Talk:Scott Pilgrim vs. the World (soundtrack)/GA1

GA Review
The edit link for this section can be used to add comments to the review.''

Reviewer: Reidgreg (talk · contribs) 16:46, 16 April 2020 (UTC)

Review to be forthcoming. – Reidgreg (talk) 16:46, 16 April 2020 (UTC)

Criteria

 * GA review (see here for what the criteria are, and here for what they are not)


 * 1) It is reasonably well written.
 * a (prose, spelling, and grammar): b (MoS for lead, layout, word choice, fiction, and lists):
 * 1) It is factually accurate and verifiable.
 * a (reference section): b (citations to reliable sources):  c (OR):  d (copyvio and plagiarism):
 * Some of the large number of quotations should be paraphrased. ✔️
 * 1) It is broad in its coverage.
 * a (major aspects): b (focused):
 * 1) It follows the neutral point of view policy.
 * Fair representation without bias:
 * 1) It is stable.
 * No edit wars, etc.:
 * 1) It is illustrated by images and other media, where possible and appropriate.
 * a (images are tagged and non-free content have fair use rationales): b (appropriate use with suitable captions):
 * Waived the 10% song length recommendation for two audio clips (at 11.7 and 11.2%).✔️
 * 1) Overall:
 * Pass/Fail:
 * a (images are tagged and non-free content have fair use rationales): b (appropriate use with suitable captions):
 * Waived the 10% song length recommendation for two audio clips (at 11.7 and 11.2%).✔️
 * 1) Overall:
 * Pass/Fail:

Review comments
There are two framing issues that I feel need to be clarified before getting into the review (please don't make any edits to the article based on this): What do you think? – Reidgreg (talk) 13:43, 20 April 2020 (UTC)
 * How should the article treat the bands Sex Bob-Omb, Crash and the Boys, and Clash at Demonhead? They are described as "fictional bands", but can the performance of an actual song be credited to a fictional entity?  It's the characters who are the members of a fictional band, so when referring to an actual recorded performance by actor-musicians/singers and other non-fictional musicians, shouldn't that be considered a non-fictional band?  I feel that there are fictional bands seen in the film, and then real bands heard playing over the film's visuals (and which are heard on the soundtrack). In the context of the soundtrack, what's the best way of making that distinction?
 * When saying the fictional bands each based on a different real music act we should look at what is meant by based. When writing about fiction, based on often means that that it was the chief inspiration or influence for the work's creation. Here, I don't think that's true in most cases (an exception being Haines as inspiration for the character Envy in the comics), but that it's more like the (temporary) line-up of Crash and The Boys is based on the line-up of Broken Social Scene plus Knudsen. Or CATB songs were performed by BSS plus Knudsen.
 * Interesting points, thanks. The first one is a tricky one - on the album, it is 'Sex Bob-Omb' and 'Crash and the Boys' that are credited for their songs, however, Satya Bhabha is credited for his performance (instead of his character, Matthew Patel) and the award for "We are Sex Bob-Omb" was credited to Beck, not the band or any of the actors, suggesting it is a more fictional entity. I did also recently read the article for "On a Roll", a song performed by Miley Cyrus as a character (Ashley O), in which it is always credited to the fictional character as if she were real and just a pseudonym of Cyrus for the purpose of the song (Cyrus seems like an amazing case study actually - I've just looked and the Hannah Montana music does the same thing). If Cyrus is a precedent for this kind of thing, perhaps the wording should be amended? In some way elaborate that the bands were fictional in the comics and film, but were effectively created for the soundtrack? For what it's worth, there's a lot of literature on the transmediality of the 'franchise', so it wouldn't be hard to find out how academia looks at the transference to real music.
 * To complicate it, I'm also not sure how Clash at Demonhead fits in - Routh recorded a part that was never used, Metric performed two different instrumentals, Larson sings in the film, Haines sings on the soundtrack? By the point of the soundtrack, it's basically just Metric performing a Metric song in a Metric style, one of the 'members' that would make the band less fictional was never included, and the film version is described by the production (see Wright's tweet) as Larson's version, not Clash at Demonhead's version. So, would it make sense to continue giving The Clash at Demonhead the 'fictional' treatment, even if it's inconsistent with the others?
