It has been suggested that Landfill indie be merged into this article or section. (Discuss) Proposed since July 2011.

Indie rock is a genre of alternative rock that originated in the United Kingdom and the United States in the 1980s. Indie rock is extremely diverse, with sub-genres that include indie pop, grunge, jangle pop, C86, and lo-fi, among others. Originally used to describe record labels, the term became associated with the music they produced and was initially used interchangeably with alternative rock. As grunge and punk revival bands in the US, and then Britpop bands in the UK, broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground and less testosterone-driven perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, a number of indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term.

Characteristics[link]

Indie rock, derived from "independent", describes the small and relatively low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are often struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds, emotions and subjects of limited appeal to large, mainstream audiences.^[1] The influences and styles of the artists has been extremely diverse, including punk, psychedelia, rock and country.^[2] The terms alternative rock and indie rock were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s it began to be used to distinguish those bands, working in a variety of styles, that did not pursue or achieve commercial success.^[1]

Allmusic identifies indie rock as including a number of styles that are: "too sensitive and melancholy; too soft and delicate; too dreamy and hypnotic; too personal and intimately revealing in its lyrics; too low-fidelity and low-budget in its production; too angular in its melodies and riffs; too raw, skronky and abrasive, wrapped in too many sheets of Sonic Youth/Dinosaur Jr./Pixies/Jesus & Mary Chain-style guitar noise; too oblique and fractured in its song structures; too influenced by experimental or otherwise unpopular musical styles." Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.^[3] Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but virtually unknown outside them.^[4]

Indie rock has been identified as a reaction against the "macho" culture that developed in alternative rock in the aftermath of Nirvana's success.^[1] It has been noted that indie rock has a relatively high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear.^[5]

History[link]

Origins: 1980s[link]

College rock and noise rock[link]

The Jesus and Mary Chain performing in California in 2007

In the mid-1980s, the term "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves.^[2] The indie rock scene in the US was prefigured by the college rock^[6] that dominated college radio playlists, which included key bands like R.E.M. from the US and The Smiths from the UK.^[7] These bands rejected the dominant synthpop of the early 1980s,^[8][9] and helped inspire guitar-based jangle pop; other important bands in the genre included 10,000 Maniacs and the dB's from the US, and The Housemartins and The La's from the UK. In the United States, the term was particularly associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Minutemen, Meat Puppets, Dinosaur Jr., and The Replacements.^[7] The most abrasive and discordant outgrowth of punk was noise rock, which emphasised loud distorted electric guitars bands and powerful drums, and was pioneered by bands including Sonic Youth, Swans, Big Black and Butthole Surfers.^[10] A number of prominent indie rock record labels were founded during the 1980s. These include Washington, DC's Dischord Records in 1980, Seattle's Sub Pop Records in 1986^[11] and New York City's Matador Records and Durham, North Carolina's Merge Records in 1989. Chicago's Touch and Go Records was founded as a fanzine in 1979 and began to release records during the 1980s.^[12]

Indie pop[link]

In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986. It gave its name to the indie pop scene that followed, which was a major influence on the development of the British indie scene as a whole.^[13][14] Major precursors of indie pop included Postcard bands Josef K and Orange Juice, and significant labels included Creation, Subway and Glass.^[15] The Jesus and Mary Chain's sound combined the Velvet Underground's "melancholy noise" with Beach Boys pop melodies and Phil Spector's "Wall of Sound" production,^[16][17] while New Order emerged from the demise of post-punk band Joy Division and experimented with techno and house music.^[18] The Mary Chain, along with Dinosaur Jr, indie pop and the dream pop of Cocteau Twins, were the formative influences for the shoegazing movement of the late 1980s. Named for the band members' tendency to stare at their feet and guitar effects pedals onstage rather than interact with the audience, acts like My Bloody Valentine, and later Slowdive and Ride created a loud "wash of sound" that obscured vocals and melodies with long, droning riffs, distortion, and feedback.^[19] The other major movement at the end of the 1980s was the drug-fuelled Madchester scene. Based around The Haçienda, a nightclub in Manchester owned by New Order and Factory Records, Madchester bands such as Happy Mondays and The Stone Roses mixed acid house dance rhythms, Northern soul and funk with melodic guitar pop.^[20]

Development: 1990s[link]

Alternative enters the mainstream[link]

Pavement singer/guitarist Stephen Malkmus

The 1990s brought major changes to the alternative rock scene. Grunge bands such as Nirvana, Pearl Jam, Soundgarden and Alice in Chains broke into the mainstream, achieving commercial chart success and widespread exposure.^[1] Punk revival bands like Green Day and The Offspring also became popular and were grouped under the "alternative" umbrella.^[3] Similarly, in the United Kingdom Britpop saw bands like Blur and Oasis emerge into the mainstream, abandoning the regional, small-scale and political elements of the 1980s indie scene.^[21] As a result of these changes the term "alternative" lost its original counter-cultural meaning and began to refer to the new, commercially lighter form of music that was now achieving mainstream success. The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status.^[1] Ryan Moore has argued that in the wake of the appropriation of alternative rock by the corporate music industry that what became known as indie rock increasingly turned to the past to produce forms of "retro" rock that drew on garage rock, rockabilly, blues, country and swing.^[22]

Diversification[link]

