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Graham Coughlin

Kevin Burke

ENGL 110-084

April 15 2016

SCOTT PILGRIM ROCKS YOUR SOCKS OFF ONE TWO THREE FOUR!

‘2 Player Mode!’ flashes in golden pixelated letters across the screen. Scott Pilgrim and

his ex-girlfriend Knives Chau have decided to team up against Ramona Flowers’ ultimate evil ex

boyfriend Gideon Graves! A flurry of visual effects ensue: ‘Good!’, ‘Combo!!’, and ‘Perfect!’

flash in golden pixel letters one after the other as Scott and Knives relentlessly assault Gideon

with a flurry of gravity defying kicks and punches. As Gideon’s image pixelates with each blow,

his ‘man’ life gauge displayed prominently below the action falls to zero. He receives a final

kick to the face which sends him somersaulting through the air as his crippled body distorts and

pixelates in flashing red.

It is difficult to capture the aesthetic of Scott Pilgrim vs. the World with words alone.

When Brian Lee O’Malley imagined the Scott Pilgrim series, he most likely thought the same.

Therefore he created a visually stunning set of series to express what he saw in his mind. The

success of his works led to the series being adapted to a film by Edgar Wright for Universal

Pictures: a director known for popularly and critically acclaimed movies such as Hot Fuzz and

Shaun of the Dead. Edgar faced a daunting task. How to best adapt a beloved novel series into a

mainstream film? The process is ultimately riddled with complexities; however, Wright

manages to produce a film that captures and expands upon the work it draws from with particular

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success in the expression of its plot, characters, aesthetics, and its thematic focus; all while

transcoding material to the constraints of a different medium.

In order to understand how the film so wonderfully adapts the series, it is important to

understand the basic structure of the plot. The protagonist, Scott Pilgrim, is a twenty-three year

old living in Toronto, Canada. When Scott meets the girl he has always dreamed of, Ramona

Flowers, he begins dating her. However, he soon realizes that in order to be with her he will need

to defeat her league of evil ex-boyfriends. Scott is highly determined to be with Ramona so he

defeats all seven and is free to be with her at the conclusion of both the series and the film. The

story can be thought simply of as an adventure: the protagonist must conquer obstacles along his

way to achieving his ultimate goal.

Both the film and the series share this same overarching plot: Scott wants to be with

Ramona and must defeat the league of evil Exes. However, due to the constraints of the medium

of film, and a translation from telling to showing, some aspects from the series are removed in

the film. Time constraints as well as the need to focus wholly on the protagonist dictates that

many character details and development, plot points, and scenes are absent from the film. The

constraint of time is a concept that filmmakers are given a certain time period to express content:

an hour to three hours is usually the range for feature length films as the audience in cinemas or

at home is unlikely to have leisure time for such a long, continuous amount of time. The need to

focus on a protagonist or main character is in tandem with the time constraints: in order to focus

the expression, it is not realistic to try to develop in detail the backstories of many different

characters: to do so would reduce audience attention as they would be overwhelmed with

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information in a short period of time. This would also thin the time that characters have on the

screen as they compete more heavily for the spotlight. Scott Pilgrim vs. the World does an

excellent job in effectively cutting material without losing any of the expression or meaning of

the novel series. As prominent adaptation theorist Linda Hutcheon notes, “A novel, in order to

be dramatized, has to be distilled, reduced in size, and thus, inevitably, complexity” (Hutcheon

36). Hutcheon is absolutely right: in adapting print to film the adapter must make choices on

what material is inconsequential and what requires focus.

The film focuses on Scott as the main character. Ramona, his band, and the league of evil

Exes function as significant supporting characters. The series have much more time and thus

cover a huge range of content and characters: Scott has a job at a dishwasher, he interacts with

his parents, Kim’s (his ex-girlfriend) living situation is explored, and his band has its own story

arc. The series also focuses on secondary characters such as Kim and Knives, focusing on their

perspective in their everyday lives. Characters are also paired and matched in different settings

and ways which helps develop their relationships with each other in dynamic ways (CineFix).

