Unlike the Hellboy II titles, in which cogs and other mechanisms are rendered with a very tactile, heavy aesthetic, I'm a Cyborg, But That's OK addresses a similar subject matter from a different angle. Here, the machinery is treated delicately, given an almost translucent x-ray quality, with compositions and movement leaning towards abstraction. Situational type is integrated into the machinery, fixed to cogs and wheels passing through frame.
This sequence plays on viewer's expectations by first presenting itself as heavy-handed, undermined somewhat by Yeong-wook Jo's Elfman-like score. The palette is cold and dark throughout, only at the end rising into the warm analog glow of light bulbs arranged in showboat display around a central cog, topped by the main title itself. The score – which had previously seemed menacing – now assumes a carnival-like quality, without ever changing tempo. This contrast and confusion of intent establishes a theme which is carried throughout the film.