By the end of the 1990s indie rock developed a number of sub-genres and related styles. Following indie pop these included lo-fi, noise pop, emo, sadcore, post-rock, space rock and math rock.^[1] lo-fi eschewed polished recording techniques for a D.I.Y. ethos and was spearheaded by Beck, Sebadoh and Pavement,^[3] who were joined by eclectic folk and rock acts of the Elephant 6 collective, including Neutral Milk Hotel, Elf Power and of Montreal.^[23] The work of Talk Talk and Slint helped inspire post-rock (an experimental style influenced by jazz and electronic music, pioneered by Bark Psychosis and taken up by acts such as Tortoise, Stereolab, and Laika),^[24][25] as well as leading to more dense and complex, guitar-based math rock, developed by acts like Polvo and Chavez.^[26] Space rock looked back to progressive roots, with drone-heavy and minimalist acts like Spacemen 3 in the 1980s, Spectrum and Spiritualized, and later groups including Flying Saucer Attack, Godspeed You Black Emperor! and Quickspace.^[27] In contrast, sadcore emphasized pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands like American Music Club and Red House Painters,^[28] while the revival of Baroque pop reacted against lo-fi and experimental music by placing an emphasis on melody and classical instrumentation, with artists like Arcade Fire, Belle & Sebastian and Rufus Wainwright.^[29] The emo movement, which had grown out of the hardcore punk scene in the 1980s with bands like Fugazi and Rites of Spring, gained popularity as the 1990s progressed. Elliott, Sunny Day Real Estate, The Promise Ring, The Get Up Kids and others brought a more melodic sound to the genre.^[30][31] Weezer's Pinkerton (1996) introduced the genre to a wider and more mainstream audience.^[32]

Mainstream success: 2000s–present[link]

In the 2000s, the changing music industry, the decline in record sales, the growth of new digital technology and increased use of the Internet as a tool for music promotion allowed a new wave of indie rock bands to achieve mainstream success.^[33] This new commercial breakthrough and the widespread use of the term "indie" to other forms of popular culture, led a number of commentators to suggest that indie rock had ceased to be a meaningful term.^[34][35][36]

During the decade the term which previously in the United States had very limited usage "became the label of choice for Americans – and an even greater worldwide audience – to talk about modern rock and pop music". Wendy Fonarow, an anthropology professor and author of the book Empire of Dirt: The Aesthetics and Rituals of British Indie Culture, asserts that this change occurred because at the turn of the century American bands began to be influenced by British indie music and the Internet, which made British music publications and online music websites such as Pitchfork Media immediately available to readers.^[37]

Garage rock/post-punk revival[link]

The Strokes on stage in 2005

In the early 2000s, a new group of bands that played a stripped-down and back-to-basics version of guitar rock emerged into the mainstream. They were variously characterised as part of a garage rock, New Wave or post-punk revival.^{[38][39][40][41]} Because the bands came from across the globe, cited diverse influences (from traditional blues, through New Wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed.^[42] There had been attempts to revive garage rock and elements of punk in the 1980s and 1990s and by 2000 scenes had grown up in several countries.^[43] The Detroit rock scene included The Von Bondies, Electric Six, The Dirtbombs and The Detroit Cobras^[44] and that of New York Radio 4, Yeah Yeah Yeahs and The Rapture.^[45] Elsewhere, the Oblivians from Memphis,^[46] Billy Childish and The Buff Medways from Britain,^[47] The (International) Noise Conspiracy from Sweden,^[48] and The 5.6.7.8's from Japan,^[49] enjoyed underground, regional or national success.

The commercial breakthrough from these scenes was led by four bands: The Strokes, who emerged from the New York club scene with their début album Is This It (2001); The White Stripes, from Detroit, with their third album White Blood Cells (2001); The Hives from Sweden, after their compilation album Your New Favourite Band (2001); and The Vines from Australia with Highly Evolved (2002).^[50] They were christened the "The" bands by the media, and dubbed "The saviours of rock 'n' roll", leading to accusations of hype.^[51] A second wave of bands that managed to gain international recognition as a result of the movement included The Black Keys, Black Rebel Motorcycle Club, Modest Mouse, The Killers, Interpol and Kings of Leon from the US.^[52] From the UK were The Libertines, Franz Ferdinand, Bloc Party, Editors,^[53] The Fratellis, Placebo, Razorlight, Kaiser Chiefs and The Kooks.^[54] Arctic Monkeys were the most prominent act to owe their initial commercial success to the use of Internet social networking.^[55] Also successful were Jet from Australia,^[56] and The Datsuns and The D4 from New Zealand.^[57]

Emo[link]

Emo also broke into mainstream culture in the early 2000s, with the platinum-selling success of Jimmy Eat World's Bleed American (2001) and Dashboard Confessional's The Places You Have Come to Fear the Most (2003).^[58] The new emo had a much more mainstream sound than in the 1990s and a far greater appeal amongst adolescents than its earlier incarnations.^[58] At the same time, use of the term "emo" expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion.^[59] The term "emo" has been applied by critics and journalists to a variety of artists, including multi-platinum acts such as Fall Out Boy^[60] and My Chemical Romance^[61] and disparate groups such as Paramore^[60] and Panic at the Disco,^[62] even when they reject the label.

"Indie Pop"[link]

Arcade Fire at Rock en Seine in 2007

Existing indie bands that were now able to enter the mainstream included more musically and emotionally complex bands^[63] including Modest Mouse (whose 2004 album Good News for People Who Love Bad News reached the US top 40 and was nominated for a Grammy Award), Bright Eyes (who in 2004 had two singles at the top of the Billboard magazine Hot 100 Single Sales)^[64] and Death Cab for Cutie (whose 2005 album Plans debuted at number four in the US, remaining on the Billboard charts for nearly one year and achieving platinum status and a Grammy nomination).^[65] By the end of the decade the proliferation of indie bands was being referred to as "indie landfill",^[66] a description coined by Andrew Harrison of The Word magazine,^[67] and the dominance of pop and other forms of music over guitar-based indie was leading to predictions of the end of indie rock. However, there continued to be commercial successes like Kasabian's West Ryder Pauper Lunatic Asylum (2009), which reached number one in the UK.^[68] In 2010, Canadian band Arcade Fire's album The Suburbs reached number one on the Billboard charts in the United States and the official chart in the United Kingdom, winning a Grammy for Album of The Year.^[69]

Indie electronic[link]