 * For the second, I chose the 'based on' because of how Wright and Godrich make it clear in interviews that they were insistent each band would have a different musical act to compose their songs and give them their style. I guess the Clash at Demonhead is most obviously 'based on' Metric, though the style was changed for the film... (not on the soundtrack, presumably irrelevant). The others are Beck-composed music performed by Sex Bob-Omb and Broken Social Scene-composed music performed by Knudsen and BSS. Potentially this can be replaced by the explanation of Wright and Godrich wanting the different acts, and variations on 'composed' elsewhere? Kingsif (talk) 18:35, 20 April 2020 (UTC)
 * Okay, I'm definitely overthinking this. The sources say the bands are fictional (or make-believe or fake) so we should follow that, and just be careful noting credits for the works performed under the names of these bands.  Similarly, the sources often say that the fictional bands are "based on" these real bands, so we can follow that.
 * I've also done a small amount of MOS cleanup on the article; if you disagree with any of that, feel free to revert and we can discuss it as part of the review. – Reidgreg (talk) 17:26, 23 April 2020 (UTC)
 * Looks good. Kingsif (talk) 19:15, 23 April 2020 (UTC)


 * Referencing & verifiability
 * "Martens" – Martens, LA Times
 * I counted 22 quotations from this source (Martens 13, Godrich 2, Wright 4, O'Malley 1, Beck 1, Haines 1). They're attributed properly and many of them are good, illustrative quotes.  But quoting so much from a single source may be excessive; it could go beyond the "limited use" rules, make the article section a derivative work, and enter copyvio territory.  I will try to offer some suggestions at paraphrasing under "Prose" comments.
 * Bryan Lee O'Malley, the graphic novel author, fought to have the song included on the soundtrack; It's referring to the track "Scott Pilgrim" by Plumtree. The source says that he "long championed" the group and "desperately wanted" the song on the soundtrack.  However, fought suggests that there was some struggle or conflict, some opposition to the track's inclusion, and I'm not specifically seeing that in this source.
 * ✅ - changed to 'really wanted' Kingsif (talk) 21:26, 23 April 2020 (UTC)
 * and some extra lyrics that Beck added at the last minute during mastering The source says Beck wrote the lyrics "a couple days before we mastered the album." not during mastering.
 * ✅ Kingsif (talk) 21:26, 23 April 2020 (UTC)
 * A music video of Sex Bob-Omb performing "Summertime" in the film is included on the DVD According to the source, this video was originally intended to end the film (closing credits?) but they pulled it and you only hear the song (It is played during the end credits, following the orchestral "Ramona" and before the 8-bit of "Threshold").  Suggest: performing "Summertime", intended to end the film but later removed, is included on the DVD.
 * ✅ Kingsif (talk) 21:26, 23 April 2020 (UTC)
 * ":3" – Screenrant
 * Could not access. I've had trouble with this site in the past. Found it on webarchive.org and added parameters to citation.
 * I didn't see where this supported Wright has said that the production's casting did not look for musicians in particular. The second citation present for this statement is better.
 * ✅, and thanks for the archive link Kingsif (talk) 21:26, 23 April 2020 (UTC)
 * ":4" – Den of Geek
 * Couldn't access
 * I think this is the awkward one that disappeared off web archive, too, so I had to look through the Den of Geek archives. That was added to the film's article, so I'll move it over. Kingsif (talk) 21:26, 23 April 2020 (UTC) It's not the same url, but it's also doing the awkward web archive thing where it says it's saved, but the saved url asks if you want to save it. However, the page is live, so I don't know why you wouldn't be able to access it? I've added a google cache archive url, which seems to be working. Kingsif (talk) 21:34, 23 April 2020 (UTC)
 * Okay, loaded it with a different browser (should have tried that before). Verified all passages sourced to this, including quotations.
