These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Another real life, serendipitious moment of awesome is that in spite of how neglected the films are, virtually all of their sound films have survived the ravages of time in some form, and this allowed the studios Image Entertainment and the cartoon studio Thunderbean to go out of their way to find the best existing source material for the cartoons, and give them the best possible restoration efforts, on par with any Disney collection, and release them on home video to the public—all for what was considered a second rate cartoon studio that's been gone since 1936! And then Thunderbean announced they're giving these short films a pristine blu-ray release...
Crowning Music of Awesome: One of the best things about the cartoons is Gene Rodemich's rich musical scores. Take for instance the use of "Siamesische Wachtparade" and "Siamese Patrol" in "Toy Time" (1932), the opening Moonlight Bay number of "Silvery Moon" (1933), and the Cab Calloway-esque "Kickin the Gong Around" in "Fly Frolic" (1932). Winston Sharples would take over his position late in the studios life, and he also brought wonderfully rich music scores to his shorts.
Cult Classic: The shorts have a surprisingly large fan following for such an esoteric studio (to where an entire facebook group for the studio shares billing alongside Terry Toons), due in part to how easy its become to view all the cartoons, and the surreal, Fleischer-esque qualities of the pre-1934 shorts. Also helping is that Thunderbean has restored rereleased much of their library on DVD, and is planning on releasing them in blu-ray format as well.
Growing the Beard: Zigzagged. It's generally agreed that the studio made a substantial upgrade in it's production values from 1934 and onward, due in part to slicker inking, larger budgets which allowed more polished animation and an upgrade to Technicolor, thanks in part to the studio bringing in Disney alumni Burt Gillett, who had previously directed the hit short Three Little Pigs. Unfortunately, with the exception of the Toonerville Trolley shorts, the cartoons became substantially less entertaining and more derivative of Disney as a side effect, and the studios inability to create a hit character series still lingered to where they started adapting hit comic strips of the day instead (and Gillett reeked havoc on the studio internally due to his blatant personality flaws and indecisive, perfectionist directing style). And then RKO ironically cancelled their distribution contract in favor of screening the Disney shorts anyway, abruptly sending the studio to its grave in 1936.