Indie electronic, which had begun in the early 1990s with bands like Stereolab and Disco Inferno, took off in the new millennium as digital technology developed, with acts including Broadcast from the UK, Justice from France, Lali Puna from Germany and The Postal Service, and Ratatat and BOBBY^[70] from the US, mixing a variety of indie sounds with electronic music, largely produced on small independent labels.^[71][72] In Britain the combination of indie with dance-punk was dubbed new rave in publicity for Angular's Klaxons and the term was picked up and applied by the NME to bands^[73] including Trash Fashion,^[74] New Young Pony Club,^[75] Hadouken!, Late of the Pier, Test Icicles^[76] and Shitdisco,^[73] forming a scene with a similar visual aesthetic to earlier rave music.^[73][77]

See also[link]

• Independent music
• Underground music
• Indie music scene
• List of indie rock musicians

Notes[link]

The Cribs
The Cribs in Sao Paulo, Brazil, June 2011
Background information
Origin	Wakefield, West Yorkshire, England
Genres	Indie rock, garage rock, punk rock, lo-fi
Years active	2000–present
Labels	Wichita, Warner Bros., Universal
Website	www.thecribs.com
Members
Gary Jarman Ryan Jarman Ross Jarman
Past members
Johnny Marr

The Cribs are an English three-piece indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was made a formal member of the group in 2008. Marr would remain as part of the band until 2011; his departure was officially announced on 11 April through the band's website. Despite returning to the original trio, the band currently enlists David Jones of Nine Black Alps as a second guitarist for live shows. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time. They had outgrown this tag by the time of the commercial success of their third LP. In 2008, Q magazine described the band as "The biggest cult band in the UK".

History[link]

Formation and early years (2001–2003)[link]

The Cribs were formed in late 2001 as a recording project for the three brothers, who had set up their own Springtime Studios, a lo-fi, all analogue affair in an ancient mill.^[1] After recording a demo and garnering label interest, the band started playing live around this time, at venues like the Brudenell Social Club in Leeds, and "squats and warehouse parties" with artists such as Calvin Johnston, Subway Sect, Herman Dune, and Ballboy. They also released a split 7" single on Leeds based garage/riot grrrl/punk label Squirrel Records during this period with former Shove/Boyskout member Jen Schande.^[2] Limited to 300 copies on blue vinyl the record is now a rarity that sells for upwards of $150 on eBay.^[3] According to Mojo magazine, 'On the strength of one demo, the rush to find the UK Strokes saw the three-piece fielding calls from major labels, pluggers and label managers' in 2002.^[1] After several high profile support slots, the band signed to the fledgling independent label Wichita Recordings in 2003 "we thought (they) were great because they sounded a bit like Pavement and had a big hook. We went to see them at the Metro on Oxford Street and completely fell in love with them. They seemed like such an obvious pop band. Every song sounded like a single" - Mark Bowen, Wichita Recordings.^[4]

[edit] The Cribs (2004)

After signing with Wichita Recordings, the band began re-recording many of the songs from the original demo, as well as several new tracks for what would be their debut record. Sessions began in London with Chicago based avant-garde musician Bobby Conn producing, after the band had supported him on some UK dates and impressed him "They had this cassette demo they had recorded on a boom-box, I suggested overdubs, they were too kitchen-sink for overdubs. I tried handclaps, they were 'not sure about handclaps'. It was all 'Keep it real'" - Bobby Conn.^[1] Then sessions moved to Toe Rag Studios studios in Hackney with the band self-producing. The album was completed in 7 days, live to 8-track tape, with Ed Deegan engineering.

Released on 8 March 2004, the album found early supporters in the NME, who commented on its "supreme pop melodies", and referred to it as "lo-fi, hi fun" giving it an 8/10 review.^[5] Lo-fi would be a term that would follow the band around for the next few years, and something that became synonymous with the group. Again, from the NME in 2011: "Recorded in a week, it's the definition of indie lo-fi. But not willful indie lo-fi; the scratches, clangs and gawwumps all heard here are genuinely the product of the trio's shoestring methods rather than the usual contrived fuzz that bands spend ages poring over beaten up eight-tracks to achieve".^[6] Radio 1 DJ Steve Lamacq was also an early champion. Lois Wilson of Mojo magazine described the album in 2009 as "intelligent lyrics on a background of clipped guitars and tumbling drums, with nods to The Strokes, Beat Happening, and C86's inept charm"^[1] Three singles were released from the album – the limited edition 7" only "Another Number"/"Baby Don’t Sweat" in November 2003, followed by first single proper "You Were Always the One", which climbed to #2 in the indie charts. "What About Me" was the third and final single from the album, again making the indie top 10. The Cribs toured extensively throughout 2004 and into 2005, both as headliners as well as supporting artists like old friend Bobby Conn, Death Cab For Cutie and The Libertines. Over the campaign they toured the UK and Ireland, Europe, Japan, and the USA, as well as several significant international festival appearances such as Reading and Leeds Festivals, Summersonic, T in the Park and Pukkelpop amongst others.^[7] Though only a moderate underground success at the time "Another Number" has gone on to become one of the band's most enduring ‘hits’ – seldom being left off the set-list and usually accompanied by a full crowd sing-along of the signature, repeated guitar riff.^[4][8]

[edit] The New Fellas (2005–2006)

After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, The Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase.^[4][9]

The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like…They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it….they were tremendous" - Edwyn Collins.^[1] One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach.^[10]

The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record.^[6] The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, USA, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland.^[11][12] They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme.

Shortly before their appearance at the Fuji Rock festival, The Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums.

