In 2017, *Cuphead* made a bold splash in the gaming world by doing something rarely seen—crafting an entire game around fully hand-drawn art and animation inspired by 1930s cartoons. The level of dedication required to pull off such painstaking visual work is immense, making it no surprise that few have attempted anything similar since. Now, however, a new hand-drawn and hand-animated project is on the horizon, promising a unique experience all its own. It’s called *Mouse: P.I. for Hire*, and while its artistic approach may draw comparisons to *Cuphead*, the game stands as a distinct and visually stunning creation.
Like *Cuphead*, *Mouse: P.I. for Hire* embraces a black-and-white aesthetic reminiscent of classic early animation, such as *Steamboat Willie*. But unlike *Cuphead*, *Mouse* is a first-person shooter. You play as Jack Pepper, voiced by acclaimed voice actor Troy Baker with a deliberate New York accent befitting his role as a hard-boiled detective from the early 20th century. His character fits perfectly into the noir-inspired setting, where every shadow and flickering light feels like a scene straight out of an old-time gangster film.
Mouse screenshots
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The demo I saw of *Mouse* was far more than just a typical run-and-gun shooter. One mission took place inside an opera house, where Jack had to locate and question Roland, the stage designer. The journey began at the back door, where we spoke to a waiter who hadn’t seen Roland but gave us a starting point. From there, we ventured inside to investigate further.
Inside the kitchen, the game's visual style really shone through. Characters are rendered in 2D within a 3D environment, a technique reminiscent of how enemies were portrayed in the original *Doom*. Looking through a porthole window allowed Jack to perform reconnaissance by taking a photo, revealing members of the Big Mouse Party—definitely not people you want to cross.
Moving deeper into the kitchen, we met a slick waiter willing to help sneak us upstairs—for $30. Opting not to pay, we instead found a vent to crawl through. Unfortunately, the vent floor gave way, dropping us back outside where we started. On the second attempt, we carefully navigated around the hole and reached the dressing room, where a Thompson machine gun and ammo awaited. Naturally, we weren’t supposed to be there, and our presence quickly drew attention from the Big Mouse Party.
We heard what might have been Roland behind a nearby wall, but before reaching him, we encountered a safe. This gave us a chance to try the lockpicking mini-game, which revealed an unexpected item—a cup of coffee. Moments later, the wall exploded, forcing us into combat with the enemy. After neutralizing the threat, we used TNT to blast our way downstairs into the depths of the opera house.
Eventually, we found Roland—badly beaten by what appeared to be extras, though Jack deduced they weren't actors at all. Roland revealed the Big Mouse Party’s true plan: to assassinate mayoral candidate Stilton during intermission using a live cannon aimed directly at him from the stage.
What followed was intense combat featuring a variety of uniquely animated weapons. The shotgun packs a punch, complete with a stylish reload animation. Explosive barrels cause enemies to burst into flames in exaggerated cartoon fashion. There’s even an ice barrel—possibly containing liquid nitrogen—that freezes foes when detonated, letting you kick them into shattered pieces like something out of *Terminator 2*. The third weapon showcased in the demo was the turpentine gun, which melts cartoon characters literally made of paint, much like the Dip from *Who Framed Roger Rabbit?*
After navigating some platforming sections and fighting off helicopter-tailed enemies, we returned upstairs—only to fall through a trapdoor back into the basement. There, we met the Old Rat Stuntman, who taught Jack the double-jump maneuver. Testing it out led to the discovery of a secret baseball card featuring “Brie” Ruth (get it?), a clever nod to the game’s mouse-themed humor. Eventually, we made our way back onstage to sabotage the cannon and save Stilton, culminating in a boss battle against a raging opera performer. The turpentine gun finished him off, offering yet another satisfying reload animation.
With the fire spreading across the opera house, escape became urgent. We fought our way out using every weapon available—showcasing the full intensity of the combat system. Once outside, we reunited with the stage designer, who revealed intel about a vanished performer and mentioned a mysterious lab beneath his mansion. Suspicious? Absolutely. And with that final clue, the demo ended.
Though I haven’t played *Mouse: P.I. for Hire* firsthand yet, what I’ve seen has left me highly impressed. Its blend of lighthearted humor, self-aware storytelling, and solid first-person shooter mechanics suggests a compelling experience under the surface of its breathtaking visuals. While the hand-drawn art and animation alone are enough to turn heads, the gameplay appears strong enough to carry the game through its full campaign. Based on the demo, I’m optimistic that *Mouse* will deliver both beauty and substance—and I can’t wait to see more.