 * The full article at the source is about 1,500 words and the direct quotations from it are about 160 words, so a little over the 10% fair-use rule-of-thumb. Suggest the following paraphrase:
 * However, Chapman noted that he listened to the soundtrack before he watched the film and that it works in isolation from the film where other soundtracks do not, adding that it "plays out like a very strong, near perfect mix tape [...] not only are the sourced songs that feature in the film excellent, but all of them are absolutely appropriate for the scenes they accompany, both lyrically and musically [...] and, as such, none of the [soundtrack] inclusions are superfluous to requirements." &rarr; adding that it "plays out like a very strong, near perfect mix tape". He found that the previously released songs were "excellent [and] absolutely appropriate for the scenes they accompany, both lyrically and musically [...] and, as such, none of the [soundtrack] inclusions are superfluous to requirements."✅
 * TIFF Originals
 * Metric had been performing the song at their concerts since 2007, but had not released it before this soundtrack. I can confirm in the video that Haines says they hadn't released it, but not that they'd been performing it (since 2007 or otherwise).
 * ✅ Huh, that must have been in ... another video I was watching? I've added another source that mentions a 2007 performance, and tweaked the wording, I'll try to find wherever I heard it. Kingsif (talk) 21:26, 23 April 2020 (UTC)
 * Confirmed new source. Thanks!✅
 * "Pitchfork" – Matthew Perpetua
 * These include the Bollywood-inspired song performed by actor Satya Bhabha as Matthew Patel and the electronic number given to the Katayanagi Twins band for their fights against Scott. This source doesn't mention Satya Bhabha/Matthew Patel.
 * ✅ Added a source that goes into some detail on the score. Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * Confirmed new source.✅
 * COS - Alex Young, Consequence of Sound
 * "POP" – Rene Rodriguez, PopMatters
 * fixed typo in author's name
 * People who pre-ordered the album on iTunes, or who purchased the deluxe version, received a bonus video of the film version of Metric's "Black Sheep" sung by Larson. didn't find this in either COS or "POP".
 * Fixed that, I look to have copied the wrong ref over from the film article. iTunes mentioned in Cinema Blend from there. I've also added a link to the iTunes page for the deluxe soundtrack, which lists the bonus video, and a ref of the exclaim.ca article which also mentions them, too. Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * Confirmed new source.✅
 * "exclaimDLX"
 * A deluxe version of the soundtrack was released on September 7, 2010. The source predates this by about six weeks, and can really only say that it was scheduled for release Sep 7. It'd be preferable to get a source after the fact, or rephrase.
 * ❌ I can't find any sources from after August 2010 that mention the date - there aren't many reviews of the two new songs. I also think rephrasing wouldn't work: it would have to say it 'was scheduled for release on September 7, 2010', a phrasing with inherent implications that mean it is misleading: a reader will expect it to be followed by a 'but wasn't released then because of X' and will find it lacking if that isn't that. We have a source with the release date (and there are no sources dated later saying that there was a delay, so we shouldn't think there was one, i.e. no reason to doubt the source we have) - I think the verifiability here should be okay, for lack of anything more recent. Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * I'm sure that this is done a lot, that it's taken for granted, but it's still a matter of verification. I don't think it would be unusual for it to go unremarked in the press if the release date had changed, and therein lies the problem.  I found some more for the Aug 10 date, but not for Sep 7.  We can say that it was scheduled for release on Sep 7, and that it has been released at some point (enough sites are selling it to confirm that it exists).  What if we just do that, "A deluxe version of the soundtrack was released." and leave the date out, since we don't have a source to confirm?✅
 * Good suggestion - now done. (My foot is fine now, I just wasn't looking!) Kingsif (talk) 21:50, 24 April 2020 (UTC)
 * Similarly with [the soundtrack] was released on August 10, 2010
 * "Metacritic" and "Discogs" can be added there to confirm it was released on August 10, 2010.
