title: Scott Pilgrim vs. the World

text: Metric is the inspiration for the film's band The Clash at Demonhead and contributed the song "Black Sheep" to the film, by request of Godrich. The clothing, performance and style of Metric's lead singer, Emily Haines, is also the basis for the lead singer of The Clash at Demonhead, Envy Adams. Brie Larson, who portrays Envy Adams, said that she "had no idea [her] body could move that way" when talking at the UK premiere about her stage performance of the song. The music journalist Janelle Sheetz wrote that "Larson's performance is similar enough to [Haines's] but with an attitude appropriate for [Envy Adams]". Envy Adams' film fashion also reverse-influenced the comics: the last graphic novel was in development while the film was being made, and O'Malley said that, though he "would try and distance [him]self from [the actors' interpretations]", he also "gave Envy Adams one of Brie Larson's actual outfits" in the comic.


title: Scott Pilgrim vs. the World

text: Larson as Envy Adams provides the vocals for "Black Sheep" in the film, while the soundtrack features a version of the song with Haines as lead singer, per the band's request; Larson was a professional singer and has performed in some of her other films. Metric had been performing the song at their concerts since 2007, but had not released it before the film. Todd Martens of the "Los Angeles Times" said that "Envy is a caricature of Haines" and likewise, according to Haines, that "'Black Sheep' is essentially a caricature of Metric", like a song emulating their most distinct aspects. Godrich agreed, and added that it "was perfect for this film [because] it's not Metric. It's a shadow of Metric." Routh, who plays The Clash at Demonhead's bass player Todd Ingram, said "[he] can play ["Black Sheep"] really well", but the film did not use his instrumental, only Larson's vocals over Metric, who had re-recorded the track to make it more sinister. Routh spent "three or four months" learning to play bass for the film.


title: Scott Pilgrim vs. the World

text: The song performed by Matthew Patel was written by Dan the Automator and performed by Satya Bhabha in the film. Bhabha said that they "[recorded] it at Capitol Records Studio 2, which is where Frank Sinatra recorded a lot of his stuff. And there was Ray Charles' piano in the room", explaining that the musical history helped him to finish the recording.


title: Scott Pilgrim vs. the World

text: Wright said that the film's tonal changes in line with representing the different book parts, and for its fight scenes, were treated like a musical film, saying:


title: Scott Pilgrim vs. the World

text: He also said that some music videos were made of song performances, including some of Sex Bob-omb and the sole The Clash at Demonhead performance, shooting the entire song even though they would not be used in complete form in the film; he said they were so good he wanted to get them all recorded so they had it. The Blu-ray home release includes special features, with music videos of the complete performances of Sex Bob-omb's "Garbage Truck", "Threshold", and "Summertime", and The Clash at Demonhead's "Black Sheep". The music video of "Black Sheep" had also been included as a bonus feature with the soundtrack pre-order on iTunes.


title: Scott Pilgrim vs. the World

text: Music from the "Legend of Zelda" video game series is used to open the film, in sound effects, and in a dream sequence. To get permission to use the music, Edgar Wright sent a clip of the film and wrote a letter to Nintendo of America that described the music as "like nursery rhymes to a generation". There are other sound effects and clips from other video games used in the film. Zeitlin Wu writes that the film pushes the graphic novel's video game elements to the limit by being able to include such sound effects.


title: Scott Pilgrim vs. the World

text: The film is described as having an "inimitable look" of manga and video game (particularly 16-bit) iconography with bright colors and graphics mixed into the live action; visual effects supervisor Frazer Churchill described the look as "tricky" to achieve, calling the film's style and appeal "very high-tech images with a very low-fi feel". Churchill was interviewed by MTV in August 2010 about the effects in the film. He noted that some of the work was more complex because of a shooting ethic of Wright's: that there should be a physical representation of any post-production effects, saying that "whenever the image flashes in the finished shots – every punch, sword clash or something – those were actually flashes [...] on-set with photo flashbulbs [...] and then [they] add [...] flash with CG. When someone dies and bursts into coins, [they would] empty buckets of silver Mylar so the actors had something to react to."


title: Scott Pilgrim vs. the World

text: Churchill described the first fight (Scott vs. Matthew Patel) as "the most challenging". He says this was because of the technical elements involved, like the computer-generated Bollywood dance and requiring blue screen work, matte painting and many stunts. The scene also incorporates the video game scrolling background effect, which was filmed by a second unit over a full day. Churchill added that one moment in particular required much work: "When Scott jumps off the stage into that manga-esque vortex, that's made up of motion picture photography done on-set, digital still photography, and graphics and speed lines drawn by hand from what [Oscar Wright] gave us". Storyboard artist Oscar Wright (also brother of director Edgar Wright) noted that the introduction of Patel was used "to convey the kind of energy [they] wanted, and explore how [they] would introduce the 2D graphic elements".


title: Scott Pilgrim vs. the World

text: The third fight (Scott vs. Todd Ingram) had to be adapted from the comic material more creatively, as Todd's superpowers are shown in print by rings, which was handled by the VFX team. Churchill explains that they took inspiration from the old RKO Pictures logo of a transmitting tower. To imitate this they "made the rings feel uneven and have these optical aberrations with color bursts". In this fight, Scott also gets punched through several walls, which was achieved with camera set-ups. The movement away from Todd is shown from tight and wide camera shots, with Cera as Scott being pulled on a rig in the room. The image of Cera was then merged with a digital Scott and a stunt double, who do go through walls.


title: Scott Pilgrim vs. the World

text: The disappearing superpower used by Roxy in the film was achieved by a blue screen, with actress Whitman being digitally erased, but there was white smoke and flashbulbs used on the set to mark the appearances. Black smoke was added in digitally, while lens flares were done manually by "just flashing different lights at the camera" for a day to create material. Roxy appears in the fourth fight, where she uses a bladed weapon. Churchill says that Whitman learned how to ribbon dance and used a pink ribbon in the choreography, which was digitally replaced with the weapon.


title: Scott Pilgrim vs. the World

text: A new piece of software was written to produce elements of the fifth fight (Scott vs. the Katayanagi Twins); Andrew Whitehurst developed what Churchill called the "Wave Form Generator", and the visual effects team worked with music producer Godrich so they could transform different elements of the music into animations and create visual music. Churchill explained that "the software would convert these sound stems into animation data, so when the band is playing, the graphics and the dragons are moving in time with the music." This fight was storyboarded by Oscar Wright without any comic reference as the film overtook the publication of the books. The 'audio demons', fighting monsters powered by the music in the film, were then created on-set by Churchill using weather balloons.


title: Scott Pilgrim vs. the World

text: For the climax fight against Gideon, a pyramid tower resembling one from Super Mario Bros. was filmed on for a week, with Churchill saying it often got hot due to the light effects being used, including the flashbulbs and red lights to represent fire on Scott's sword. The scene also used blue screen and many stunt performers. Oscar Wright storyboarded the entire sequence except for Gideon's glitching at the end, which Edgar Wright thought of during editing and was created entirely in post-production. Edgar Wright also noted that the pyramid tower fight scene was the slowest piece he had ever filmed, saying: "So we were raring along at this amazing pace. And then there was this final set piece on a pyramid. Suddenly, we slowed down to doing ten shots in a day, which is very slow for me. I sat there on top of this pyramid, looking down at these enormous platforms being maneuvered around and I thought, '[Whose] idea was this?' And it was mine!"


title: Scott Pilgrim vs. the World

text: Before directing fight scenes with visual effects, Wright consulted with director friends with more experience, including Quentin Tarantino, Guillermo del Toro, and Sam Raimi.


title: Scott Pilgrim vs. the World

text: The opening title sequence was designed by Richard Kenworthy of Shynola, and was inspired by drawn-on-film animation. The sequence also begins with an 8-bit version of the Universal title slate and music, which Art of the Title calls the film's "amuse-bouche" and which was designed by Oscar Wright.


title: Scott Pilgrim vs. the World

text: Oscar Wright says the 8-bit Universal logo idea was an early decision in production, and that he treated it "like some crappy low-res, low frame-rate FMV you might find at the start of some of those games" from the start. Creating the title slate involved separating the letters of 'Universal' and making them appear pixelated, using a matching spinning globe graphic by film animators VooDooDog, and reducing the frame rate to four seconds (rather than one) so that it appeared "steppy"; an 8-bit version of the accompanying music was also added, which Oscar Wright said "really seals the deal".


title: Scott Pilgrim vs. the World

text: Edgar Wright got the idea to have the sequence from Quentin Tarantino after screening an early cut of the film for him. Tarantino told him that the film "needed a title sequence at the start to let people settle in and hint more about what we were about to see". The original opening sequence had the film's title shown over the long living room band shot that comes before the title sequence, which Edgar Wright said was one of the first scenes to be storyboarded, with the cast credits at the end of the film. After an early mockup of the title sequence on AVID, they approached Shynola to create it, as the film's graphic artists (Oscar Wright and Double Negative) were too occupied with the other effects in the film at this point in production and Edgar Wright was familiar with their work.


title: Scott Pilgrim vs. the World

text: The AVID animatic, a black-and-white sketch animation with waveform graphics, was described by Edgar Wright as already "giving the film more of a sense of occasion and a very distinct break between the prologue and the first scene that moves the story forward". At this stage, they had also chosen Beck's "loudest soundtrack song" to play over the title sequence.


title: Scott Pilgrim vs. the World

text: Shynola was also given a selection of references from Edgar Wright, who described the brief as " meets "Sesame Street"" and showed them the title sequence of "Faster, Pussycat! Kill! Kill!", which used drawn-on optical tracks. As with traditional drawn-on-film animation, Kenworthy traced and painted the images. Wright provided musical references as well, saying that they "wanted to visualize the music and have every graphic, symbol, and subliminal image in time with the music — a hypnotic barrage of colour, light, and music. The idea was to have it as if the animation is a manifestation of how cool the music is in Knives' head. That's why [they] end the sequence on her watching, the titles are like her brain is exploding with how cool the track is."


title: Scott Pilgrim vs. the World

text: The brief also requested that the opening sequence not use any of the comic artwork, to not spoil the film, so Kenworthy pitched "an 8-bit epileptic eye-fight" and created a mood film using geometric patterns and visual effects from manga; Edgar Wright requested that it should have less overt video game references. Shynola then worked with the music concept, Kenworthy saying that they "hit on making a visual representation of [Sex Bob-omb's] slightly amateurish, raw, garage-y sound. Something that had the feel of a live performance. A lively, colourful, in-your-face scratch film seemed a perfect fit." Working with Edgar Wright more, they chose to have a visual representation of each character and to scratch the appropriate number of 'X' marks for the actors who played each of the evil exes.


