi’s linked sites for SNES box art and add the box art for each game.

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Whilst not having a distinctive style of cover art design of its own, like so many consoles of the previous generations did, the Super Famicom’s box profile would lend itself to a distinctive approach to box art layout.

Its long, portrait profile, when compared to the Famicom’s landscape (possibly to differentiate between the two at a retail level), would allow for larger, more detailed character arts to be displayed, but would be an Achilles heel when the same artworks were reused overseas. Super Famicom cover arts such as Castlevania: Dracula XX, Super Metroid, Prince of Persia and Secret of Mana would lose their heightened grandeur due to the inevitable cropping required to fit the SNES’s landscape box profile. Later this landscape profile would be adopted in Japan, with publisher Square being a notable employer of it.

The general level of Japanese artistry, it could be argued, increased with the generational jump (an observation that can be seen across many formats), with a sound reason being the enlarged number of noted illustrators and Mangaka’s being drafted to take up duties. They would, a majority of times, be assigned the role of character designer and be responsible for the in-game character designs along with promotional material.

The Super Famicom’s catalogue would see an influx of western games being ported as American and European publishers started to heavily develop for the system. The same could not be said for predecessor, the Famicom, whose box art catalogue is almost exclusively Japanese designed. Subsequently, this western influx would be some of the first tastes the Japanese had of foreign box arts. Covers for European and American titles such as DOOM,Populous, Another World (Outer World in Japan), Flashback, and Drakkhen would all make the transition unchanged.

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Plenty of western box arts would still find themselves redundant in place of a Japanese artist’s own interpretation. The more fantasy/ adventure based titles would generally remain somewhat Americanised in design (see Wolfenstein 3D, Populous II, Pitfall: The Mayan Adventure, and Might and Magic II), whilst the heavily character led games would adopt a more traditional Manga or anime style of art – Super Turrican, Lester the Unlikely, Soccer Kid, Pipe Dream and Lost Vikings being examples - but it would often be as ill fitting as America’s take of Japanese character art.

After a fairly moot period that lasted throughout the latter part of the 80’s, American box art design would bounce back with the help of their cartoonists and comic book alumni. Illustrators such as Greg Winters (Super Double Dragon, Final Fight 3), Mick McGinty (Street Fighter II/ Turbo/ Super), Glenn Fabry (Speedball II, The Incredible Hulk) and Greg Martin (Super Bomberman) would see to Americanising Japan’s cover art efforts, whilst trying to sit in line with what Sega’s Mega Drive and its “cooler” and more mature promotional art was delivering.

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Donkey Kong Country’s box art deserves special mention as one of the earliest examples (if not the first) to use computer art as its primary medium within console gaming. All cover arts, for both the Super Famicom and SNES, before Country and the vast majority after would still use traditional art techniques.