Ten years after its initial release – and four years after its inexplicable disappearance from distribution platforms – Scott Pilgrim vs the World: The Game – Complete Edition launched earlier this month on virtually every platform imaginable, opening a sub-space door to the vibrant, bohemian world of Canada, where the lives of every half-enthusiastic hipster slowly go awry.
The 2010 classic was a warmly celebrated side-scrolling beat-’em-up game that is strongly reminiscent of River City Ransom. Scott Pilgrim The narrative rhythms of legendary Canadian cartoonist Bryan Lee O’Malley played nicely with the rhythms of the comic book, which traces the difficult path to maturity of “hero-loser” Scott Pilgrim. First published in 2004, the Scott Pilgrim The comic is set in an era of attack hugs, flip phones, and the terribly slow death of grunge. A time when stupid and mediocre but well-meaning boyfriends were more forgivable, and the infamy of Player One loan had not made a flow of references a little lame. During its six years of existence, the Scott Pilgrim The comic laid the foundation for a die-hard fan base, which movie and game adaptations would multiply many times over. Now the game is back to celebrate its 10th anniversary.
This is not a remaster
People have aspiringly referred to this game as a remaster, assuming something is different about it – although sadly it isn’t. Scott Pilgrim vs the World: The Game – Complete Edition is the same game from 2010 with the Knives and Wallace DLC set up. January 14, Bryan Lee O’Malley tweeted that there were originally discussions about including a “Montreal DLC” featuring a playable Gideon Graves alongside Envy Adams and the other members of the Clash at Demonhead, which was originally slated for release. 2010 release – along with a host of other concepts – although this was tragically re-canceled for unexplained reasons.
The development of the original game – carried primarily by Ubisoft Chengdu – is a story of its own. The inexperienced team is expected to ship the game in just five crunchtastic months. In a 2013 interview with Siliconera, Richard Tsao, general manager of Ubisoft Chengdu, said that the game we got was “probably 50% of the original vision” and that “if we had twice as much time, I can tell you we would have two times more Game. “
If you hoped for The worst world references (current O’Malley project) in the new version of the game like me, you’re out of luck. Considering the development hell of the original version, we’re probably lucky to get the game back. O’Malley himself was complaining on Twitter that he couldn’t play it. as recently as August of last year. Four days after his complaint, he reported that Ubisoft had “reached out”, followed by confirmation that the full edition was in preparation.
On the positive side, the game is still fantastic. Stunning pixel art animation accentuates a game that streamlines the winning beat-’em-up formula of the Game Boy generation. While the game is quite short at around four hours, it’s nothing if not sweet. The combos always feel good, the sprites are beautiful, and the bosses are quirky, challenging and dynamic.
Chiptune indie pop / rock band AnamanaguchiThe soundtrack of this game adds some of the best 8-bit music to an already stellar game. Frantic with energy, it makes you eager to jump into the next fray. These fantastic elements come together to create a terrific game that is fun to play and replay.
While the reasons why the game disappeared from the PT-style digital markets in 2016 remain unknown, a number of colorful theories have been proposed by the Scots, the most sane of which have centered around licensing issues with Universal.
That retro feel
The biggest frustrations I had with the game – once I remembered how beat’em-ups worked – were felt more and more as constraints of the genre itself. Regardless of your stats, getting knocked out and knocked out doesn’t really change, and your character’s positioning can feel imprecise. The rare platform sections and the tiny robot swarms – which they live in infamy – are particularly nightmarish and feel pretty token-takers in the later levels. Of course, a lot of these things are sort of endemic to beat-’em-ups, and they often feel like an intentional part of the retro aesthetic.