title: Scott Pilgrim vs. the World

text: As the film was nearing completion, Shynola had a short time frame to finish the title sequence, so they worked on syncing the sequence and the music digitally at first, visualizing final adjustments before scratching onto sheets of acetate film. From each sheet of acetate, one second of footage was produced. Kenworthy said that after producing the images, they would "deliberately kick [each sheet] around the floor a bit to pick up a lot of dirt, scratches, and hairs".


title: Scott Pilgrim vs. the World

text: Printing the sequence involved putting each sheet into a high resolution negative scanner and cutting it down into individual frames before printing onto 35 mm movie film. There was also difficulty with the color printing, with most of the colors they wanted to use being "illegal". During the printing process, Kenworthy added parts of a scratch film he had made at college, which had been used when scanning to check color accuracy.


title: Scott Pilgrim vs. the World

text: ComicsAlliance calls the title sequence "just the first in a memorable series of seamless mash-ups of graphics, film and animation that beautifully translate the spirit of Bryan Lee O'Malley's graphic novels to the screen". Art of the Title describes the sequence as "visual napalm", with Bleeding Cool saying it is "quite wonderful". Jade Budowski of "Decider" writes that "with its rapid-fire introductory scene and the ensuing vibrant animated title sequence, [the film] wastes no time in sucking you into [its] world".


title: Scott Pilgrim vs. the World

text: The film includes several easter eggs alluding to the comics or for foreshadowing. Fleischer noted that though the comic and film have Scott and Wallace's apartment at 65A Albert Avenue (filmed at 65 Alberta Avenue), there is a reference to O'Malley's own old apartment at 27 Alberta Avenue as the address on the Amazon delivery slip Scott signs. Fleischer also points out the blinking 'L' on a Flight Centre sign on Manning Avenue, which he writes is a warning that a fight is about to happen. Wright said, before the film came out, that a t-shirt of Plumtree, the band that originated the name 'Scott Pilgrim', would feature in the film. Other t-shirts Scott wears include one for The Smashing Pumpkins, a band sharing his initials; one with the bass guitar logo from the "Rock Band" game series; and one that references Fantastic Four, which he wears after defeating Lucas, played by Evans, who at the time was best known for his role as the Human Torch in the "Fantastic Four" movies. Scott's changing t-shirts often match Ramona's changing hair color through the film.


title: Scott Pilgrim vs. the World

text: There are also references to other media, particularly gaming and comics, with "Den of Geek"s James Hunt compiling a list of several, including Scott's X-Men patch seen as he rips it from his coat; the "Legend of Zelda" Triforce represented by Gideon's initials in the film and title sequence (shown above) and the Dark Link-inspired Nega-Scott; Envy's band being named after the 1990 game "The Clash at Demonhead" (as well as The Clash); Kim dressing in Japanese Gothic Lolita fashion for the final battle as a point of humor; the scene that was shot, performed, and edited entirely like a "Seinfeld" episode; and using the "this is a league game" line from "The Big Lebowski". "/Film" notes that slow-motion broken glass falling and reflecting Ramona and Roxy as they fight resembles the character selection screen of "Street Fighter", and that the Chaos Theater and Sex Bob-omb's forced labor is a reference to "EarthBound".


title: Scott Pilgrim vs. the World

text: Like The Clash at Demonhead, the other band names reference video games: Sex Bob-omb to the Bob-ombs in Mario franchise games, and Crash and the Boys to a game called "". According to actress Larson, "The Clash at Demonhead" was the first game that comic author O'Malley ever had.


title: Scott Pilgrim vs. the World

text: Scott playing the bassline of what he calls "Final Fantasy II" is also considered an easter egg; he plays the bassline from the game "Final Fantasy IV", but this game was released as "Final Fantasy II" outside of Japan in the 1990s because the second and third installments had not been released internationally at the time.


title: Scott Pilgrim vs. the World

text: In her adaptation discussion, Zeitlin Wu notes that in the graphic novel, the fourth fight (Scott vs. Roxy Richter) was a frame-for-frame recreation of the introduction to "Ninja Gaiden", and in the film, this same frame-for-frame remake is used as the introduction of the final fight against Gideon.


title: Scott Pilgrim vs. the World

text: A "Scott Pilgrim vs. the World" panel was featured in Hall H at the San Diego Comic-Con International on July 22, 2010; after the panel, Wright invited selected members of the audience for a screening of the film, which was followed by a performance of "Black Sheep" by Metric. Three of the ensemble cast members, Evans, Simmons and Larson, were missing from the Comic-Con panel; Edgar Wright's frequent collaborators Simon Pegg and Nick Frost made brief appearances, with Wright joking about them not being in this film. The 2010 Comic-Con was the first time it used giant hotel wraps to advertise, which can be seen from landing airplanes; "Scott Pilgrim vs. Comic-Con" wrapped the Hilton Bayfront for the event. Outside the convention hall was also a 'Scott Pilgrim Experience' fair, which included merchandise and copious free garlic bread. Winstead reflected that "at Comic-Con it felt like it was the biggest film of all time".


title: Scott Pilgrim vs. the World

text: The film was shown at the Fantasia Festival in Montreal on July 27, 2010, and was also featured at Movie-Con III in London on August 15, 2010. It then premiered in Canada in Toronto on August 13, 2010; Plumtree, who had broken up years earlier, got back together for a show at the event.


title: Scott Pilgrim vs. the World

text: The film received a wide release in North America on August 13, 2010, opening in 2,818 theaters. It finished fifth on its first weekend of release with a total of $10.5 million ($ million when adjusted for inflation), and by its second weekend of release had dropped to the bottom of the top ten. "The Wall Street Journal" described this as "disappointing", and Ben Fritz of the "Los Angeles Times" said that the film appeared to be a "major financial disappointment". Universal acknowledged their disappointment at the opening weekend earnings, saying they had "been aware of the challenges of broadening this film to a mainstream audience"; regardless, the studio's spokesman said Universal was "proud of this film and our relationship with the visionary and creative filmmaker Edgar Wright [...] [Wright] has created a truly unique film that is both envelope pushing and genre bending and when examined down the road will be identified as an important piece of filmmaking."


title: Scott Pilgrim vs. the World

text: In the UK, the film premiered at Leicester Square (the Odeon) on August 19, 2010, before it opened on August 25 in 408 cinemas, finishing second on its opening weekend with £1.6 million. In Italy, it had evening screenings in cinemas for a week before being shifted to the afternoon slots; one scholar has suggested that the "flawed marketing plan" that saw it framed as a children's film was the reason for its poor box office performance. In Japan, the film premiered during the Yubari International Fantastic Film Festival on February 26, 2011, as an official selection. It was released to the rest of the country on April 29, 2011.


title: Scott Pilgrim vs. the World

text: On March 25, 2010, the first teaser trailer was released. A second trailer featuring music by The Ting Tings, LCD Soundsystem, Be Your Own Pet, Cornelius, Blood Red Shoes, and The Prodigy was released on May 31, 2010. In August 2010, an interactive trailer was released, with viewers able to click at points in the video to see production facts. The theatrical poster, noted in Liam Burke's book, "mirrored the opening image of the graphic novel", as a signal to its origins; Burke says that the film's marketing campaign was "typical of the strategy of engaging fans and building a core audience with promotional material that displays comic book continuity".


title: Scott Pilgrim vs. the World

text: Cera stated he felt the film was "a tricky one to sell" and that he did not "know how you convey that movie in a marketing campaign. [He could] see it being something that people are slow to discover." Poor marketing has been blamed for the film's lack of box-office success, especially when compared with its positive critical reception and popularity.


title: Scott Pilgrim vs. the World

text: At the 2010 MTV Movie Awards, the first clip of the film was released, featuring Scott facing Lucas Lee in battle. At this screening, Pill revealed that Kim and Scott's past relationship would be explored in other media, saying there "will be a little something-something that will air on Adult Swim". The animated short, "Scott Pilgrim vs. the Animation", produced by Titmouse Inc., adapts the opening prologue of the second "Scott Pilgrim" book and was aired on Adult Swim on August 12, 2010, a day prior to the film's theatrical release, later being released on their website.


title: Scott Pilgrim vs. the World

text: "Scott Pilgrim vs. the World" was released on DVD and Blu-ray in North America on November 9, 2010, and in the United Kingdom on December 27, 2010.


title: Scott Pilgrim vs. the World

text: The DVD features include four audio commentaries (from director Wright, co-writer Bacall, and author O'Malley; Wright and director of photography Pope; Cera, Schwartzman, Winstead, Wong, and Routh; and Kendrick, Plaza, Culkin, and Webber); 21 deleted, extended, and alternate scenes, including the original ending (where Scott ends up with Knives), with commentary; bloopers; photo galleries; and a trivia subtitle track.


title: Scott Pilgrim vs. the World

text: The Blu-ray release includes all DVD features, plus other special features, including alternate footage, six featurettes, production blogs, "Scott Pilgrim vs. the Animation", trailers and TV spots, and storyboard picture-in-picture, as well as a DVD and a digital copy of the film. The "Ultimate Japan Version" Blu-ray disc includes a commentary track that features Wright and Shinya Arino. It also includes footage of Wright and Cera's publicity tour through Japan and a round-table discussion with Japanese film critic Tomohiro Machiyama. It was released on September 2, 2011.


title: Scott Pilgrim vs. the World

text: In its first week of release in the US, the DVD sold 190,217 copies, earning $3,422,004 in revenue, and by 2011 the film had earned $27,349,933 from United States home media sales; it had grossed over as of 2018. It reached the top of the UK Blu-ray charts in its first week of release.


title: Scott Pilgrim vs. the World

text: Simon Abrams reviewed the DVD and Blu-ray releases, writing that the DVD image quality is good and "you wouldn't really be able to notice that there's anything wrong" unless you had seen the Blu-ray version, which is in cinema quality. He adds that "the richly layered audio mix is, however, just as great on the [DVD] as it is on the Blu-ray edition [and] the 5.1 surround English track flawlessly replicates the way the film sounded when it was theatrically released." Abrams noted that some of the bonus features are not particularly interesting, but that the audio commentaries in particular were entertaining and informative.


title: Scott Pilgrim vs. the World

text: A video game was produced based on the film and books. It was released for PlayStation Network on August 10, 2010, and on Xbox Live Arcade on August 25, being met with mostly positive reviews. The game is published by Ubisoft and developed by Ubisoft Montreal and Ubisoft Chengdu, featuring animation by Paul Robertson and original music by Anamanaguchi.