 * ✅ Added Metacritic only, so as not to head towards OVERCITE Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * "Phares"
 * url didn't work, perhaps a problem with the template used in the citation (the template may have to be updated if the site rearranged its file system).  I found two Allmusic reviews by Phares, here and here.  The former one supports the quotation.
 * ✅ Fixed cite template, removing the Allmusic template. Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * "The Playlist"
 * url required an account to access. I found another url and updated.
 * This source also provides an announced release date, but we shouldn't really use this to say that it was released that day. Needs a later source which says this actually occurred, or rephrase.
 * Chicago Tribune
 * found it at archive.org, the date was wrong so fixed that and filled in citation template.
 * BTW, some funny comments left after this 2/4 star review.
 * Chicago Tribune is notorious for giving low scores and bad puns, it's only fair someone calls them a jerk ;) Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * Noting this but not sure that it's a problem: There are two references to Consequence of Sound, which are at archive.org  here and here. The first is named reference COS. They have the same publication date and the reviews appear to be identical, but the first is credited to Alex Young and the second to Stephen Foster. The rating of 3/5 is only visible on the second one, so important to keep that for the album rating template.
 * I've made a note of that as something to look out for if any editor tries to consolidate them in the future. Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * "EW"
 * fixed typo in author's name, pub date.
 * On the non-original songs, Entertainment Weekly gave the album a B rating, praising the song "Garbage Truck" as well as T. Rex's classic "Teenage Dream", and "By Your Side" by Beachwood Sparks. The source says that "Garbage Truck" is "the keeper" (singular) and mentions the other two songs are on the soundtrack. I don't feel that merely mentioning them counts as these two songs being praised "as well".  I'd suggest trimming all after "Garbage Truck" – and the leading "On the non-original songs" as well.
 * ✅ Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * For several of the review websites, star ratings were not visible on my browsers. I found these were visible at archive websites and updated the citations accordingly.
 * Thank you! Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * Common Sense Media
 * Common Sense Media gave it a 3 out of 5 star rating, finding the soundtrack more child-appropriate than the film for its inclusion of classic rock and absurdist alt rock. I feel that their review wasn't so much about the genres as it was about the content, that it avoided mature themes and graphic language.  Suggest:  for its absurdist but non-explicit language, common to alt-rock.
 * ✅ Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * "awards"
 * This was displaying as black text on black, but could confirm from the page source. Added the archive.org site backup which displays better.
 * This is a primary source associated with Wright and the production, and it would be preferable to replace it with reliable secondary sources for the awards. (Although I know, these smaller award groups often don't keep great online records.)
 * Some of them might be at the awards list article, but I'll do a search later. Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * Here http://www.oftaawards.com/film-awards/15th-annual-film-awards-2010/ is a source for the online film and television awards nomination of WASBO.
 * Variety https://variety.com/2010/film/awards/social-network-lauded-by-houston-crix-1118029267/ has the HFCS award win.
 * The Las Vegas one has winners only at http://www.lvfcs.org/sierra-award-winners.html Awards daily 1 lists the nomination but I'm not sure if it's a reliable source. Didn't find anything else; even the local Las Vegas newspapers don't seem to report on these awards.✅ added Variety, Awards Daily, and OFTA awards as sources.
 * Altpress
 * and as number 2 of the top 16 film soundtracks (behind Edgar Wright's Baby Driver soundtrack) by AltPress. The source is not framed as a "top 16" list but rather as a list of 16 notable soundtracks "worth checking out" (although the url ends with "best_movie_soundtracks"). They are not numbered/ranked and do not seem to be in any particular order. It gives a summary but no real review, so can't say why they think it's notable.  Suggest: and was on AltPress's list of 16 fantastic soundtracks.
 * ✅ Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * "AllMusic"
 * This reference also uses and doesn't seem to be getting to the right url.  Failed verification.  But after some searching found the Billboard archives:
 * The Canadian chart can be found at https://assets.billboard.com/charts/canadian-albums/2010-09-04 – this shows it at position 21 on the Billboard Canadian Albums chart after peaking at 20 the previous week.
