Scott Pilgrim vs. the World tells the classic story of boy meets girl, boy falls in love with girl but must first overcome the problems that the girl brings from his past and which interferes with their relationship. Initially defeated, the sad boy realizes that this girl is "the one" and fights for her again, and this time he is victorious. Where Scott Pilgrim vs. the World is new and unique, it's in the combination of styles and influences from comic books (Scott Pilgrim being originally a comic book before being made into film form) and video games, especially popular early video game styles. home video consoles in the 1980s and 1990s for which the film's target audience, whose childhood took place largely during this period, would feel a deep nostalgia. The costume design, props, and stylized gestures and vocal delivery of the actors (pp. 125-130, 139-146) all contribute to creating an atmosphere reminiscent of so-called “old-school” video games. Director Edgar Wright structured the film's editing in such a way as to create the sensation of a continuous flow of action, as if romance were viewed as a never-ending, rapid-fire conflict. Sound (pp. 279-280) and visuals (p. 118) are also used in a way that creates the feeling of a universe that is deliberately unrealistic and as direct as possible a translation of the original comic into cinematic format. Although the film uses restricted narration (p. 93), with the audience only seeing the events as far as Scott can see them, the heavy use of visual and audio cues, and the deliberate plot structure formulated and references to many old video games and classic "boy-meets-girl" stories, whose general structure and plot (pp. 80-82) the audience is assumed to be...... middle of paper...... and replaces common features with the use of unique and innovative elements from a different medium. The style and pop culture references (especially video games) that the film is full of help connect with the target audience, and also show the importance of how fantasy, video games, and comics can stylistically distribute a classical convention to the distinct whole. formal system (pp. 56-58, 60-61). In other words, this film that incorporates stylistic elements from comic books and video games to tell a story already familiar to cinema audiences also makes it particularly relevant to audiences raised with video games and manga. Perhaps such prophetic character in integrating stylistic elements from different forms of popular entertainment media into cinema may be something that audiences of the future may well expect..