title: Scott Pilgrim vs. the World

text: The film received extensive coverage, a reunion, and a planned re-release for its 10th anniversary in 2020. Sarah El-Mahmoud of CinemaBlend wrote that they were seeing "so much Scott Pilgrim content – it must be a modern classic or something like that!", before acknowledging its improved status after the disappointing box office, and Mashable said that "over the past decade, "Scott Pilgrim" has enjoyed admiration and salience beyond the wildest dreams of its box-office competitors". "Entertainment Weekly" created retrospective coverage for the anniversary, including interviewing several stars and people involved in the production of the film. Wright said in the piece that he is "incredibly proud of the movie. The fact that you're not doing a 10th-anniversary article about "The Expendables" says it all".


title: Scott Pilgrim vs. the World

text: In May 2020, Wright announced plans to screen the film again in theatres for its 10th anniversary, some time following the COVID-19 pandemic. The re-release is to be 4K and in partnership with Dolby Cinema, and had been planned for August 2020, but was delayed indefinitely due to the pandemic. In August 2020, Odeon Cinemas revealed that it would be giving the re-release a wide release at all its UK locations from August 21, 2020. The cast of the film also reunited remotely in May 2020 to record "Scott Pilgrim Vs the World Water Crisis", a video read-through of the script as a fundraiser for the charity Water For People. Earlier in the year, Cera and Pill had separately suggested a reunion and re-release were being planned for the anniversary. "Screen Rant" noted that, since the film became much more popular after its initial release, it could become a bigger theatrical success than it had been in 2010.


title: Scott Pilgrim vs. the World

text: The theatrical re-release was later rescheduled for North American Dolby Cinema theaters for April 30, 2021, and the week following. Additionally, Wright announced that an Ultra HD Blu-ray release of the film would follow the theatrical re-release, but did not give an estimated release date.


title: Scott Pilgrim vs. the World

text: On May 20/21, 2020 (depending on time zone), the Academy of Motion Picture Arts and Sciences hosted a watch party for the film. During the livestream, Wright gave a commentary with trivia about the film and various cast members, including Evans, Plaza, Whitman, Routh, Larson, Wong, and Webber, all joined him at different points to add their own. "Collider" noted that the availability of much of the cast, invited to take part by the Academy, may have been made possible by pandemic lockdowns. Some viewers questioned why the film was being shown by the Academy as it had not won an Oscar.


title: Scott Pilgrim vs. the World

text: The "Scott Pilgrim Vs the World Water Crisis" video was premiered on "Entertainment Weekly"'s EW.com and YouTube channel at 1:00p.m. EDT on July 20, 2020. Most of the main cast were present; Evans appeared to read his part but was absent for most of the video, while Larson, Simmons and Culkin did not appear and their parts were read by Kendrick, Bhabha and screenwriter Bacall respectively. Throughout the stream, O'Malley, who also appeared along with Wright, drew character images as prizes for donations to Water For People. Cera recreated the sketch of Ramona that Scott shows to Comeau in the film to be given away, too.


title: Scott Pilgrim vs. the World

text: "Scott Pilgrim vs. the World" has been widely discussed as invoking a transmedia narrative, using the graphic novel platform, and video game and comic book conventions, within the film. John Bodner explains that "the film becomes an adaptation of a text that is, in many ways, itself a cultural adaptation calling attention to its own source material in its overt employment of many techniques derived from the aesthetic of comic books". Zeitlin Wu writes how the film "[pays] homage to comics, video games, and the overlaps between the two", and notes that its process of adaptation is unique in how it has made a comic book movie that is not realistic, staying true to the original form. In his chapter, "Scott Pilgrim's Precious Little Texts: Adaptation, Form, and Transmedia Co-creation", Bodner notes several elements that create the film as transmedial, describing its references to the comic book and video game media.


title: Scott Pilgrim vs. the World

text: Bodner, Zeitlin Wu, and Burke also note that Wright, with the film, became one of the only directors since the 1960s to use, in Bodner's words, "the comment box, marks (action lines), and onomatopoeia text as sound effects" in a filmic work, using such techniques both conventionally (labeling time and place) and unconventionally for the medium. Burke describes the use as "self-reflexive". Zeitlin Wu says that "unlike the 1960s "Batman", the use of visual onomatopoeia in "Scott Pilgrim" seamlessly merges reality and illusion, which seems apt for a storyline in which the two are indistinguishable", using the comic book words within the film as part of the story rather than alongside it.


title: Scott Pilgrim vs. the World

text: In the unconventional use, Wright disrupts the realism and diegesis of the film with comic book markers. Bodner gives the examples of: the "[graphic text] 'a b o u t t o e x p l o d e' appearing as an agitated Scott enters the after-party" that "[prefigures] a (nonphysical) fight with Ramona" as a form of label that "externalizes subjective perspectives"; the use of O'Malley's typical ironic authorial voice appearing when a commentary box "helpfully appears to inform [the audience]" that Todd, after seemingly rhetorically saying he doesn't know the meaning of incorrigible, "really doesn't" know the meaning; and the use of onomatopoeia text graphics as sound effects. Zeitlin Wu notes that the film "is one of the only adaptations to incorporate text in such a way that conveys the hybrid text/image construction of comics in cinematic form, pushing their transmediality to the next level", and ultimately destabilizes formal boundaries.


title: Scott Pilgrim vs. the World

text: Regarding the onomatopoeia used, Bodner notes that only once does such text-as-graphic actually replace a sound effect (Todd's hair deflating, paired with the word "SAG"), with the approximately 40 other instances having both sound and the onomatopoeia representing it. The function of the comic book technique in these cases is said to be an act of denaturalizing the film form and, per Robert S. Peterson, "to slow the reader down and create greater visual depth and texture to the scene". Zeitlin Wu instead suggests that this was done to further incorporate the comic book nature into the film form, with sound and image perfectly synchronized, saying that "the result is an illusionistic synthesis of image, text, and sound in which words have their own materiality. Each font seems to have its own personality and substance; 'DING DONG' dissolves ephemerally, whereas the letters in 'BLAM!' rapidly fall out of the frame one by one, like a row of dominoes". Bodner adds that marks used in the film illustrate both sound and eye-line, things that can be shown in film without marks, and so are also used to denaturalize the scenes they appear in. Burke writes further on the use of written sound effects, saying that "there are areas in which comics' visualized sound trumps cinema's soundtrack", engaging with Robert C. Harvey to agree that "word and picture can be coupled to reveal the hero's cheery bravado even in the very midst of thundering action".


title: Scott Pilgrim vs. the World

text: Another technique that Bodner describes as giving the film its postmodern reading is how Wright seems to alter the film form to reflect elements inherent to comic book sequences, specifically that "[Wright] consistently but judiciously [quotes] panel content throughout the film – generally [...] using the illusion of stasis in film to mirror the illusion of movement in comics". In terms of form, Bodner writes that Wright transcodes the "construction of comic panels" into the film; Wright himself has said that "a lot of people have mentioned [...] how it feel[s] like reading a comic book", a sentiment echoed by Zeitlin Wu. Bodner suggests that this is created by transition techniques, and that the techniques that produce this are Wright's own, building from his work in "Shaun of the Dead" and "Hot Fuzz", adding that they work by "replicating [the panel's] companion – the 'gutter'." Wright is said to recreate this element of outside space in comics in the film form by making "cuts that are exceedingly quick or that open into shots that displace conventional temporal logic (anticontinuity editing), or with cuts that utilize a purposefully barely visible wipe effect", and by using "blackouts, which function as brief moments of dead space" between certain frames.


title: Scott Pilgrim vs. the World

text: Discussing the comic book translation in her writing on the process of the film's adaptation, Zeitlin Wu notes that "many storyboards [for the film] were taken directly from the comics", saying that one method of overcoming the temporal-spatial and illustrative-representative differences in graphic novel and film media is to combine the comic panel and storyboard grid. Within "Scott Pilgrim vs. the World", she writes that the comic panel-storyboarded sequences "convey a sense of fragmentation, rather than the usual illusion of cinematic continuity" and that "the most effective use of comics as storyboard is in Scott's dream sequences, which facilitate his encounters with Ramona as she travels through 'subspace'." In the first of the dream sequences, "Wright maintains the fragmentation of the comics medium by retaining the divisions between the original panels: the screen fades to black after each frame, an attempt to mimic the simultaneously diachronic and synchronic experience of reading comics". In another example of film panel use, Bodner notes that the static frame shows Scott at the computer ordering a package, the next shot is of Wallace, and the next of Scott sat in front of the door, waiting; Bodner explains that the temporality of these images on screen is not naturalistic, and that they better represent comic panels where temporality can be otherwise deduced by the reader. He adds that, as pastiche, this scene serves a dual function to foreshadow the magical realism that will appear.


title: Scott Pilgrim vs. the World

text: In a similar form-bending way, there are two scenes ("the first battle of the bands and Lucas Lee's 'grind' down the rail") where Wright uses high-volume noise to recreate the silent form of comic books, as in a film the loudness drowns out any other sound and requires the use of text in the same way that the purely visual comic book form does. Burke also notes the benefit of visual text when sound would otherwise be "muted by ambient noise", and how (other) "film adaptations often render comics' most loquacious characters mute".


title: Scott Pilgrim vs. the World

text: In his chapter "Tell It Like a Game: Scott Pilgrim and Performative Media Rivalry", Jeff Thoss writes on the various transmedial cues, saying that "the film attempts to outdo the comic book series in its emulation of video game features both on the level of the storyworld and on the level of its representation. But as neither of these two works emerges victorious, their so-called rivalry appears less as a real competition than as a way to illuminate the specific narrative affordances and limitations of comics, films, and computer games". Building on Thoss, Fehrle examines the remediation (Bolter and Grusin), or use of imitation, of video game signifiers. Looking particularly at the Scott vs. Matthew Patel fight, he writes that there is "not only [the] remediation of arcade fighting and beat 'em up video games, [...] but also a TV aesthetic [...] as well as a play with some iconic film genres [...] and finally a strong link to the theater as a fifth medium thrown into the mix when we see Ramona on a Shakespearean balcony placed at the center of an extremely conspicuous spotlight". He continues technically analyzing the scene by noting the split screen; Fehrle first sees the technique as "more recently associated primarily with the MTV-aesthetics of 1990s TV", noting that it is "an 'unnatural' editing technique, foregrounding the mediality of film by making visible the impact of an editor, a role which in the dominant continuity editing system is regarded as one that should be kept hidden". Fehrle describes the rest of the sequence featuring Matthew Patel as a parody of music videos, including the "tap dance, which is highlighted by the camera's framing of only his feet, as well as his willfully over-acted "Saturday Night Fever"-inspired pose", while also mentioning its Spaghetti Western-inspired "through-the-legs duel shot".


