Scott Pilgrim vs. the World tells the classic story of boy meets girl, a boy falls in love with a girl but first he has to overcome the problems the girl brings with her from her past that interfere with their relationship. Initially defeated, the sad boy realizes that this girl is "the one" and so goes into battle for her once again, and this time he is victorious. The point where Scott Pilgrim vs. the World is fresh and unique is in its combination of styles and influences from comics (Scott Pilgrim was originally a comic before being made into a movie) and video games, especially the video game styles popular in the early days. of home video consoles in the '80s and '90s for which the film's intended audience, whose childhood largely occurred in that period, would have felt a deep nostalgia. The costume design, props, stylized gestures, and voice of the actors (pp. 125-130, 139-146) all contribute to an atmosphere reminiscent of "old school" video games. Director Edgar Wright structured the film's editing to create the feeling of a continuous flow of action, as if the love story were seen as a frenetic, never-ending conflict. Sound (pp. 279-280) and images (p. 118) are also used in such a way as to create the sense of a deliberately unrealistic universe and as direct a translation of the original comic into film format as possible. Although the film uses a narrow narrative (p. 93), with the audience only seeing the events as Scott can see them, the extensive use of visual and audio cues, as well as the deliberately formulaic plot structure and references to many old video games and the classic “boy-meets-girl” stories, the overall structure and plot (pp. 80-82) of which the audience is assumed to be...... at the center of the paper..... and replaces common features through the use of unique elements and innovative 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 deploy a classic convention to the distinct context general. formal system (pp. 56-58, 60-61). In other words, this film incorporating stylistic elements from comics and video games to tell a story that's already familiar fodder for movie audiences also makes it especially relevant to an audience demographic raised on video games and manga. Perhaps such prophetic integration of stylistic elements from different forms of popular entertainment media into the film can be something audiences in the future might expect..