In their year-end issue, the NME made The New Fellas the #11 album of the year, and Hey Scenesters a single of the year.^[13]

[edit] Men's Needs, Women's Needs, Whatever (2007–2008)

At the conclusion of The New Fellas campaign, The Cribs signed a major label deal with Warner Bros. Records – though they remained on Wichita in the UK at the bands insistence. The subsequent album, Men's Needs, Women's Needs, Whatever saw the band finally take steps to progress forth from their 'lo-fi' roots, being recorded in Vancouver, BC, Canada with Alex Kapranos of Franz Ferdinand as producer. The band and producer had met during the US tour the bands did together with Death Cab for Cutie, and hit it off immediately.^[14] The album was mixed by Andy Wallace (Nirvana, Foo Fighters). They collaborated with Lee Ranaldo of Sonic Youth on the track "Be Safe" – Ranaldo contributing his spoken word poetry to the band's music.

Prior to the records release The Cribs took in a run of small UK club dates to preview songs from the new record. This is documented in the first Cribs documentary Leave Too Neat. The first cut from the album was the single "Men's Needs", released on 7 May. It proved to be the band's first breakthrough with mainstream radio and reached no. 17 in the UK charts, becoming their biggest hit to date. The accompanying video, filmed in Hollywood by director Diane Martel has achieved over 7 million Youtube views to date.^[15]

The album was released on 21 May 2007, and entered the UK album charts at #13.

Touring began at the Royal Albert Hall in London on 30 March for the Teenage Cancer Trust. The rest of 2007 and most of 2008 was spent on the road promoting the record, taking in extensive UK and European touring, several USA and Canada tours, Japan, and the band's first trip out to Mexico for a main stage appearance at the MX Beat Festival, as well as some later headline shows.^[16][17] During their US touring schedules they appeared on Late Night with Conan O'Brien, The Late Show with David Letterman, and the Late Late Show with Craig Ferguson.

The second single to be released from the record was "Moving Pictures", again charting in the UK Top 40, and then later a 7" only release of "I'm a Realist". The latter was backed with a cover of The Replacements song "Bastards of Young", a band The Cribs cite as a large influence.^[18] Another non-album single "Don't You Wanna Be Relevant" was paired with album cut "Our Bovine Public" and again climbed to the UK top 40. There were numerous festival slots around this time including main stage slots at Lollapalooza, T in the Park, and V festival, as well as returning to Fuji Rock, and a first time appearance at Coachella amongst others. In November 2007, The Cribs were invited by a re-formed The Sex Pistols to play with them for three nights at Brixton Academy in celebration of the 30 year anniversary of Never Mind the Bollocks^[19] In December the band announced three intimate shows at their old haunt the Brudenell Social Club in aid of Cystic Fibrosis where they would play all three albums to date in sequence with secret unannounced support bands each night (Franz Ferdinand, Kate Nash, and Kaiser Chiefs respectively). This was documented for the band's second DVD, the 3 disc Live at the Brudenell Social Club. In the year-end issues "Men's Needs" was named third-best track of 2007 by NME^[20] with the album coming in at #9,^[21] Track of the Year 2007 by the Metro newspaper and finishing in the 100 best tracks in Rolling Stone magazine in the USA.

2008 began with The Cribs being nominated for 4 awards at the annual NME awards ceremony (Best British Band, Best Live Band, Best Track and Hero of the Year for Ryan Jarman).^[22] Through this they were asked to headline the annual NME Awards Tour, which they undertook through January and February featuring some of the bands largest headline shows up to that point and culminating in a show at the o2 Arena in London. They also made a live appearance at the Awards ceremony itself, playing "I'm a Realist" and a cover of The Smiths' "Panic", featuring their new guitarist Johnny Marr (of the aforementioned The Smiths), who had been guesting with them throughout the tour. Another USA tour followed this, and then some more festival appearances including main stage slots at the Isle of Wight Festival, Rockness, Primavera Festival, Fuji Rock and Sziget, as well as a headline appearance on the John Peel Stage at Glastonbury, and headlining the second stage at Reading and Leeds Festivals.^[17]

[edit] Ignore the Ignorant (2009–2010)

After a chance meeting with Johnny Marr (at the time a member of Modest Mouse) in Portland, OR The Cribs and Johnny became close friends.^[23] Once Modest Mouse completed touring duties for their record, The Cribs and Johnny started to hang around and jam together - "It's been going well and it would be shame to cut it short, the original intention was to be doing an EP" the band told BBC 6 Music in January 2008.^[24] However it was later announced that they would be working on an album together and that Johhny had joined as a full-time member of the group.

Much of the remainder of 2008 was spent writing new material in Portland, OR, Manchester and Wakefield, followed by a short UK tour taking in Glasgow ABC, Bradford St. Georges Hall, two nights at Manchester Ritz, and Heaven in London to road-test some of the new songs before recording commenced. Studio time was booked for March 2009 in Los Angeles with veteran producer Nick Launay (Nick Cave, PIL, Yeah Yeah Yeahs).^[25] Ross Jarman performed most of the drum tracks for the recording with a broken wrist after a skateboard accident.^[26]

Preceded by the single "Cheat On Me", the album Ignore the Ignorant was released on 7 September 2009, and scored The Cribs their first UK Top Ten album. Released the same week that The Beatles re-issued their entire 13 LP back-catalogue, Ignore The Ignorant managed to out-sell all but two of them to chart at number 8, something the band described as "surreal". Touring began with a headline slot at the White Air festival in Brighton followed by a UK tour of large halls. The band then went on to tour Japan (including a show at Budokan with Arctic Monkeys) then on to South Korea where they headlined the Grand Mint festival at the Olympic Park, Seoul. Next was a USA/Canada tour, as well as a European arena tour with Franz Ferdinand before The Cribs returned to the UK for their largest headline shows to date.^[27]

In December 2009, Ignore the Ignorant was placed at number 11 in Mojo magazine's "Albums of the Year", and at number 7 in The Fly's "Albums of the Year". NME also placed it at #30 in their end of year list,^[28] as well as making "Cheat On Me" a track of the year. In Japan, Crossbeat magazine placed it at #8 in its "Albums of 2009" list, whilst Music Magazine called it the #1 album of 2009. Both magazines are leading publications in Japan. At the same time, The New Fellas was named an "Album of the Century" by Q.