title: Scott Pilgrim vs. the World

text: However, he also joins Zeitlin Wu in describing it as a comic and video game element, likewise noting the "strong spatiality of the comics medium through its panel layout" represented in the film, especially the "black gutter-like division between the three 'panels'" in the scene. Fehrle added further that its video game referent for the split screen is that of "console video games' multiplayer modes", with other video game elements informing the sequence including "an 8-bit arcade 'bling' sound playing when Patel lands[,] as well as the excessive echo and slight delay on Wallace's voice as he screams 'fight', [and] superimposed text [...] which dramatically juxtaposes the opponents, instructs the player what to do or explains the (health or energy) status of characters or helps players interpret what is happening". He adds that a more obvious remediation of comic books is seen in the O'Malley-like graphic novel drawings that appear to illustrate Ramona and Matthew's backstory. From this multitude of referents, Fehrle describes the film and the "Scott Pilgrim" franchise as "hypermediated".


title: Scott Pilgrim vs. the World

text: The sequence following Scott breaking up with Knives is analyzed in different ways. Maria J. Ortiz looks at mise-en-scène and narrative meaning with the scene, writing that when Scott "tells [Knives] that he wants to break off the relationship, the next shot of her is against a dark background without a realistic reason" and so introduces metaphors that inform the story: "good is bright/bad is dark" and that "the change of background [is] a metaphor for the change produced in the state of the relationship", resulting in the idea that a bad change is a literal dark place here. Bodner looks at the transmediality of the framing used when Scott walks away, matching the graphic novel, with a tree and streetcar bracketing the frame to introduce a solitude of Scott and Knives, particularly with a static camera that represents the panel. In the film, this is followed by characters passing in front of Scott to lead into a wipe, which Bodner says "is common in the film and acts as the inked line that makes the panel border".


title: Scott Pilgrim vs. the World

text: Review aggregator Rotten Tomatoes reports that 82% of 273 critic reviews for the film are positive, with an average rating of 7.50/10. The website's consensus reads, "Its script may not be as dazzling as its eye-popping visuals, but "Scott Pilgrim vs. the World" is fast, funny, and inventive". According to Metacritic, which sampled 38 reviews and calculated an average score of 69 out of 100, the film received a "generally favorable" response. Audiences surveyed by CinemaScore gave the film an "A-" grade on a scale from A to F.


title: Scott Pilgrim vs. the World

text: Peter Debruge of "Variety" gave the film a mixed review, referring to it as "an example of attention-deficit filmmaking at both its finest and its most frustrating", saying it was economical with its storytelling and successfully incorporated the many big fight set pieces, but missed opportunities to build Scott and Ramona's relationship. David Edelstein of "New York" magazine also wrote a mixed review, agreeing that Scott "hardly seems worthy of Winstead's Ramona" and saying he thought that "the parade of super-villain exes [...] is like a forced march; [he] felt [he]'d had [his] fill of the fights and there were still five exes to go". Michael Phillips gave a generally positive review, but did agree that the number of fights holds the film back, writing that "Seven sounds like a lot. It is, in fact, two or three too many." Kirk Honeycutt of "The Hollywood Reporter" wrote a largely negative review, finding the film "a discouragingly limp movie in which nothing is at stake. A character can 'die,' then simply rewind video and come back to life. Or change his mind about his true love and then change it again. Scott Pilgrim's battle isn't against the world; it's against an erratic moral compass." Cindy White at IGN gave a positive review, praising Wright and the film's style extensively, though she did mention that "the middle drags a bit and the ending isn't all [she] hoped it would be."


title: Scott Pilgrim vs. the World

text: A. O. Scott, who made the film a "New York Times" "critics pick", also reviewed it positively, suggesting it was "the best video game movie ever". "Slant Magazine"'s Nick Schager also gave the film a positive review, awarding it 3.5 stars out of 4, with colleague Simon Abrams calling it "the most visually exciting, funny, and emotionally involving studio-produced film of the year" and awarding 4 stars out of 5 in his DVD review.


title: Scott Pilgrim vs. the World

text: Debruge praised the ensemble cast and Wright's directing skills that make each of the many characters distinctive. However, he criticized Cera's performance, saying that "his comic timing is impeccable, [but] he's finally played the wilty wallflower one too many times". Edelstein found the film's biggest issue to be Cera's acting, saying that "a different lead might have kept you laughing and engaged. Cera doesn't come alive in the fight scenes the way Stephen Chow does in [...] surreal martial-arts comedies [like] "Kung Fu Hustle"", with Honeycutt dissecting the storytelling and determining that "Cera doesn't give a performance that anchors the nonsense" of the film. Conversely, A. O. Scott wrote that "somehow [Cera and Winstead] make it work" in selling the relationship without being a cliché, and Abrams said that the actors had "never looked this good, especially Cera", noting that "[his] performance is knowingly affected and self-absorbed throughout scenes depicting Scott and Knives's awkward dating" as the film deliberately plays up Scott's initial narcissism. Cera's delivery of the particular line "I was thinking we should break up, or whatever" has been reviewed as amusing and awkwardly realistic. White wrote that the actors playing Ramona's exes "all [seem] to be having a blast in their scenes". Brie Larson and Kieran Culkin have been frequently described as the film's scene stealers for their performances as Scott's ex, rock star Envy Adams, and Scott's roommate, the sarcastic Wallace Wells. Chris Evans and Brandon Routh have also been called scene stealers in some reviews.


title: Scott Pilgrim vs. the World

text: As a negative, Debruge added that "anyone over 25 is likely to find [the film] exhausting, like playing chaperone at a party full of oversexed college kids", remarks echoed by Honeycutt, who called the film "juvenile" and thought "a wider audience among older or international viewers seems unlikely." White gave the film a positive rating of 8/10, saying it is "best suited for the wired generation and those of us who grew up on Nintendo and MTV. Its kinetic nature and quirky sensibilities might be a turnoff for some." Scott also found the youth elements appealing, writing that "there are some movies about youth that just make you feel old, even if you aren't [but] "Scott Pilgrim vs. the World" has the opposite effect. Its speedy, funny, happy-sad spirit is so infectious that the movie makes you feel at home in its world even if the landscape is, at first glance, unfamiliar." Abrams opened his review lamenting that "the sad thing about "Scott Pilgrim vs. the World" is that people assumed that because it embraced its niche-oriented demographic's interests, in its ad campaign and in its content, that it was destined for cult status and nothing more."


title: Scott Pilgrim vs. the World

text: Schager wrote that Edgar Wright is an "inspired mash-up artist, and "Scott Pilgrim vs. the World" may be his finest hybridization to date", saying the film has become a "mêlée-heavy video game". Debruge also said that "style [...] becomes the level at which we must appreciate Wright's work", particularly noting the 8-bit Universal logo and the "Seinfeld" scene. White explains that, though the video game style and structure is non-realistic, "even the most outlandish elements flow naturally from the storytelling". The style was also compared to the comics. According to Phillips, "Edgar Wright understands the appeal of the original Bryan Lee O'Malley graphic novels [...] O'Malley's manga-inspired books combine utter banality with superhero hyperbole, [and] Wright, who is British, has taken it on and won. [The film] lives and breathes the style of the original books, with animated squiggles and hearts and stars filling out the frame in many individual shots." Edelstein opened his review by saying "Yes, this is how you bring a graphic novel to life onscreen!", elaborating that "[Wright takes the] Canadian mangas (in which the mundane meets the superheroic) and concocts a syntax all his own: part comic panel, part arcade video game".


title: Scott Pilgrim vs. the World

text: Further comparing the film to the graphic novels, and discussing it as an adaptation, Honeycutt agrees that "Director/producer/co-writer Edgar Wright [...] has successfully reproduced the imagery and worldview of Bryan Lee O'Malley's graphic novel, itself a mash-up of ordinary characters lost in a world of manga, video games, music videos and comic book iconography." White writes that the elements of mash-up in the film's style creates "a pop-culture cocktail that is fun, funny and deliciously offbeat", praising Wright for "[making the comic book elements] work in the translation to live action, and [having] enough respect for O'Malley's work in the first place to try to capture that spirit; Scott agrees, saying that the success comes from its ingenuity in bringing the video game to the player's world, rather than the other way around, and so "the line between fantasy and reality is not so much blurred as erased, because the filmmakers create an entirely coherent, perpetually surprising universe". Abrams also notes that some of the comic elements work better in the film, like when Scott wakes up, followed by Wallace and Other Scott, because of the timing of the medium. He opines that Wright also managed to include additional scenes that further inform Scott's characterization and add humor to moments from the comics. Overall, in her 2020 retrospective review, Meghan Hale of "Comic Years" wrote that "["Scott Pilgrim vs. the World"] doesn't just make for an adequate adaptation, but instead brings the story to life in a way that innovates the way we look at adaptations".


title: Scott Pilgrim vs. the World

text: After seeing the film at a test screening, the American director Kevin Smith said he was impressed by it, and that "it's spellbinding and nobody is going to understand what the fuck just hit them", adding Wright "is bringing a comic book to life". Smith also said that fellow directors Quentin Tarantino and Jason Reitman were "really into it". Carla Gillis, a writer for "Now" and former lead singer for the band Plumtree, also commented on the film, as her band's song "Scott Pilgrim" was the inspiration for O'Malley to create the series; Gillis felt the film carried the same positive yet bittersweet tone of the song. Several notable video game, film, and anime industry personalities also praised the film after it premiered in Japan, among them Hironobu Sakaguchi, Goichi Suda, Miki Mizuno, Tomohiko Itō and Takao Nakano.


title: Scott Pilgrim vs. the World

text: In an editorial for Rotten Tomatoes, Nathan Rabin wrote that the film has a cult following, and in a 2015 Met Film School feature, Danny Kelly listed it as one of the six most underrated films ever, saying it is "a crime" that more people did not go to see it. A 2014 ranking by "Den of Geek" placed it third on their list of the 25 best underrated comic book films, with James Hunt writing that it "is easily better than any movie on this list. And for that matter, it's better than most movies not on this list"; he suggested it suffered at the box office due to poorly executed marketing and people becoming sick of Michael Cera. In 2020, Evans compared the fans of "Scott Pilgrim" to those of the Marvel Cinematic Universe, saying they were just as rabid and dedicated; in February 2020, reviewer Alani Vargas wrote that "it might not be so 'cult' today; if you bring the movie up to anyone now, odds are you'll get a very enthused response to it".