This is all absent from the film, which instead focuses on the primary story arc of Scott vs. the

Exes, and does not delve too deeply into characters other than the Scott and Ramona. Ramona is

notably different in the film and this could be considered a failure on the part of the film makers:

the ending for the film was originally written to have Scott choose to be with Knives, his ex-

girlfriend, instead of Ramona. This warranted the cold, unapologetic nature of Ramona in her

time with Scott which was also explained by the emotional baggage she held from the league of

Exes. The ending is changed to have Scott be with Ramona as the plot logically seems to flow to

that outcome as Scott is fighting to be with her the entire film. In the series, Ramona is a warm,

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compassionate friend of Scott’s and interactions between them are fluid and kind, as opposed to

the film’s sometimes awkward, argumentative interactions between the two. Although the film

and series share the same main story arc in the Scott vs. the Exes plot, there are some changes.

Major differences occur in the fights between Scott and the evil Exes. Some of these

differences occur due to constraints of the film as a medium in both positive and negative ways.

In the series, Scott receives significant help from other small side characters such as assistance

from the father of Knives in defeating evil ex number four. He also receives aid from a rival

band in defeating vegan bass player Todd Ingram in a ‘bass-battle’, a pun on the video game

culture staple ‘boss battle’: but only in the series. Scott faces Todd alone in a bass battle in the

film and loses as he is knocked senseless through five walls; and later, in both versions, finally

defeats Todd by tricking him into losing his vegan powers. Why omit these other characters from

aiding Scott in his battles? In order to focus on the protagonist it is best to remove these

characters that serve no other plot purposes. Knives’ father is not present in the film at all and is

a minor character in the series. Showing Scott as the main combatant and victor in his struggles

makes the most sense in gaining audience appreciation for Scott and is simply the best way to

maintain the focus of the film. There are positive ways that the change to film enhances the

audience experience: the second evil ex, Lucas Lee is a movie star and avid skateboarder. In the

series, Scott plays on the cockiness of Lee by daring him to do a dangerous skateboard trick. Lee

hits three hundred kilometer per hour and wipes out in an explosion of blue pixels. This was

apparently not enough action for Wright, the film director. In the film not only does Lee fail the

trick and explode, but Scott also battles off a large group of Lee’s stunt doubles while Lee

watches, sipping on a Starbuck’s coffee. The series contain a confrontation between Scott and

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Nega Scott: Scott fights the evil within him materialized into a dark, grey, red-eyed demon

version of himself. He defeats Nega Scott in the series; however, in the movie this confrontation

is only alluded to as Scott speaks briefly with Nega Scott after the final battle with the seventh

ex. The Nega Scott reference is one of many small references Wright makes to the series which

helps to let the knowledgeable audience know that he has not forgotten significant aspects of the

series. The other battles between Scott and the league have no major differences. The first battle

ends with Scott delivering a knock out punch to Matthew Patel after he performs a Bollywood

dance which hurls vaporizing fireballs at Scott. The third ex, Todd Ingram, a vegan who is

bestowed his superpowers such as teleportation and mind reading from his diet, is tricked into

drinking half and half by Scott which summons the Vegan Police to strip him off his powers,

which allows Scott to defeat him. Number four, Roxy Richter, the only female of the group of

Exes, is defeated by poking her ‘weak spot’ under her knee: weak spots are mechanics in video

games which allow for easier progression in defeating enemies. This is another example of how

the film makes references to the series as it expresses the thematically prevalent retro video game

culture . The Japanese Katayanagi twins, numbers five and six, are defeated by Scott and his

band as their music summons a giant yeti to demolish the electronic soundboards of the twins.

