 The game 's humour and style was shaped by hardware limitations ; when the hardware rendered the character models in soft focus , the team noted that they resembled Plasticine models , and continued to create the game with a look and style akin to Wallace and Gromit . The game was presented with " distinctive ' British ' humour " to distinguish from other games ; lead programmer Leslie Benzies and artist Aaron Garbut often presented the team with other Nintendo 64 games , such as Super Mario 64 ( 1996 ) , to identify the differences . The team ensured that each level felt distinct , while maintaining a coherent style . This diversity was achieved using the development tools , which allowed various members of the team to experiment in creating designs . Manual text writer Brian Baglow said that the game 's music provided freedom to the team , as it " doesn 't necessarily have to fit the action on the screen " . He explained that the audio was designed to fit with the " cheesy , slightly twisted B @-@ movies animation kind of feel " . Baglow found that creating the music on a cartridge instead of a CD prompted the team to discover new techniques of working within the boundaries of the former , stating that " people who are doing music for CD @-@ based systems get very , very lazy " . 