title: Scott Pilgrim vs. the World

text: Musical artists were inspired by the film, including Lil Uzi Vert with their albums "Lil Uzi Vert vs. the World" and "Lil Uzi Vert vs. the World 2", and single "Scott and Ramona". The music video for Australian band The Vines' single "Gimme Love" is an homage to "Scott Pilgrim vs. the World", adopting the visual style of the movie's opening, and Kid Cudi sampled music from the film on the song "She Knows This" from his album "".


title: Scott Pilgrim vs. the World

text: "Scott Pilgrim vs. the World" has received many awards and nominations. It also made the final shortlist of seven films for nomination in the Best Visual Effects category at the 83rd Academy Awards, but did not receive a nomination. It won the Audience Award at the 2010 Lund International Fantastic Film Festival.


title: Scott Pilgrim vs. the World

text: The film has been placed on several Top Ten Films of 2010 lists, including as number 1 by Harry Knowles, and on several lists by "Empire".


title: Stone Temple Pilots

text: Stone Temple Pilots (also known by the initialism STP) is an American rock band from San Diego, California, that originally consisted of Scott Weiland (lead vocals), brothers Dean DeLeo (guitar) and Robert DeLeo (bass, backing vocals), and Eric Kretz (drums). The band's line-up remained unchanged from its formation in 1989 until the firing of Weiland in February 2013. Linkin Park vocalist Chester Bennington joined the band in May 2013 but left amicably in November 2015. In 2016, the band launched an online audition for a new lead vocalist; they announced Jeff Gutt as the new lead singer on November 14, 2017.


title: Stone Temple Pilots

text: After forming in 1989 under the name Mighty Joe Young, the band signed with Atlantic Records and changed its name to Stone Temple Pilots. The band's debut album, "Core", released in 1992, was a major commercial success and STP went on to become one of the most successful bands of the 1990s, selling more than 18 million albums in the United States and 40 million worldwide. The band released four more studio albums: "Purple" (1994), "Tiny Music... Songs from the Vatican Gift Shop" (1996), "No. 4" (1999), and "Shangri-La Dee Da" (2001), before separating in 2003, after which the band members partook in various projects (most notably Velvet Revolver and Army of Anyone). The band eventually reconvened in 2008 for a reunion tour, released their self-titled sixth album in 2010, and actively toured until Chester Bennington's departure. The band's only material with Bennington was the EP "High Rise" in 2013. STP has released two albums with Gutt on vocals: its second self-titled album on March 16, 2018 and eighth studio album "Perdida" on February 7, 2020.


title: Stone Temple Pilots

text: While initially rising to fame as part of the grunge movement of the early 1990s, further releases from the band expressed a variety of influences, including psychedelic rock, bossa nova, and classic rock. The band's evolution throughout the 1990s and early 2000s involved periods of commercial highs and lows, brought about in part by Weiland's well-publicized struggles with drug addiction.


title: Stone Temple Pilots

text: Two conflicting stories of how frontman Scott Weiland and bassist Robert DeLeo met have been related by the band. One was that they met at a Black Flag concert in Long Beach, California, in 1985. They began discussing their girlfriends, only to realize they were dating the same woman. Instead of letting this come between them, they developed a bond and formed a band after they each subsequently broke it off with the girl. Weiland presented a different version in his autobiography, saying that he and his friends in their band Soi Disant – guitarist Corey Hicock and drummer David Allin – pursued Robert after witnessing him play live at various gigs.


title: Stone Temple Pilots

text: Regardless, Weiland, DeLeo, Hicock and Allin would eventually form a band called Swing. Allin left after a few years. The remaining members saw drummer Eric Kretz play in a Long Beach club and convinced him to join them. Guitarist Hicock eventually left the band in 1989; in need of a replacement and auditioning many guitarists, Robert suggested his older brother, Dean. At the time, Dean was a successful businessman who had left behind his previous musical career but still played guitar as a hobby. The band managed to convince Dean to play for Swing, completing the original STP lineup. Dean reportedly refused to continue playing in a band called "Swing", and shortly afterwards the band became Mighty Joe Young. They recorded a demo tape around 1990. The Mighty Joe Young demo features tracks that would go on to be re-recorded for the band's first studio album, as well as some musical styles that would not be featured on any of STP's studio albums, such as funk and yodeling.


title: Stone Temple Pilots

text: Mighty Joe Young played several gigs in the San Diego area, building up a fanbase. Their first show was supporting Henry Rollins at the Whisky a Go Go. The group then began to work on their debut album with Brendan O'Brien. During the recording, they received a call from their lawyer who informed them that there was a bluesman who had already claimed the name Mighty Joe Young. Inspired by the STP Motor Oil stickers that the band members were fans of in their youth, various ideas on the initials "STP" were shared by the band before they settled on the name "Stone Temple Pilots".


title: Stone Temple Pilots

text: Stone Temple Pilots developed a fan base in San Diego clubs and in 1992 signed with Atlantic Records. Their first album, "Core," was released on September 29, 1992, and peaked at No. 3 on the Billboard Albums Chart. "Core" was a big success, producing hits "Sex Type Thing", "Plush", "Creep", and "Wicked Garden". While the album was a major commercial success, some in the music press criticized the band as "grunge imitators". The same year, Scott Weiland and Dean DeLeo played an acoustic version of "Plush" on the MTV show "Headbangers Ball". This is considered one of Weiland's greatest vocal performances.


title: Stone Temple Pilots

text: Despite negative reviews from some critics, Stone Temple Pilots continued to gain fans and toured, opening for bands such as Rage Against the Machine and Megadeth. 1993 brought continued success on the road, with the band headlining a two-and-a-half-month American tour.


title: Stone Temple Pilots

text: In 1993, the band filmed an episode of "MTV Unplugged", where they debuted the song "Big Empty". In a January 1994 "Rolling Stone" poll, the band was simultaneously voted Best New Band by "Rolling Stone"'s readers and Worst New Band by the magazine's music critics. The following month the group won Favorite Pop/Rock New Artist and Heavy Metal/Hard Rock New Artist at the American Music Awards. In March 1994, the group won a Grammy Award for Best Hard Rock Performance for the song "Plush".


title: Stone Temple Pilots

text: In the spring of 1994, Stone Temple Pilots returned to the studio to work on their second album, "Purple." Completed in less than a month, "Purple" debuted at number one in the United States upon its release on June 7, 1994. The radio-friendly "Interstate Love Song" quickly became a big hit, spending a record-setting fifteen weeks atop the album rock tracks chart. Other hits from the album included "Vasoline" and "Big Empty" (the latter also being featured on the soundtrack to the film "The Crow"). By October, just four months after its release, "Purple" had sold three million copies.


title: Stone Temple Pilots

text: In October 1995, the band regrouped to begin recording its third album, renting out a mansion in Santa Barbara, California for the band to live together during the recording process. Stone Temple Pilots released the album "Tiny Music... Songs from the Vatican Gift Shop", on March 5, 1996. The album's sound marked a drastic change from their previous outings, oriented more in the direction of glam rock and psychedelic music than that of the hard rock/grunge sound that propelled them to popularity; critical reception, at the time, was mixed. "Rolling Stone", a magazine known for its initial dismissal of the band's music, held a favorable opinion of the album, regarding the release as the group's best effort to date. They expressed surprise, however, at "the clattering, upbeat character of the music" given Weiland's much-publicized run-ins with drugs and the law. Stone Temple Pilots were also featured on the cover of issue No. 753 in February 1997.


title: Stone Temple Pilots

text: The band was only partially successful in being able to tour in support of "Tiny Music..." and pulled out of a support slot on Kiss' reunion tour. A short tour in the fall of 1996 ensued in the U.S. but final dates at the end of December in Hawaii and some dates in 1997 had to be cancelled in order for Weiland to go to rehab. The band then decided to take a break to work on other projects. "I can't call the kettle black", remarked Kiss drummer Peter Criss. "I just pray for the guy and hope that he gets himself better because they really are a great band."


title: Stone Temple Pilots

text: The band, sans Weiland, recruited Dave Coutts, the frontman of Ten Inch Men, and performed under the moniker Talk Show. Talk Show released one eponymous album in 1997 before dissolving. Meanwhile, pursuing his own musical interests, Weiland released his first solo album, "12 Bar Blues," in 1998. Although both albums received moderate critical praise, neither was commercially successful.


title: Stone Temple Pilots

text: In late 1998, the band regrouped and began work on a fourth Stone Temple Pilots album. Released in 1999, "No. 4" was conceived as a "back-to-basics" rock album in the vein of "Core" or "Purple." Stephen Thomas Erlewine of AllMusic compared the album's sound to contemporary alternative metal bands and wrote in his review "it's as if STP decided to compete directly with the new generation of alt-metal bands who prize aggression over hooks or riffs." STP scored one of its biggest hits since the success of "Core" and "Purple" with the single "Sour Girl", fueled by a popular music video starring Sarah Michelle Gellar of "Buffy the Vampire Slayer" fame. The band also recorded an episode of "VH1 Storytellers," and went on a summer tour with the Red Hot Chili Peppers. "No. 4" would eventually be certified platinum by the RIAA.


title: Stone Temple Pilots

text: During the summer of 2001, the band released its fifth album, "Shangri-La Dee Da", which produced one modest rock radio hit in "Days of the Week". Despite promotion of the album by going on tour with Linkin Park on the Family Values Tour, "Shangri-La Dee Da" was a commercial disappointment. At that point, marketing support from their label was reportedly minimal, and the band decided to put a hold on any future albums. However, the band recorded "All in the Suit That You Wear", a song intended to be the lead single on the soundtrack for the 2002 film "Spider-Man." However, Chad Kroeger's song "Hero" was ultimately chosen as the lead single.


title: Stone Temple Pilots

text: Despite reports that the band had begun work on a sixth studio album in 2002, the band went quiet by the end of that year after reports of an altercation between Dean DeLeo and Weiland after the last show of Stone Temple Pilots' fall 2002 tour. As a capstone to the band's career, Atlantic Records released a greatest hits album, "Thank You," with a bonus DVD of archive material and music videos, in 2003. Five days after "Thank You" was released, the DeLeo brothers revealed in an interview with "Guitar One" that the band was officially done.