 * The alternative albums chart is at https://assets.billboard.com/charts/alternative-albums/2010-09-11 and shows a peak of No. 4
 * The soundtracks chart https://assets.billboard.com/charts/soundtracks/2011-06-18 shows a peak of No. 2
 * Thanks, also added a Billboard 200 link. Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * Ref for Greek chart
 * This also seems to be a dead url, also generated by a template, which seems like a really bad idea to me as far as verification goes. Maybe this is a template which would best be substituted.  Found it archived at https://web.archive.org/web/20120324124434/http://greekcharts.com/showitem.asp?interpret=Soundtrack&titel=Scott+Pilgrim+Vs.+The+World&cat=a and verified. It might be a good idea to write up a proper citation for this.
 * Billboard Tastemakers
 * Failed verification.
 * The tastemakers chart can be found at https://assets.billboard.com/charts/tastemaker-albums/2010-09-04 showing a peak at No. 13
 * Done these, too - chart templates seem to be outdated altogether now. Kingsif (talk) 22:48, 23 April 2020 (UTC)
 * thearcade
 * Confirmed new source, quotations.✅

I know that you worked on the quotations, most of which are illustrative or say something that can't be said in Wikipedia's voice. Nonetheless, after reviewing policy (FAQ/Copyright, Non-free content, and Quotations) I feel that they should be pared down a bit, particularly from Martens. I'm going to offer paraphrasing suggestions for some of these. Those that I've marked with underlining are close paraphrasing that definitely should be changed. With the others, I'm not going to say you have to do every one of them, but I feel that the amount of quoted material should be reduced somewhat. (As a rough indicator, maybe halve the Earwig score, currently at 85.7%.)
 * Prose
 * spelling out exactly what kind of band and sound that makes them is a little close to the original: "spells out exactly what these people are".  Suggest: defining precisely, or similar.
 * The band's song "Garbage Truck" is described by Rodrigo Perez as a "simple, mid-tempo stompy punk-fuzz number" and by Todd Martens as a "sludgy anthem [that] is a mix of self-deprecating humor and misfit pride". Also saying it may be the most pivotal song within the film, Martens adds that "the mix is blown out, and listening to it at home, it sounds as if one's speakers are about to burst".
 * I don't think you need both "Also" and "adds" in there. "most pivotal ... song ... film" may be close paraphrasing.  I suggest keeping the first Martens quote and paraphrasing the second.  How about:  While considering it to have a critical role in the film, Martens notes that its distorted levels can strain home sound systems.
 * The version of the song on the deluxe soundtrack is sung by Beck rather than Webber (whose version is on the original soundtrack), with the two being different. This jumps around a bit. How about: Different versions of the song are on the original and deluxe soundtrack, with the former sung by Webber and the latter by Beck. Or: Webber performs the vocals, and a bonus track on the deluxe soundtrack has a version performed by Beck.
 * Wright said that "the energy between Mark [Webber] and Beck is totally different", with Wright and Martens noting that the lyrics are unintelligible in Beck's version, the way he intended, though the lyrics are good. Suggest:  Wright found that Webber and Beck contrasted sharply in their delivery of the lyrics, with Beck's blending into the mix, as he had intended.
 * "Threshold", which is used near the end of the film, is described by Martens as "one of the choppiest, roughest Sex Bob-Omb songs in the film. It builds to a faster chorus, complete with feedback and a heavily manipulated acoustic guitar." Suggest: by Martens as "one of the choppiest, roughest Sex Bob-Omb songs in the film" which accelerates into the chorus with an effects-laden acoustic-electric guitar.
 * The song comes from an idea of what O'Malley imagined Sex Bob-Omb to be, from an experience of his own band when his "friend was playing an acoustic guitar plugged into an amp and it was really distorted. The sound guy would always get really upset. So that's kind of what they were originally looking like." Suggest: from an experience in a band with a friend whose heavily distorted acoustic guitar would "really upset [the sound guy; that's] what they were originally looking like."