2010 began with another extensive USA and Canada tour, before heading off for dates in Australia and New Zealand. Festival appearances including Glastonbury, Lollapalooza, Fuji Rock, Benecassim, and Pukkelpop amongst others followed. During this time the band were invited to support Aerosmith at two arena shows in Spain and France.^[29] For Record Store Day 2010 The Cribs released "So Hot Now" as a split 7" single with Portland, OR band The Thermals on legendary riot grrrl label Kill Rock Stars. On 9 August 2010, BBC Radio 1 DJ Zane Lowe announced during his show that he would be playing a brand new Cribs song that night. The very next day, "Housewife" was released officially on iTunes. No one, from music industry insiders to the band's fans, had any idea that a new single was being geared up until that moment.^[30] The cover art featured Ryan and Gary in drag.^[31] Later that month the band appeared on the main stage once again at the Reading and Leeds festivals to close the album campaign. These would be Marr's last shows with The Cribs.

[edit] In the Belly of the Brazen Bull (2011–present)

After announcing Marr's departure from the group on 11 April 2011,^[32] The Cribs started work on writing the follow up to Ignore the Ignorant, mooted for a May 2012 release.^[33] They played several headlining slots at UK festivals in 2011, as well as a show at Le Zenith in Paris with The Strokes. In June 2011 they made their first trip to Brazil, playing two shows in São Paulo. In December 2011 they headlined the Clockenflap festival in Hong Kong.^[34]

The Cribs announced the title of their fifth studio album as In the Belly of the Brazen Bull and its track-listing on 14 January 2012. The album was recorded at Tarbox Road studio in New York with David Fridmann, London’s Abbey Road and Chicago's EAR studio with engineer Steve Albini. On 14 February, BBC Radio 1 DJ Zane Lowe premiered the first taster from the album, "Chi-Town", on his radio show and played the song 3 times. During this time, both the band and the song title were trending on Twitter.

On 29 February 2012, In the Belly of the Brazen Bull was made available for pre-order via the Wichita Recordings web store. Pre-order options include various bundles containing items such as an exclusive t-shirt, a 'making of the album' DVD and a signed poster, as well as the chance to win a ‘Golden Laminate’ which will gain free entry to any Cribs headline show in the world, for life.^[35] The album was released on 7 May 2012.

Band members[link]

Current members

• Gary Jarman – bass, vocals (2000–present)
• Ryan Jarman – guitar, vocals (2000–present)
• Ross Jarman – drums (2000–present)

Former members

• Johnny Marr – guitar (2008–2011)

Touring members

• David Jones – guitar (2011–present)

Discography[link]

Studio albums[link]

Singles[link]

References[link]

External links[link]

• The Cribs official site

Scott Pilgrim is a series of graphic stories by Bryan Lee O'Malley. It consists of six digest size black-and-white volumes, released between August 2004 and July 2010, by Portland-based independent comic book publisher Oni Press. It was later republished by Fourth Estate, an imprint of HarperCollins^[1]. The series is about 23-year-old Canadian Scott Pilgrim, a slacker and part-time musician who lives in Toronto and plays bass guitar in the band Sex Bob-Omb. He falls in love with American delivery girl Ramona Flowers, but must defeat her seven evil exes^[2] in order to date her.

A film adaptation of the series titled Scott Pilgrim vs. the World starring actor Michael Cera in the title role was released in August 2010. A videogame of the same name developed by Ubisoft for PlayStation Network and Xbox Live Arcade was released the same month.

Development[link]

Bryan Lee O'Malley

Creator Bryan Lee O'Malley was inspired to create the series and eponymous character of Scott Pilgrim after listening to Canadian band Plumtree's 1998 single "Scott Pilgrim", a song then-Plumtree singer Carla Gillis describes as "positive, but...also bitter sweet."^[3] In particular, O'Malley was inspired by the lyric "I’ve liked you for a thousand years,".^[3]

O'Malley wanted to write a shōnen-style comic book series, but initially he had only read one series, Ranma 1/2; in the early 2000s the United States did not yet have a significant Japanese comic book industry. O'Malley gained inspiration from the book Even a Monkey Can Draw Manga by Koji Aihara and Kentaro Takekuma. In 2002 O'Malley's roommate, who worked in a comic book store, brought the book to him while O'Malley was working on Lost at Sea and was planning Scott Pilgrim. Upon reading the book O'Malley realized that, despite the satirical tone, it could be an effective guide on how the Japanese comic book industry worked.^[4]

To ink, O'Malley usually used brushes, including No. 2 and No. 3 brushes. He mostly used computers to build the screentone; he stated that he encountered difficulty finding screentone in North America. O'Malley himself created most of the Scott Pilgrim material. When production on Volume 6 had began, O'Malley had hired two assistants. The backgrounds in Volume 6 are more detailed than backgrounds in the previous volumes. O'Malley said that "[m]ost fans don't seem to notice the change".^[4]

O'Malley stated that he wanted to create a "hybrid" work that received inspiration from American and Japanese comics, and that he "wanted to reach towards the japanese [sic] comics from my own starting point."^[4] When asked if he considers Scott Pilgrim to be a manga, O'Malley responded by saying "Um… No, I think I was just thinking about that today. I guess I was just thinking about the whole OEL thing. I think it’s influenced… I like the term “manga-influenced comics,” but I only like it because no one else likes it."^[5]

O'Malley said that he expected Scott Pilgrim to sell around 1,000 copies. He did not expect the series to sell millions of copies and to produce a film adaptation. O'Malley cited the United States comics industry and how it differs from the Japanese comics industry; the United States comic book companies specialize in superhero comics and many newer concepts originate from underground comics. The United States also lacks weekly and monthly comic book magazines and American comic companies generally do not have the system of story editors and assistants that Japanese comic companies have.^[4]