title: Stone Temple Pilots

text: Following the band's dissolution, Weiland was recruited to join the successful supergroup Velvet Revolver with Guns N' Roses members Slash (guitar), Matt Sorum (drums), and Duff McKagan (bass) and former Wasted Youth guitarist Dave Kushner. The band released two albums, "Contraband" in 2004 and "Libertad" in 2007 before breaking up in 2008. Likewise, the DeLeo brothers formed the supergroup Army of Anyone with vocalist Richard Patrick of the industrial rock band Filter and session drummer Ray Luzier. The band released its self-titled album in 2006 before going on "indefinite hiatus" in 2007. Eric Kretz kept a lower profile during this time, operating his own studio, Bomb Shelter Studios, and drumming for the band Spiralarms.


title: Stone Temple Pilots

text: According to Dean DeLeo, steps toward a Stone Temple Pilots reformation started with a phone call from Weiland's wife, Mary Forsberg. She invited the DeLeo brothers to play at a private beach party, which led to the reconciliation of Weiland and the DeLeo brothers. In 2007, Dean DeLeo and Weiland discussed a concert promoter's offer to headline several summer festivals. Weiland subsequently left Velvet Revolver in April 2008 and the following month, Stone Temple Pilots announced they were reuniting for a 65-date North American tour. The group officially reunited for a private gig at the Houdini Mansion and held their first public show on Jimmy Kimmel Live! on May 1. Stone Temple Pilots toured throughout the summer and fall, headlining the Virgin Mobile Festival in Baltimore in August of that year as well as the 10th annual Voodoo Experience in New Orleans. The band's six-month reunion tour wrapped up on Halloween 2008 in Pelham, Alabama.


title: Stone Temple Pilots

text: After taking a short break to allow Weiland to support his recently released second solo album, production for the band's sixth studio album began in mid-2009.The band also went on the road for a 13-date North American summer tour in 2009, taking place in-between the tours for Weiland's second solo album. . The band showcased new material at South by Southwest in 2010, and also appeared at England's Download Festival 2010 in June, as well as at the Hurricane Festival and the Southside Festival in Germany.


title: Stone Temple Pilots

text: The band also performed during the Final Four Concert Series in Indianapolis on April 2, 2010. The band appeared on the "Late Show with David Letterman" for the first time in ten years on May 19, performing "Between the Lines". The band's self-titled sixth album was released on May 25, 2010, debuting at No. 2 on the "Billboard" 200.


title: Stone Temple Pilots

text: Towards the end of 2010, STP announced they were rescheduling several U.S. tour dates so that the band could take a "short break". STP toured Southeast Asia for the first time in 2011, playing in Philippines (Manila), Singapore, and Indonesia (Jakarta). Following this, the band played successful shows in Australia, including sold-out performances in Sydney and Melbourne.


title: Stone Temple Pilots

text: In December 2011, Dean DeLeo told "Rolling Stone," "what I'd like to see happen is the band go out and do more intimate shows – really lovely theaters around the country." DeLeo also commented on a possible extended reissue of "Core" including live archived material, "We have tons of live recordings from that era, and we didn't multi-track record that stuff. There's no fixes, so they'd sound incredible if we just master them." On January 2, 2012, Scott Weiland also commented on the 20th anniversary of "Core," saying "Well, we're doing a lot of special things. [There's] a lot of archival footage that we're putting together, a coffee table book, hopefully a brand new album – so many ideas. A box set and then a tour, of course."


title: Stone Temple Pilots

text: On June 26, STP released its first-ever concert film, "Alive in the Windy City," on DVD and Blu-ray. The performance was filmed at a sold-out show in March 2010 at the Riviera Theatre in Chicago.


title: Stone Temple Pilots

text: From then on, the band began to experience problems, and suspicions were raised that tensions within the band had arisen once again. Despite the band's claims that their fall tour would be celebrating the 20th anniversary of "Core," this did not happen. According to Weiland's bandmates, they did not want to do the celebration because they believed that he no longer had the vocal range to perform some of the album's songs. Weiland then decided to perform the latter songs that they did not want to play on a separate solo tour. The rest of the band decided to hide their anger and frustration towards his decision, causing Weiland to assume that they were all on the same page.


title: Stone Temple Pilots

text: On September 17, at a show in Abbotsford, British Columbia, STP arrived nearly two hours late, and cut their set 30 minutes short, angering many fans. The following day, the band released a brief statement announcing that that night's show in Lethbridge, Alberta was cancelled due to Weiland being ordered to go on "48 hours complete vocal rest due to strained vocal cords."


title: Stone Temple Pilots

text: On December 7, in response to a public declaration from Weiland that he was "completely open" to returning to Velvet Revolver and a radio DJ's questions about the state of that band, Slash (Weiland's former bandmate with Velvet Revolver) told Minneapolis/St. Paul radio station 93X that he had heard rumors Weiland had been fired from Stone Temple Pilots, citing this as a possible reason for Weiland's eagerness to return to Velvet Revolver, something that he quickly dismissed.


title: Stone Temple Pilots

text: On February 27, 2013, Stone Temple Pilots fired Weiland. The firing was officially announced as Weiland left on tour with his solo band. Both parties issued lawsuits over the right to perform with the Stone Temple Pilots name; both were settled out of court, with the DeLeo brothers and Kretz retaining the rights to perform under the name.


title: Stone Temple Pilots

text: On May 18, 2013, the three remaining members of Stone Temple Pilots performed with Chester Bennington of Linkin Park, appearing as special guests at the 21st Annual KROQ Weenie Roast, and the May 19, 2013 Live 105 BFD festival near San Francisco, where they performed a new song, "Out of Time".


title: Stone Temple Pilots

text: On May 19, 2013, STP released a free download of their new single "Out of Time" with Bennington now an official member. Bennington had exclaimed years before in interviews that being in Stone Temple Pilots was his lifelong dream. The new lineup performed again on May 30, 2013, at the MusiCares MAP Fund Benefit Concert in Los Angeles, California, and were joined by Weiland's former bandmates Slash and Duff McKagan on stage to perform "All the Young Dudes".


title: Stone Temple Pilots

text: On July 15, 2013, STP announced that it would embark on a small tour in September with Filter as the opening act. Stone Temple Pilots released a five-track EP titled "High Rise" on October 8, 2013, through Play Pen, LLC, credited as "Stone Temple Pilots with Chester Bennington". The album's second single, "Black Heart", was released through iHeart Radio on September 18, 2013. They officially dropped "with Chester Bennington" from their name in March 2015.


title: Stone Temple Pilots

text: On November 9, 2015, Bennington announced he was amicably leaving Stone Temple Pilots to focus more on Linkin Park.


title: Stone Temple Pilots

text: On December 3, 2015, Scott Weiland was found dead of an accidental overdose of alcohol, pills, and cocaine on his tour bus in Minnesota. Stone Temple Pilots released a statement noting his passing in which they thanked him for his time with them and said he was "gifted beyond words".


title: Stone Temple Pilots

text: In February 2016, Stone Temple Pilots launched an online audition for a new vocalist, stating, "If you think you have what it takes to front this band, record with this band, and tour with this band, we would dig hearing from you."


title: Stone Temple Pilots

text: On July 26, 2017, the band announced that a 25th anniversary edition of "Core" would be released on September 29, 2017. The reissue includes a 25th Anniversary box set, it includes a remastered version of the album, previously unreleased demos and b-sides, and parts of three live performances from 1993 (Castaic Lake Natural Amphitheater, Reading Festival, and "MTV Unplugged.")


title: Stone Temple Pilots

text: In October 2017, Dean DeLeo said that the band's search for a new vocalist was "going great", and that the band is "working on new material". On November 14, the band revealed that Jeff Gutt had been chosen as their new lead singer.


title: Stone Temple Pilots

text: On November 15, 2017, the band released a new song, "Meadow" from their upcoming studio album. On January 31, 2018, the band released a second new song, "Roll Me Under", as well as announced the release of its seventh studio album. The LP, which is the band's second self-titled album, was released on March 16, 2018. In mid-2018, the band embarked on a co-headlining tour with Bush and The Cult.


title: Stone Temple Pilots

text: On October 4, 2019, Eric Kretz told "Loudwire" that a new album was complete and includes a flute solo. On December 2, the band announced that their eighth studio album, "Perdida", would be released on February 7, 2020, and would be "an acoustic record largely recorded on vintage instruments".


title: Stone Temple Pilots

text: The band's sound is considered a blending of the alternative rock of the 1980s and 1990s with the hard rock of the 1970s, though the band is known for making each of their records possess a unique musical style, despite having the "sonic blueprint" of the band, as Robert DeLeo describes. Stone Temple Pilots have also been described as alternative metal.


title: Stone Temple Pilots

text: Aerosmith was a large influence on the band collectively, with guitarist Dean DeLeo acknowledging the band's influence on songs such as "Huckleberry Crumble" off their 2010 self-titled record. Steven Tyler and Joe Perry joined the band onstage at a 1996 show in Madison Square Garden for renditions of the Aerosmith songs "Sweet Emotion" and "Lick and a Promise". All of the band members were Kiss fans during their childhood, and played shows at the Roseland Ballroom in 1993 dressed in Kiss-style makeup.


title: Stone Temple Pilots

text: During the taping of their VH1 Storytellers performance, Weiland acknowledged artists such as The Rolling Stones, Neil Young and Robert Plant as their musical heroes. The band has covered songs by artists such as the Beatles, Led Zeppelin, The Doors, Pink Floyd, James Brown, David Bowie, and Bob Marley both live and in the studio.


title: Stone Temple Pilots

text: Early in their career, the band was considered to be a part of the grunge movement. Despite assertions by critics that their style in the early–mid 1990s was derived from contemporary artists such as Alice in Chains and Soundgarden, the band maintained that the similarities were coincidental, due in part to having the same musical idols growing up. Much of the comparison was directed at Weiland's vocal style drawing similarities to that of Eddie Vedder's. Weiland stated that his vocal style is influenced by Jim Morrison and David Bowie, who also served as his main fashion influence. Weiland has been called a chameleon due to his ability to change his vocal and fashion style.


title: Stone Temple Pilots

text: Regarding the band's musical evolution, Weiland commented in 2014 that "with STP, we never stuck to it. We saw that even great movements only last a certain period of time and you don't want to be pigeonholed, so we got into other things, like the Beatles were a big influence, glam was a big influence, and it morphed along the way. I'm proud of the legacy we created and where we stand among those other peers at the time."


title: Stone Temple Pilots

text: Guitarist Dean DeLeo uses heavily layered and distorted guitar playing, while bassist Robert DeLeo draws influence from genres such as rhythm and blues, lounge music, and ragtime. Although the band's early demo recordings displayed a funk rock sound, the band's first album "Core" was a straightforward display of grunge.