Gideon, the final evil ex, is defeated by Scott with the sword of self-respect, which materializes

from within Scott’s chest once he realizes he must fight for himself, rather than Ramona, because

it’s the right thing to do. The characters in the series are fleshed out and developed thanks to a

great deal of time and focus allotted to them. However, in the film character development and

definition needs to happen rapidly, as there are already seven antagonists core to the structure of

the plot. So how does Wright effectively and efficiently express these characters?

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Dialogue is crucial in Wright’s film. To go into long character discussions would not

only slow down the action, but would be unfaithful to the fast pacing of the series. Dialogue in

the film is well written, hilarious, and intelligent. When Scott meets the fourth ex, the aggressive

female Roxy Richter, he wants an explanation from Ramona, who says, “I was bicurious.” Roxy

replies while firing an uppercut that sends Scott crashing into the ceiling, “Well, I’m bi-

furious!”. There are dozens of quotable lines from the film and the series, all of which capture

the expression of the characters who say them. Scott’s room mate gives him advice for trying to

win over Ramona, saying its time to bring out the L-word. Scott replies, “Lesbian?” Wallace

then says, “no the other L-word.” Scott comically replies in a deadpan serious tone, “Lesbians?”

This shows how immature Scott is in his emotional maturity which is a major focus of the film

and series: the emotional turmoil facing youth in learning to grow up. O’Malley even states that

relationships were his primary focus in the series: “Relationships between people is kind of my

main core ethos” (O’Malley). Dialogue also occurs at an extremely rapid pace that is comical in

itself to the point of being satirization. Scott dies to Gideon in the final battle. However he has an

extra life for defeating the Katayanagi twins. Scott restarts the ‘level’, another video game

reference to the layered structuring of video games, and the movie quickly shows him getting

past the obstacles such as guards and an argument with his band members quickly, as he now

knows how to beat the ‘level’. Dialogue is delivered at break neck speed in this segment as both

Scott and the viewer are eager to get back to the final showdown. The speed at which the action

and dialogue is delivered can be carefully conveyed; however, print cannot control how long the

reader observes a particular word or panel.

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Dialogue means little if the actor playing the character doesn’t fit the role. This is an

advantage film has in that the audience can be made to feel a certain way about a character

simply from casting decisions. In an interview, the director Edgar Wright said he wanted Cera to

be outstripped physically by the Exes, hence the inclusion of Chris Evans and Brandon Routh, as

well as Jason Schwartzman, who play evil Exes two, three and seven, respectively. Wright

wanted the confrontations to be with people the audience would be excited to see. With Chris

Evan playing the Human Torch, and Brandon Routh playing Superman in past popular superhero

films, both were culturally modern and relevant to younger audience members. The contrast

between the protagonist and antagonists is made even starker as Cera is associated for quieter,

melancholic roles such as his part in “Juno” (Movie Web). With this background expectation of

the role and way the character will act in the movie based on the reputation of the actor, the

character within the narrative becomes lifelike to some degree. Although the likeness of real

actors could be used in series it is not the same effect as having the performance of that actor

captured on film. Thus film benefits from the effects of stardom whereas mediums that are not

film or live dramatization do not.

The aspect where both the film and series shine the most is undoubtedly the visual

aesthetic. The series are highly stylized and text is often in an eight bit style similar to a video

game. Vibrant colors and clashing arrangement of panels via irregular gutters, or the lines

separating panels, help to create a flowing visual experience for the reader as they are bombarded

with stunning scenes, much like they would be in a video game. The film captures the visuals of

the series via fast paced cinematography, fantastical fight scene special effects, as well as precise

character and set design. Fight scenes involve frequent cuts mimicking the many panels detailing

single actions in the series, such as a sword slash, drop kick, or gravity defying jump. Fight

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choreography matches this rapid pace with characters striking each other with a flurry of fists

and weapons. Confrontations with the Exes involve a temporary fantasy element as characters

wield superhuman strength and abilities with the aid of visually stunning special effects. Text

that is seen in the series, such as ‘Ka-Pow!’ flashes vibrantly across the screen as characters land

blows on one another. Action scenes often show two panels: a division or gutter through the

screen lets the audience experience a similar visual that would be found in the series. The set

design and character wardrobe is accurate to the point that it seems the characters of the film

have stepped out of the series to duke it out on the big screen. But there is one aesthetic that the

series cannot capture that the film displays exquisitely.