To illustrate his reasoning for eventually ending the Scott Pilgrim series, O'Malley used a quote from famed Belgian comics writer and artist Hergé, creator, writer, and illustrator of the well-regarded The Adventures of Tintin comic book series, from 1929 until his death in 1983. Hergé told his wife "And right now, my work makes me sick. Tintin is no longer me. And I must make a terrible effort to invent (him)… If Tintin continues to live, it is through a sort of artificial respiration that I must constantly keep up and which is exhausting me." O'Malley said "If I was still doing Scott Pilgrim in ten years, I would be dead inside."^[6]

The cover of the third Japanese Scott Pilgrim volume, which includes content from the original volumes 5 and 6, was based on an illustration from Street Fighter Alpha 2 (Street Fighter Zero 2).^[7] On March 31, 2012, O'Malley announced the series will be released in full-color hardback editions beginning August 2012 and concluding sometime in 2014.^[8]

[edit] Plot summary

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (October 2011)

Scott Pilgrim's Precious Little Life (Volume 1)[link]

The series begins by introducing Scott Pilgrim, a 23-year-old Canadian slacker living in Toronto with his gay roommate Wallace Wells. He is the bass player for a band called Sex Bob-omb, along with his friends Stephen Stills "The Talent" (guitar) and Kim Pine (drums). He has recently started dating a 17-year-old Chinese-Canadian high-schooler, Knives Chau. Though his friends consider this somewhat scandalous due to her age, Scott doesn't see a problem, as all they ever do is talk. One night, Scott begins dreaming about a girl on rollerblades who he has never met before. He later glimpses her in real life and discovers that she is Ramona Flowers, a girl who has recently come to Toronto from New York after a rumored messy break-up with someone named Gideon. It is revealed that she can travel through an alternate dimension called "subspace" and that the purse she carries at all times is a portal to subspace as well. After Scott attempts to meet with her again, he receives an ominous email from someone named Matthew Patel, but Scott pays it little heed. Sex Bob-omb is preparing for a concert when Matthew Patel descends upon the stage and reveals himself as the first of Ramona's evil exes, who has mystical powers allowing him to summon "demon hipster chicks." Scott defeats him in a musical video-game-style battle, his final attack obliterating Matthew and leaving behind a handful of coins. Scott and Ramona decide to become a couple, provided that Scott agrees to defeat her six other evil-exes. When Scott asks if Gideon is one of them, Ramona's head glows.

Scott Pilgrim vs. the World (Volume 2)[link]

Vs. The World opens with a flashback to seven years before the series begins. Scott and his friend Lisa Miller, high school students in Northern Ontario, want to start a band, but they need a drummer. This problem appears to be solved when Scott notices his classmate Kim's ability to play drums. When Scott finds out that Kim has been kidnapped by students from a rival school, he defeats the kidnappers and rescues her. Kim joins Scott and Lisa's band, and dates Scott until they break up when he moves to Toronto. In the present, Wallace tells Scott that actor and professional skateboarder Lucas Lee, Ramona's second evil ex-boyfriend, is filming a new movie in Toronto. Scott awkwardly breaks up with Knives after Wallace threatens to tell Ramona about her. Scott then meets Lucas at his filming location, where Lucas beats Scott up and tells him about the "League of Ramona's Evil Exes" who have organized themselves to come after Scott. Scott defeats Lucas by goading him into skateboarding down a dangerous set of rails, where he ends up going too fast and bursting into coins upon landing. Having discovered Ramona is dating Scott, a furious Knives gives herself a hipster makeover by dyeing her forelock and attacks Ramona at the library. Knives confirms that Scott was cheating on her and Ramona simultaneously, and takes off. Meanwhile, Scott gets a call from Envy Adams, another of his ex-girlfriends, who asks him to open for her band The Clash at Demonhead that weekend. Speaking with Envy reopens Scott's unresolved issues about their breakup. Nevertheless, Sex Bob-omb show up to see Envy's band. The book ends with an epic opening by The Clash at Demonhead, where Ramona identifies the band's bassist as her third evil ex-boyfriend, Todd Ingram.

Scott Pilgrim & the Infinite Sadness (Volume 3)[link]

The Infinite Sadness continues the night that The Clash at Demonhead performs. After the venue clears out, Envy invites Scott and his friends backstage. Disgusted by Envy's new personality, Scott blames Todd for changing her and tries to attack him, but is stopped by Todd's psychic vegan powers. A flashback reveals that Envy, formerly known as Natalie V. Adams, was a mousy girl who gradually bloomed into a confident musical talent. She broke up with Scott once their band started to get noticed. Two days later, Envy confronts Todd about his cheating on her with the band's drummer Lynette, but Todd strikes her with his powers, shocking everyone. Todd and Scott have a battle, which Todd almost wins until the Vegan Police show up and strip him of his powers for violating his vegan diet (by eating gelato). Scott headbutts the powerless Todd, who is reduced to a pile of coins, and receives an extra life in the process.

The Infinite Sadness also features extras, such as guest comics from Josh Lesnick, Alex Ahad, Andy Helms, John Allison, and David McGuire, as well as a map of the major characters illustrating their relations to each other. The title is a reference to the album Mellon Collie and the Infinite Sadness by The Smashing Pumpkins.