title: Stone Temple Pilots

text: After reconvening in the studio for their second album, "Purple", the band's style developed, taking influence from psychedelic rock, country music, and jangle pop. The band continued to diverge into various genres and influences; for example, songs like "And So I Know" on "Tiny Music..." have a distinct bossa nova sound. Regarding the evolution of the band's sound, Weiland commented that "the transformation from "Core" to where we ended up before we took that time off, when I started with Velvet Revolver, was enormous."


title: Stone Temple Pilots

text: Weiland was the band's primary lyricist. His style changed with the band's evolution; much of the lyrics on "Core" were written about societal issues such as religion, abuse of power, and isolation. The band's breakthrough single "Sex Type Thing" polarized critics with its lyrics, some interpreting it as advocacy of date rape. Weiland intended it as a feminist anthem, with its lyrics written in mockery of the narrator. As Weiland began to deal with substance abuse, his lyrics became more personal and intricate; songs like "Interstate Love Song" deal with his addiction's tolls on his relationship with his then-wife, Janina. The lyrics of the band's fourth album were written to provide closure to his marriage and addiction to heroin.


title: Stone Temple Pilots

text: Following the band's reunion in 2008, Weiland once again evolved as a songwriter, explaining: "[In] the '90s, I was so overwhelmed with my heroin addiction, and so a lot of the stuff was just from my point of view. Now, I tend to look at some of the greats like Leonard Cohen and Bob Dylan. I look at their storytelling [and] I try to tell stories. Every song doesn't have to be narcissistically written about how I feel on that day."


title: Stone Temple Pilots

text: "Core," certified 8× platinum by the RIAA, drove the band to popularity. STP went on to become one of the most commercially successful rock bands of the 1990s, selling 40 million records worldwide, including 17.5 million units in the United States, before their dissolution in 2003. The band has had 16 top ten singles on the Billboard rock charts, eight of which peaked at No. 1, and one No. 1 album for "Purple" in 1994. That same year, the band won a Grammy for "Best Hard Rock Performance" for the song "Plush" from the album "Core". Stone Temple Pilots were also ranked No. 40 on VH1's "The 100 Greatest Artists of Hard Rock".


title: Stone Temple Pilots

text: Despite being unpopular with critics in their heyday, Stone Temple Pilots have proved to be a popular and influential act. In retrospect, MTV writer James Montgomery published an article questioning the validity of music critics' opinions of the band during the 90s, saying, "All I'm suggesting is that perhaps it's time to admit that we were wrong about them from the get-go—that we treated them unfairly." In a review of the band's 2003 greatest hits collection "Thank You," AllMusic critic Stephen Erlewine wrote that "STP made music that sounded great at the time and even better now", and that "this music has stood the test of time", calling "Thank You" "nearly perfect". Erlewine also wrote that "STP was the best straight-ahead rock singles outfit of their time."


title: Stone Temple Pilots

text: After the death of Scott Weiland, Smashing Pumpkins singer Billy Corgan paid official tribute to the band and musician, calling him one of the greatest voices of their generation:


title: Stone Temple Pilots

text: <poem>"It was, I'd guess you'd say, my way of apology for having been so critical of STP when they appeared on the scene like some crazy, man-fueled rocket. And not only was the knight up front freshly handsome to a fault, but he could sing too! As any supreme actor gives a real and different voice to each character played. It was STP's 3rd album that had got me hooked, a wizardly mix of glam and post-punk, and I confessed to Scott, as well as the band many times, how wrong I'd been in assessing their native brilliance. And like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere. Lastly, I'd like to share a thought which though clumsy, I hope would please Scott In Hominum. And that is if you asked me who I truly believed were the great voices of our generation, I'd say it were he, Layne, and Kurt."</poem>


title: Stone Temple Pilots

text: On December 3, 2016, STP posted a tribute on their website to mark the one year anniversary of Weiland's death. In 2017, Metal Injection ranked Stone Temple Pilots at number 9 on their list of "10 Heaviest Grunge Bands".


title: Galápagos Islands

text: The Galápagos Islands (Spanish: , , ) are an archipelago of volcanic islands. They are distributed on each side of the equator in the Pacific Ocean, surrounding the centre of the Western Hemisphere, and are part of the Republic of Ecuador. Located west of continental Ecuador, the islands are known for their large number of endemic species that were studied by Charles Darwin during the second voyage of HMS "Beagle". His observations and collections contributed to the inception of Darwin's theory of evolution by means of natural selection.


title: Galápagos Islands

text: The Galápagos Islands and their surrounding waters form the Galápagos Province of Ecuador, the Galápagos National Park, and the Galápagos Marine Reserve. The principal language on the islands is Spanish. The islands have a population of slightly over 25,000.


title: Galápagos Islands

text: The first recorded visit to the islands happened by chance in 1535, when Fray Tomás de Berlanga, the Bishop of Panamá, was surprised to find this undiscovered land on a voyage to Peru to arbitrate in a dispute between Francisco Pizarro and Diego de Almagro. Berlanga eventually returned to the Spanish Empire and described the conditions of the islands and the animals that inhabited them. The group of islands was shown and named "Insulae de los Galopegos" (Islands of the tortoises) in Abraham Ortelius's map "America Sive Novi Orbis" published in 1570. The first crude map of the islands was made in 1684 by the buccaneer Ambrose Cowley, who named the individual islands after some of his fellow pirates or after English royalty and noblemen. These names were used in the authoritative navigation charts of the islands prepared during the "Beagle" survey under captain Robert FitzRoy, and in Darwin's popular book "The Voyage of the Beagle". The newly independent Republic of Ecuador took the islands from Spanish ownership in 1832, and subsequently gave them new Spanish names. The older names remained in use in English-language publications, including Herman Melville's "The Encantadas" of 1854.


title: Galápagos Islands

text: Administratively, Galapagos constitutes one of the provinces of Ecuador, made up of three cantons that bear the names of its most populated islands, namely: San Cristóbal, Santa Cruz and Isabela.


title: Galápagos Islands

text: Volcanism has been continuous on the Galápagos Islands for at least 20 million years, and perhaps even longer. The mantle plume beneath the east-ward moving Nazca Plate (51 km/myr) has given rise to a 3-kilometre-thick platform under the island chain and seamounts. Besides the Galápagos Archipelago, other key tectonic features in the region include the Northern Galápagos Volcanic Province between the archipelago and the Galápagos Spreading Center (GSC) 200 km to the north at the boundary of the Nazca Plate and the Cocos Plate. This spreading center truncates into the East Pacific Rise on the west and is bounded by the Cocos Ridge and Carnegie Ridge in the east. Furthermore, the Galápagos Hotspot is at the northern boundary of the Pacific Large Low Shear Velocity Province while the Easter Hotspot is on the southern boundary.


title: Galápagos Islands

text: The Galápagos Archipelago is characterized by numerous contemporaneous volcanoes, some with plume magma sources, others from the asthenosphere, possibly due to the young and thin oceanic crust. The GSC caused structural weaknesses in this thin lithosphere leading to eruptions forming the Galápagos Platform. Fernandina and Isabela in particular are aligned along these weaknesses. Lacking a well-defined rift zone, the islands have a high rate of inflation prior to eruption. Sierra Negra on Isabela Island experienced a 240 cm uplift between 1992 and 1998, most recent eruption in 2005, while Fernandina on Fernandina Island indicated an uplift of 90 cm, most recent eruption in 2009. Alcedo on Isabela Island had an uplift of greater than 90 cm, most recent eruption in 1993. Additional characteristics of the Galápagos Archipelago are closer volcano spacing, smaller volcano sizes, and larger calderas. For instance, Isabela Island includes 6 major volcanoes, Ecuador, Wolf, Darwin, Alcedo, Sierra Negraa and Cerro Azul, with most recent eruptions ranging from 1813 to 2008. The neighboring islands of Santiago and Fernandina last erupted in 1906 and 2009, respectively. Overall, the 9 active volcanoes in the archipelago have erupted 24 times between 1961 and 2011. The shape of these volcanoes is tall and rounded as opposed wide and smooth in the Hawaiian Islands. The Galápagos's shape is due to the pattern of radial and circumferential fissure, radial on the flanks, but circumferential near the caldera summits. It is the circumferential fissures which give rise to stacks of short lava flows.


title: Galápagos Islands

text: The volcanoes at the west end of the archipelago are in general, taller, younger, have well developed calderas, and are mostly composed of tholeiitic basalt, while those on the east are shorter, older, lack calderas, and have a more diverse composition. The ages of the islands, from west to east are 0.05 Ma for Fernandina, 0.65 Ma for Isabela, 1.10 Ma for Santiago, 1.7 Ma for Santa Cruz, 2.90 Ma for Santa Fe, and 3.2 Ma for San Cristobal. The calderas on Sierra Negra and Alcedo have active fault systems. The Sierra Negra fault is associated with a sill 2 km below the caldera. The caldera on Fernandina experienced the largest basaltic volcano collapse in history, with the 1968 phreatomagmatic eruption. Fernandina has also been the most active volcano since 1790, with recent eruptions in 1991, 1995, 2005, and 2009, and the entire surface has been covered in numerous flows since 4.3 Ka. The western volcanoes have numerous tuff cones.


title: Galápagos Islands

text: The islands are located in the eastern Pacific Ocean, off the west coast of South America. The majority of islands are also more broadly part of the South Pacific. The closest land mass is that of mainland Ecuador, the country to which they belong, to the east.


title: Galápagos Islands

text: The islands are found at the coordinates 1°40'N–1°36'S, 89°16'–92°01'W. Straddling the equator, islands in the chain are located in both the northern and southern hemispheres, with Volcán Wolf and Volcán Ecuador on Isla Isabela being directly on the equator. Española Island, the southernmost islet of the archipelago, and Darwin Island, the northernmost one, are spread out over a distance of . The International Hydrographic Organization (IHO) considers them wholly within the South Pacific Ocean, however. The Galápagos Archipelago consists of of land spread over of ocean. The largest of the islands, Isabela, measures and makes up close to three-quarters of the total land area of the Galápagos. Volcán Wolf on Isabela is the highest point, with an elevation of above sea level.


title: Galápagos Islands

text: The group consists of 18 main islands, 3 smaller islands, and 107 rocks and islets. The islands are located at the Galapagos Triple Junction. The archipelago is located on the Nazca Plate (a tectonic plate), which is moving east/southeast, diving under the South American Plate at a rate of about per year. It is also atop the Galápagos hotspot, a place where the Earth's crust is being melted from below by a mantle plume, creating volcanoes. The first islands formed here at least 8 million and possibly up to 90 million years ago.


