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Canadian author and cartoonist Brian Lee O’Malley’s graphic novel series,
Scott Pilgrim, weaves a narrative rich with pop culture. It explores the
themes of teenage angst, love, redemption, hubris, and pride, all while
providing a distinctly Canadian perspective on emo, indie rock, and shounen manga.
This coming-of-age tale follows an initially unlikable teen navigating
the 2000s across six graphic novels filled with clever nods to everything
from Japanese manga and Western superheroes to video games and Tintin.
Notably, it has also inspired a hit movie, a Netflix animated series in
2022, and a video game released in 2010, both of which featured music
by Anamanaguchi, an indie rock band based in New York City.

“My favorite scene in the Scott Pilgrim cartoon is when Knives and Kim
are just jamming in a room together and not much happens,” laughs
Peter Berkman, one of the band’s lead songwriters and guitarists.
“It really touched my heart. It’s not a joke.”

Anamanaguchi first gained recognition for their instrumental music
utilizing video game hardware, solidifying their place as pioneers in the
chiptune genre
while still in college. During their inaugural self-funded tour, Berkman
received an unexpected email from someone at Ubisoft.

“We got an email from someone working at Ubisoft about a video game for
a Universal IP tie-in, but they didn’t elaborate. We thought, ‘Maybe a
new Alien vs. Predator game or something along those lines?’ Regardless of
the particulars, we knew we’d want to take it to the band and say yes.
I’ve always loved game and movie soundtracks.” It turned out to be an
offer to compose music for the first Scott Pilgrim video game, released in 2010.

Currently, Anamanaguchi is experiencing a resurgence. When the game
was re-released as a complete edition in 2022, the band launched the
Scott Pilgrim vs. the World: Game Soundtrack Tour. Last year, they
composed and performed music for Scott Pilgrim Takes Off, a Netflix
spinoff that offers a meta-commentary on Scott’s life. This year,
they supported Hatsune Miku at the Fortnite Festival, showcasing their
long-standing connection to the realms of video games and live music
while releasing their first album in six years, titled Anyway, in August.
This album presents an intriguing alt-rock interpretation of their signature
synth bass sounds, still echoing their 8-bit influences. They are also
in the process of creating the soundtrack for the upcoming Scott Pilgrim
game, another engaging fighting game set to launch next year.

One segment of the band is delving into analog sounds and alternative rock angst,
while another group is rejuvenating their connection to Scott Pilgrim.
“Working on the soundtrack for the new game Scott Pilgrim EX revealed how we can adjust
our record world, further embracing the soundtrack style suited for the game,” Berkman shared.

Berkman noted that in the 15 years since their last collaboration, the band has
evolved in how they approach music. They’ve gained experience as producers,
become “listeners of music,” and have an even broader appreciation for the
diverse styles within video game music.

“It’s vital to establish a connection between the player’s experience and the
narrative unfolding at that moment, even as an adversary,” Berkman elaborated.
“If the moment demands something dark, gothic, or industrial, we can deliver it.
The freedom to blend these elements in a way never done before is crucial.
[Scott Pilgrim EX developer Tribute Games] actually let me experiment with audio mixing.
The musical cues we desire are paramount to us. The way the music flows, the rhythm…
with video game soundtracks, it’s where you can truly feel the authorship.”

After experiencing the Scott Pilgrim EX demo, it’s evident that Tribute Games’
trust in the band has paid off. The music is lively and playful, cleverly bending
norms, creating prompts and expectations. The sound effects and motifs meld seamlessly
into the level’s texture. It evokes feelings reminiscent of Sea Power’s contributions
to Disco Elysium, despite the starkly different tones—pixel art, neon colors, and
the spirit of joyful adolescence.

“Tribute Games has afforded us a degree of freedom that is usually only granted
to companies that are still finding their footing,” Berkman chuckles. “Our involvement
in the development process has been refreshing compared to last time. Nightly builds
allow us to ask, ‘Is this stagnant? Do we need to add segments here?'” This level of
collaboration has deepened our understanding of arrangement and atmosphere.
This is the soundtrack we aspired to create.”