Scott Pilgrim Gets It Together (Volume 4)[link]

Stephen asks Kim's new roommate Joseph to help Sex Bob-omb record an album. Meanwhile, on Ramona's recommendation, Scott gets a job at the restaurant where Stephen works. Over the next few days, Scott is attacked by a samurai, who he escapes via subspace portal, and a female "half-ninja", who is revealed to be Roxie Richter, Ramona's fourth evil ex. Ramona tells Scott that he can move in with her temporarily. Things go downhill when Ramona suspects Scott might be attracted to Lisa and kicks him out. Scott goes to Lisa's house to spend the night. After waking up from a dream infiltrated by Roxie in an attempt to kill him, Scott cannot remember the previous night, but learns from Lisa that nothing happened between them and that he confessed that he loved Ramona. The samurai is revealed to be Knives's father, who was not keen on Knives dating a white boy. When he attacks Scott again, Scott escapes via another subspace portal and ends up in Ramona's mind, where she is a slave to a shadowy figure. Ramona kicks Scott out of her head, telling him to forget what he saw, but before he can explain his true feelings, he sees that Roxie spent the night at Ramona's and his head begins to glow. Walking away, Scott encounters his dark self (the "NegaScott") and rejects it, rushing back to Ramona to find her being attacked by Mr. Chau. Scott lures him away and gets him to fight against Roxie. When Scott realizes that he has been cowardly, he confesses his love for Ramona, earning the Power of Love sword. Scott uses this to defeat Roxie, who warns him about "the twins" before dying. Mr. Chau leaves, having earned respect for Scott. Scott finally moves in with Ramona.

The back of Gets it Together features guest art from Steve Manale, Michael Comeau, Philip Bond, and Zander Cannon as well as a back cover illustrated by pixel artist Miguel Sternberg.

Scott Pilgrim vs. the Universe (Volume 5)[link]

The gang attends a party where Ramona spots her next two evil ex-boyfriends, the twins Kyle and Ken Katayanagi. Scott and Ramona's relationship continues to deteriorate, with Ramona starting to appear bored and Scott stumbling onto signs that she may still be interested in Gideon. Later, Sex Bob-omb prepares for a show despite having had no rehearsals due to Stephen's persistent but fruitless recording with Joseph. While Scott fights a robot created by the twins, Knives tells Ramona that Scott cheated on them at the same time. Scott arranges to "bump into" Kim and Ramona over coffee, during which Kim brings attention to Ramona's head glowing; Ramona herself was unaware of this. Ramona confronts Scott about cheating on Knives with her and tells him he is just another evil ex-boyfriend waiting to happen. Scott then receives word that Kim has been kidnapped by the twins. When Scott confronts them, the twins explain that Ramona cheated on both of them at the same time, and imply Scott is fighting for the wrong girl. As Scott begins to lose the fight, Kim lies and says that Ramona text messaged her, giving Scott the encouragement to defeat the twins simultaneously. However, when Scott returns to Ramona, she tells Scott that she is a bad person and that she "had a good time." Her head begins to glow brighter and brighter until she disappears.

The end of Scott Pilgrim vs. The Universe features a section called "Creating Scott Pilgrim for fun and profit." The section includes drawings and comments from Bryan Lee O'Malley detailing the development of the series, including a playlist for the fifth book.

Scott Pilgrim's Finest Hour (Volume 6)[link]

Four months after Ramona's disappearance, Scott has been wasting his life playing video games. In order to reinvigorate Scott to confront Gideon, Wallace sends him on a "wilderness sabbatical" to Kim's home up north. While walking in the woods, Kim tells Scott of the errors in his repressed memory surrounding their breakup; he never saved her from a kidnapping. Upon this revelation, Scott's head starts to glow and NegaScott emerges. Scott becomes determined to defeat him so he can forget his relationship with Ramona and move on, but Kim reminds him he cannot keep running away from his mistakes. Scott remembers Ramona and merges with NegaScott, fully remembering and accepting responsibility for his poor actions in his previous relationships. Scott heads back to Toronto to earn Ramona back.

Scott arrives at the newly-opened club, the Chaos Theatre, owned by Gideon, where Envy is making her solo debut. As Envy starts her performance, Gideon attacks Scott. When Scott refuses to join the League of Evil Exes, Gideon steals his Power of Love sword and kills him with it. Scott awakens in a desert, where he encounters Ramona and they reconcile. Scott returns to life thanks to the extra life he obtained from Todd Ingram. Ramona bursts out of his chest to confront Gideon. Gideon explains that the glow is an emotional weapon which seals people inside their own heads, consumed by self-loathing and personal demons. Scott jumps into Ramona's subspace bag and arrives in her head, where he confronts Gideon. Scott's actions encourage Ramona to fully overcome Gideon's influence and oust him from her head. Ramona retrieves the Power of Love sword. When Scott sees Gideon snap at Envy, he comes to understand that he has been no better than Gideon in terms of his past relationships. This realization earns him the Power of Understanding sword. When Gideon tries to turn Scott and Ramona against one another, they defeat him, causing him to explode into 7,777,777 coins, which rain painfully on the watching crowd.

Scott and Envy reach closure, and Ramona reveals that her disappearance was merely an unsuccessful wilderness sabbatical. She decides to give her relationship with Scott another shot. In the closing pages, Scott is working with Stephen as co-chef, Stephen reveals that he is gay and in a relationship with Joseph, Scott and Kim start an awful new band, and Knives heads off to college. The last pages show Scott meeting up with Ramona as they affirm their desire to face the challenges of a relationship and walk hand in hand into a subspace door together.

On June 3, 2010, O'Malley announced^[9] that he had hidden the word "hipster" on Ramona's t-shirt in one panel to mark the day he finished drawing the series. This panel is on page 161 in a flashback involving Ramona and Gideon.