title: Galápagos Islands

text: While the older islands have disappeared below the sea as they moved away from the mantle plume, the youngest islands, Isabela and Fernandina, are still being formed. In April 2009, lava from the volcanic island Fernandina started flowing both towards the island's shoreline and into the center caldera.


title: Galápagos Islands

text: In late June 2018, Sierra Negra, one of five volcanoes on Isabela and one of the most active in the Galapagos archipelago, began erupting for the first time since 2005. Lava flows made their way to the coastline, prompting the evacuation of about fifty nearby residents and restricting tourist access.


title: Galápagos Islands

text: The 18 main islands (each having a land area at least 1 km) of the archipelago (with their English names) shown alphabetically:


title: Galápagos Islands

text: Although the islands are located on the equator, the Humboldt Current brings cold water to them, causing frequent drizzles during most of the year. The weather is periodically influenced by the El Niño events, which occur about every 3 to 7 years and are characterized by warm sea surface temperatures, a rise in sea level, greater wave action, and a depletion of nutrients in the water.


title: Galápagos Islands

text: During the season known as the "garúa" (June to November), the temperature by the sea is , a steady and cold wind blows from south and southeast, frequent drizzles ("garúas") last most of the day, and dense fog conceals the islands. During the warm season (December to May), the average sea and air temperature rises to , there is no wind at all, there are sporadic, though strong, rains and the sun shines.


title: Galápagos Islands

text: Weather changes as altitude increases in the large islands. Temperature decreases gradually with altitude, while precipitation increases due to the condensation of moisture in clouds on the slopes. There is a large range in precipitation from one place to another, not only with altitude, but also depending on the location of the islands, and also with the seasons.


title: Galápagos Islands

text: The archipelago is mainly characterized by a mixture of a tropical savanna climate and a semi-arid climate. It also transits into a tropical rainforest climate in the northwest.


title: Galápagos Islands

text: The following table corresponding to the wet 1969 shows the variation of precipitation in different places of Santa Cruz Island:


title: Galápagos Islands

text: The precipitation also depends on the geographical location. During March 1969, the precipitation over Charles Darwin Station, on the southern coast of Santa Cruz was , while on Baltra Island, the precipitation during the same month was only . This is because Baltra is located behind Santa Cruz with respect to the prevailing southerly winds, so most of the moisture gets precipitated in the Santa Cruz highlands.


title: Galápagos Islands

text: There are significant changes in precipitation from one year to another, too. At Charles Darwin Station, the precipitation during March 1969 was , but during March 1970, it was only .


title: Galápagos Islands

text: On the larger islands, the pattern of generally wet highlands and drier lowlands affects the flora. The vegetation in the highlands tends to be green and lush, with tropical woodland in places. The lowland areas tend to have arid and semi-arid vegetation, with many thorny shrubs and cacti, and almost bare volcanic rock elsewhere.


title: Galápagos Islands

text: Most of the Galápagos is covered in semi-desert vegetation, including shrublands, grasslands, and dry forest. A few of the islands have high-elevation areas with cooler temperatures and higher rainfall, which are home to humid-climate forests and shrublands, and montane grasslands ("pampas") at the highest elevations. There are about 500 species of native vascular plants on the islands, including 90 species of ferns. About 180 vascular plant species are endemic.


title: Galápagos Islands

text: The islands are well known for their distinctive endemic species, including giant tortoises, finches, flightless cormorants, Galápagos lava lizards and marine iguanas, which evolved to adapt to islands' environments.


title: Galápagos Islands

text: Whether the Incas ever made it to the islands is disputed. Oceanic Pacific islands in the same general area as Galápagos (including Clipperton Island, Cocos Island, Desventuradas Islands, Juan Fernández Islands and the Revillagigedo Islands) were all uninhabited when discovered by Europeans, with nothing to indicate any prehistoric human activity. The easternmost oceanic island in the South Pacific that was discovered with a human population was Easter Island. Through DNA studies and linguistics, its population, the Rapa Nui people, are known to be Polynesian rather than Indigenous American.


title: Galápagos Islands

text: In 1572, Spanish chronicler Pedro Sarmiento de Gamboa claimed that Topa Inca Yupanqui, the second Sapa Inca of the Inca Empire had visited the archipelago, but there is little evidence for this, and many experts consider it a far-fetched legend, especially since the Incas were not seafaring people. According to a 1952 archaeological survey by Thor Heyerdahl and Arne Skjølsvold, potsherds and other artifacts from several sites on the islands suggest visitation by South American peoples in pre-Columbian era. The group located an Inca flute and shards from more than 130 pieces of ceramics, which were later identified as pre-Incan. However, no remains of graves, ceremonial vessels or constructions have ever been found, suggesting no permanent settlement occurred before the Spanish arrived in the 16th century. A 2016 reanalysis of Heyerdahl and Skjølsvold's archaeological sites rejected their conclusions. They found that at all locations, artifacts of Indian and European origin were interspersed without the distinct spatial or stratigraphic arrangement that would be expected from independent sequential deposition (indeed, Heyerdahl and Skjølsvold had reported the intermixing of European and American artifacts in their original report). Radiocarbon dates from the sites placed them in the historical (post-Spanish-arrival) era, and preliminary paleoenvironmental analysis showed no disturbance older than 500 years before present, suggesting the islands were probably not visited prior to their Spanish discovery in 1535. The authors suggested that native artifacts found by Heyerdahl and Skjølsvold had probably been brought as mementos or souvenirs at the time of Spanish occupation.


title: Galápagos Islands

text: European discovery of the Galápagos Islands occurred when Spaniard Fray Tomás de Berlanga, the fourth Bishop of Panama, sailed to Peru to settle a dispute between Francisco Pizarro and his lieutenants. Berlanga's vessel drifted off course when the winds diminished, and his party reached the islands by mere chance on 10 March 1535. They were uninhabited, and continued to remain unclaimed once the men left.


title: Galápagos Islands

text: The Galápagos Islands first appeared on the maps of Gerardus Mercator and Abraham Ortelius, in about 1570. The islands were named "Insulae de los Galopegos" (Islands of the Tortoises) in reference to the giant tortoises found there.


title: Galápagos Islands

text: The first English captain to visit the Galápagos Islands was Richard Hawkins, in 1593. Until the early 19th century, the archipelago was often used as a hideout by mostly English pirates who attacked a Spanish treasure fleet carrying gold and silver from South America to Spain.


title: Galápagos Islands

text: In 1793, James Colnett described the flora and fauna of Galápagos, and suggested the islands could be used as base for the whalers operating in the Pacific Ocean. He drew the first accurate navigation charts of the islands. Whalers and maritime fur traders killed and captured thousands of the Galápagos tortoises to extract their fat. The tortoises could be kept on board ship as a means of providing of fresh protein, as these animals could survive for several months on board without any food or water. The hunting of the tortoises was responsible for greatly diminishing, and in some cases eliminating, certain species. Along with whalers came the fur-seal hunters, who brought the population of this animal close to extinction.


title: Galápagos Islands

text: The first known permanent human resident on Galápagos was Patrick Watkins, an Irish sailor who was marooned on the Island Floreana from 1807 to 1809. According to later accounts, Watkins managed to survive by hunting, growing vegetables and trading with visiting whalers, before finally stealing an open boat and navigating to Guayaquil.


title: Galápagos Islands

text: In 1818 the Nantucket whaleship "Globe", under Captain George Washington Gardner, discovered a "mother lode" of sperm whales some thousand miles west of the South American coast approximately at the equator. He returned to Nantucket in 1820 with more than 2,000 barrels of sperm whale oil and the news of his discovery. This led to an influx of whaleships to exploit the new whaling ground and the Galápagos Islands became a frequent stop for the whalers both before and after visiting what came to be known as the Offshore Grounds. This led to the establishment in the Galápagos Islands of a kind of unofficial "post office" where whaleships stopped to pick up and drop off letters as well as for provisioning and repairing.


title: Galápagos Islands

text: In October 1820, the whaleship "Essex", out of Nantucket, stopped at the Galápagos for these purposes on its way to the Offshore Grounds. On what was then known as Charles Island, while most of the crew were hunting tortoises one crewmember, English boatsteerer Thomas Chappel, for reasons still unclear, lit a fire which quickly burned out of control. Some of the tortoise hunters had a narrow escape and had to run a gauntlet of fire to get back to the ship. Soon almost the entire island was in flames. Crewmembers reported that after a day of sailing away they could still see the flames against the horizon. One crewmember who returned to the Galápagos several years afterward described the entire island as still a blackened wasteland.


title: Galápagos Islands

text: Ecuador annexed the Galápagos Islands on 12 February 1832, naming them the Archipelago of Ecuador. This new name added to several names that had been, and are still, used to refer to the archipelago. The first governor of Galápagos, General José de Villamil, brought a group of convicts to populate the island of Floreana, and in October 1832, some artisans and farmers joined them.


title: Galápagos Islands

text: The voyage of the "Beagle" brought the survey ship HMS "Beagle", under captain Robert FitzRoy, to the Galápagos on 15 September 1835 to survey approaches to harbours. The captain and others on board, including his companion, the young naturalist Charles Darwin, made observations on the geology and biology on Chatham, Charles, Albemarle and James islands before they left on 20 October to continue on their round-the-world expedition. Primarily a geologist at the time, Darwin was impressed by the quantity of volcanic craters they saw, later referring to the archipelago as "that land of craters". His study of several volcanic formations over the five weeks he stayed in the islands led to several important geological discoveries, including the first, correct explanation for how volcanic tuff is formed. Darwin noticed the mockingbirds differed between islands, though he thought the birds now known as Darwin's finches were unrelated to each other, and did not bother labelling them by island. Nicholas Lawson, acting Governor of Galápagos for the Republic of Equator, met them on "Charles Island", and as they walked to the prison colony, Lawson told Darwin the tortoises differed from island to island. Towards the end of the voyage, Darwin speculated that the distribution of the mockingbirds and the tortoises might "undermine the stability of Species". When specimens of birds were analyzed on his return to England, it was found that many apparently different kinds of birds were species of finches, which were unique to islands. These facts were crucial in Darwin's development of his theory of natural selection explaining evolution, which was presented in "On the Origin of Species".


title: Galápagos Islands

text: In April 1888 , a Navy-crewed research vessel assigned to the United States Fish Commission, briefly touched eight islands in the Galapagos group for specimens; this included Wreck Bay on Chatham Island (now San Cristóbal Island) on 4 April and Charles Island (now Floreana Island) on 8 April.