Scott is a part of a band. While readers of the series can only imagine the indie rock

sounds Sex Bob-ombs blast based on the lyrics they read, the viewers of the film are treated to

professional excerpts and even full songs by the likes of Metric, Beck, and The Rolling Stones

(15 Things). Certain parts of the soundtrack are even produced to sound ‘8 bit’. The opening

sequence for the Universal Pictures logo is made to sound like a retro arcade soundtrack, with a

pixelated logo showing on the screen to set the video game aesthetic of the film. Videos of the

musical performances from the movie can be found on Youtube: one is a cover of the Metric

song Black Sheep, by actress Brie Larson. It has over ten million views (catsdontsmile)! The

soundtrack captures the musical indie rock tone conveyed by the visuals of the series and helps

to define the characters and the world they inhabit. Sound editor Walter Murch says that music in

film, “functions as an emulsifier that allows you to dissolve a certain emotion and take it in a

certain direction” (Ondaajte 103). The music of the characters defines them and is a means of

expression for them. The indie rock lyrics and sounds produced by Scott’s band convey the

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feelings of the characters in a highly expressive way. This helps to heighten audience

understanding and care for Scott and his friends.

The music of the film blends with the other aspects: visuals, characters, and plot, to

convey the thematic focus it shares with the series. Special effects in the film help convey

fantastical elements that make the fight for love larger than life: characters duke it out in video

game like environments as they survive incredible punishment in their infinite determination to

fight for the right to love. The dialogue between characters is straightforward and comical which

helps the bonds of their relationships survive even life or death battles; sometimes, literally. The

faithful plot of the films helps to accurately express the thematic intentions resulting from the

story arc of O’Malley. The story of both the series and of the film is ultimately one of fighting

for love. Scott fights for the love of Ramona throughout the film and series: he wins not only the

love of Ramona but also of film and novel fans alike.

Works Cited

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ARTS. “Bryan Lee O’Malley (Scott Pilgrim, Seconds) : I’interview.” Youtube. Youtube, November 10 2014. Web. April 17 2016.

catsdontsmile. “Scott Pilgrim vs. the World: Black Sheep - FULL music video.” Youtube. Youtube, August 13 2010. Web. April 20 2016.

Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006. Print.

Hutchinson, Sean. "15 Things You Probably Didn't Know About 'Scott Pilgrim vs. the World'" Mental Floss. Sean Hutchinson, Nov.-Dec. 2014. Web. 20 Apr. 2016.

PopCultureGeek. “Bryan Lee O’Malley talks about the Scott Pilgrim Movie.” Youtube. Youtube, October 11 2009. Web. April 16 2016.

MovieWeb. “Scott Pilgrim Vs. the World - Interviews with Michael Cera and Alison Pill.” Youtube. Youtube, September 25 2010. Web. April 16 2016.

Ondaatje, Michael, and Walter Murch. The Conversations: Walter Murch and the Art of Editing Film. Toronto: Vintage Canada, 2002. Print.

O’Malley, Bryan Lee. Scott Pilgrim the Complete Series. Portland, Or.: Oni, 2010. Print.

Scott Pilgrim vs. the World. Dir. Edgar Wright. Perf. Michael Cera and Mary Elizabeth Winstead. Universal Pictures, 2011. DVD.

ST Media. “Scott Pilgrim Cast Interview - Anna Kendrick, Aubrey Plaza and Kieran Culkin.” Youtube. Youtube, August 16 2016. Web. April 16 2016.