[edit] Publications

The main graphic novel series is:

Other appearances:

• Comics Festival (40-page anthology including a one-page Scott Pilgrim comic; released on Free Comic Book Day 2005)
• PENG (72-page one-shot comic book by Corey Lewis where Scott Pilgrim appears in one panel; released in 2005)
• Free Scott Pilgrim No. 1 FCBD 2006 Edition (32-page comic book featuring an 17-page original Scott Pilgrim story; released on Free Comic Book Day 2006) This story is available for free online at the Scott Pilgrim Website
• Comics Festival 2007! (40-page anthology including a half-page Scott Pilgrim comic and a 4-page Wonderful World of Kim Pine comic; released on Free Comic Book Day 2007)
• Scott Pilgrim: Full Colour Odds & Ends 2008 (collects Free Scott Pilgrim #1 – newly coloured by Dean Trippe, Wonderful World of Kim Pine four-page story, Now Magazine Best of Toronto two-page strip in black-and-white, the Comics Fest 07 sushi strip, and various watercolours, pin-ups, and advertisements)

All of these ancillary stories are available to read on the Scott Pilgrim Website. A collector's box containing all six volumes and a fold-in poster was released in North America on November 3, 2010.^[13]

[edit] Critical reception

Publishers Weekly ranked the third volume, Scott Pilgrim & The Infinite Sadness, as one of the best comic books of 2006 in a critics' poll.^[14]

Scott Pilgrim was ranked 85th on Wizard magazine's 2008 list of the "200 Greatest Comic Characters of All Time".^[15]

In 2007, O'Malley was interviewed by the AV Club for the fourth volume. Written by Jason Heller, the article states that Gets It Together is "his best to date." The article goes on to praise O'Malley's consistent bold stylistic choices, saying that he "has raised the bar, art-wise: His deceptively basic style is suddenly deeper, richer, and more mature, while his eye for dynamics and graphic economy has gotten even keener."^[16] In 2011 Scott Pilgrim was ranked 69th in IGN's list of the top 100 comic book heroes.^[17]

Japanese comics author Kentaro Takekuma said in an interview that the structure and style of Scott Pilgrim initially did not match the structure and style of Japanese comics, but when he read the battle scenes "it feels very much like a Japanese manga, especially in how you structured the panels. It develops into a very strange, neither American nor Japanese atmosphere."^[4] Comics author Koji Aihara added that "I did feel the inspiration from Japanese manga, but it did not strike me as a ripoff of manga style, but a very unique way of expression, I found it a very interesting work. I appreciated you using your own style of expression. Also, I thought your use of solid blacks was very skilled and attractive."^[4]

Awards[link]

In 2005, O'Malley won the Doug Wright Award for Best Emerging Talent for the first volume of Scott Pilgrim^[18] and was nominated for three Harvey Awards (Best New Talent, Best Cartoonist and Best Graphic Album of Original Work).^[19]

In 2006, O'Malley was awarded Outstanding Canadian Comic Book Cartoonist (Writer/Artist) in the Joe Shuster Awards. He was previously nominated in the same category in 2005.^{[citation needed]}

O'Malley was nominated for a 2006 Eisner Award in the category Best Writer/Artist—Humor, for Scott Pilgrim Vs. The World, but lost to Kyle Baker. O'Malley and Scott Pilgrim were also nominated for two 2006 Eagle Awards, and nominated for a second Wright Award (for Scott Pilgrim Vs. The World).^{[citation needed]}

In 2007, O'Malley won the Harvey Award. The series was also awarded a spot in Entertainment Weekly's 2007 A-List.^{[citation needed]}

In 2010, O'Malley won his first Eisner Award in the "Best Humor Publication" category for Scott Pilgrim Vs. The Universe.^[20]

In other media[link]

Film[link]

The film Scott Pilgrim vs. the World was released on August 13, 2010. It is based on all six volumes of the graphic novel series, despite the different ending due to the sixth volume having been released after the film finished shooting. The film is directed by Edgar Wright and stars Michael Cera and Mary Elizabeth Winstead as Scott and Ramona, respectively.

The film was a critical success, but did not fare as well commercially. The film was released on DVD and Blu-ray and became popular to critical success.^{[citation needed]} The DVD includes extras such as bloopers and outtakes, deleted scenes and trailers. On the 2-disc edition, the 2nd disc includes soundtracks, animation (when Scott dates Kim), the film in the making and sound in the making.

[edit] Scott Pilgrim vs. The Animation

At the 2010 San Diego Comic-Con, Alison Pill (who plays Kim Pine in the movie), revealed that her character's past relationship with Scott will be explored in other media. "There will be a little something-something that will air on Adult Swim," she said.^[21] Creator Bryan Lee O'Malley elaborated by stating "It's gonna be like a series of short animations (to promote the movie). One of them will be the Volume 2 high school stuff with Kim and Lisa Miller. I don't know how long it will be but the rough they showed me was like 5 minutes. The stars of the movie will do the voices for the cartoons."^[22] Michael Cera and Alison Pill reprise their roles of Scott Pilgrim and Kim Pine from the movie, whilst Mae Whitman and Jason Schwartzman, who play Roxanne Richter and Gideon Graves in the movie, provide voices for Lisa Miller and Simon Lee respectively. The animated short, entitled Scott Pilgrim vs. the Animation, was produced by Titmouse Inc. and aired on Adult Swim on August 12, 2010, later being released on their website.^[23][24] The short is based on the flashback from the second graphic novel, elaborating on Scott's adventures in high school. The animation features the song "Post Acid" by Wavves, though it is replaced with the movie's soundtrack in the version included on the DVD/Bluray Disc of the film.

Video game[link]

A video game based on the series, also titled Scott Pilgrim vs. The World, was announced during San Diego Comic Con 2009 and was developed by Ubisoft Montreal, released alongside the film. The game is a four-player side-scroller influenced by 8-bit and 16-bit video games, with players able to play as Scott Pilgrim, Ramona Flowers, Kim Pine and Stephen Stills (Knives Chau was added later as a downloadable character).^[25] If you complete the game with Scott, Ramona, Stephen Stills, and Kim, you unlock NegaScott. Mr. Chau, Knives Chau's father, is also an unlockable assist character. The game features music by chiptune punk band Anamanaguchi^[26] and visuals by Paul Robertson, who is well known for producing stylized sprite-based animations.^[27]

The game was released on PlayStation Network on August 10, 2010 and Xbox Live Arcade on August 25, 2010.^[28]

Mobile comic[link]

A mobile adaptation of the comic book was produced by HarperCollins and Robot Comics.^[29] The app uses movement, sound and vibration to create an original reading experience and includes extra material hidden in the scenes of the comic. It is available for iPhone, iPod touch, iPad and Android.

References[link]

External links[link]

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