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Unlike most anthropomorphic cars, the eyes of the cars in this film were placed on the windshield (which resembles the Tonka Talking Trucks, the characters from Tex Avery's One Cab's Family short and Disney's own Susie the Little Blue Coupe), rather than within the headlights.[11] According to production designer Bob Pauley, "From the very beginning of this project, John Lasseter had it in his mind to have the eyes be in the windshield. For one thing, it separates our characters from the more common approach where you have little cartoon eyes in the headlights. For another, he thought that having the eyes down near the mouth at the front end of the car feels more like a snake. With the eyes set in the windshield, the point of view is more human-like, and made it feel like the whole car could be involved in the animation of the character."[11] This decision was facetiously criticized by automotive blog Jalopnik.[17]

In 2006, the supervising animator of the film, Scott Clark, spoke about the challenges of animating car characters, saying: "Getting a full range of performance and emotion from these characters and making them still seem like cars was a tough assignment, but that's what animation does best. You use your imagination, and you make the movements and gestures fit with the design. Our car characters may not have arms and legs, but we can lean the tires in or out to suggest hands opening up or closing in. We can use steering to point a certain direction. We also designed a special eyelid and an eyebrow for the windshield that lets us communicate an expressiveness that cars don't have."[11] Doug Sweetland, who also served as supervising animator, also spoke about the challenges, saying: "It took a different kind of animator to really be able to interpret the Cars models, than it did to interpret something like The Incredibles models. With The Incredibles, the animator could get reference for the characters by shooting himself and watching the footage. But with Cars, it departs completely from any reference. Yes they're cars, but no car can do what our characters do. It's pure fantasy. It took a lot of trial and error to get them to look right."[11]

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Lasseter also explained that the film started with pencil and paper designs, saying: "Truth to materials. Starting with pencil-and-paper designs from production designer Bob Pauley, and continuing through the modeling, articulation, and shading of the characters, and finally into animation, the production team worked hard to have the car characters remain true to their origins."[11] Character department manager Jay Ward also explained how they wanted the cars to look as realistic as possible, saying: "John didn't want the cars to seem clay-like or mushy. He insisted on truth to materials. This was a huge thing for him. He told us that steel needs to feel like steel. Glass should feel like glass. These cars need to feel heavy. They weigh three or four thousand pounds. When they move around, they need to have that feel. They shouldn't appear light or overly bouncy to the point where the audience might see them as rubber toys."[11] According to directing animator James Ford Murphy, "Originally, the car models were built so they could basically do anything. John kept reminding us that these characters are made of metal and they weigh several thousand pounds. They can't stretch. He showed us examples of very loose animation to illustrate what not to do."[11]

Technical director Lisa Forsell explained that to enhance the richness and beauty of the desert landscapes surrounding Radiator Springs, the filmmakers created a department responsible for matte paintings and sky flats, saying: "Digital matte paintings are a way to get a lot of visual complexity without necessarily having to build complex geometry, and write complex shaders. We spent a lot time working on the clouds and their different formations. They tend to be on several layers and they move relative to each other. The clouds do in fact have some character and personality. The notion was that just as people see themselves in the clouds, cars see various car-shaped clouds. It's subtle, but there are definitely some that are shaped like a sedan. And if you look closely, you'll see some that look like tire treads. The fact that so much attention is put on the skies speaks to the visual level of the film. Is there a story point? Not really. There is no pixel on the screen that does not have an extraordinary level of scrutiny and care applied to it. There is nothing that is just throw-away."[11]

Computers used in the development of the film were four times faster than those used in The Incredibles and 1,000 times faster than those used in Toy Story. To build the cars, the animators used computer platforms similar to those used in the design of real-world automobiles.[18]

A video game of the same name was released on June 6, 2006, for Game Boy Advance, Microsoft Windows, Nintendo DS, GameCube, PlayStation 2, PlayStation Portable, and Xbox.[70] It was also released on October 23, 2006, for Xbox 360 and November 16, 2006, for Wii.[70] Much like the film, the video game got mainly positive reviews. GameSpot gave 7.0 out of 10 for Xbox 360, Wii, and PlayStation 2 versions, 7.6 out of 10 for the GameCube and Xbox versions, and 7.4 out of 10 for the PSP version.[71] Metacritic gave 65 out of 100 for the Wii version,[72] 54 out of 100 for the DS version,[73] 73 out of 100 for the PC version,[74] 71 out of 100 for the PlayStation 2 version,[75] and 70 out of 100 for the PSP version.[76]

The second sequel, titled Cars 3, was released on June 16, 2017.[82] Directed by Brian Fee, the film focuses on Lightning McQueen, now a veteran racer, who after being overshadowed by a new generation of racecars, gets help from Cruz Ramirez, a young performance coupe, to instruct him for the increasingly high-tech world and defeat his new rival Jackson Storm.[83]

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