 * Beck also had this image from looking at the comics when writing the songs, imagining Stephen Stills to be like Kim Deal of The Breeders, who "is known for distorting and amplifying her acoustic instrument." The context might suggest this is a quote from Beck but it is actually a quote from Martens. I think we can paraphrase. Suggest: Beck worked from the comics while composing the songs, imagining Stephen Stills to be like Kim Deal, who uses feedback to amplify her acoustic guitar with The Breeders.
 * Beck said of "Threshold" that he felt bad for giving such a rough song to the producers, but also "proud that some of the bad notes were left in there. I think things tend to get scrubbed for Hollywood films, but this was relatively less-polished." I like this quote as-is, it speaks critically about the song and also about production concerns and how this song differs from what you might otherwise find on a soundtrack.
 * Martens explains that "its choppy opening overlaid with a lilting guitar solo instantly smooths out the frayed beginning. The extended notes feel like a daydream, and Wright uses the song to frame one of Scott's first extended glimpses at Ramona." I hope we can paraphrase a bit of this.  (BTW: The song is used when Scott stalks/obsesses with Ramona at the house party.)  Suggest:  Martens explains that "its choppy opening overlaid with a lilting guitar solo instantly smooths out the frayed beginning [and feels] like a daydream" as it marks the beginning of Scott's obsession with Ramona.  (The source talks about Ramona as "the object of his obsession" earlier, so I think this is covered.)
 * Yeah, that works nicely. I like all your quote-fixing suggestions so far Kingsif (talk) 23:08, 23 April 2020 (UTC)
 * Broken Social Scene contributed some of their own songs as well, including their signature song "Anthems for a Seventeen-Year-Old Girl", with its "slow-building orchestra of sounds and Haines's chant-like vocals"; Martens says that despite its "nostalgic tone, the song gradually becomes a full-on singalong". Both quotes are from Martens. Suggest: which gradually adds instruments to the arrangement behind rounds of vocals by Haines. Martens found that it invites the listener to sing along, despite its "nostalgic tone".
 * "Scott Pilgrim", which is not one of the original songs recorded for the film (and barely features in it), is said by Martens to have "a bit of alt-rock crust to the guitars, and a naive excitement to the vocals"; "By Your Side" is described as a "lovesick slow dance of a tune, with bedside vocals and a romantically melancholic harmonica" by Martens, with Rodrigo Perez saying it is an "atmospheric, harmonica-laden" song that "has that wistful and bittersweet feeling that [the soundtrack and film are] chasing in its introspective moments". I'm not sure I can paraphrase this, but I feel it could use some restructuring to break the run-on sentence.
 * Suggest: Other previously released songs include "Scott Pilgrim", which barely features in the film; Martens notes it for an "alt-rock crust to the guitars, and a naive excitement to the vocals".  He describes "By Your Side" as a "lovesick slow dance of a tune, with bedside vocals and a romantically melancholic harmonica". Rodrigo Perez called it an "atmospheric, harmonica-laden" song that "has that wistful and bittersweet feeling that [the soundtrack and film are] chasing in its introspective moments".
 * The AllMusic review said that "soundtracks to movies adapted from comic books are often marketing free-for-alls; promoting bands takes precedence over choosing songs that make sense for the film. However, nothing could be further from the truth for Scott Pilgrim vs. the World's music."
 * Suggest: The AllMusic review said that "soundtracks to movies adapted from comic books are often marketing free-for-alls", noting how promotional considerations often override the thematic coherence of the film. "However, nothing could be further from the truth for Scott Pilgrim vs. the World's music."
 * which was on the first comic soundtrack he compiled I realize you're paraphrasing the source's "O'Malley compiled playlists for each Scott Pilgrim novel, and "By Your Side" was on the first one he made." but can we make this clear that it's a playlist (not a soundtrack) for the first Scott Pilgrim graphic novel?  Maybe something like: which was on the list of songs he compiled to accompany the first Scott Pilgrim graphic novel.
 * I've been reading through the graphic novels. Within those, O'Malley first mentions the music he listens to at the end of Volume Three (SP & The Infinite Sadness, 2006). This can be referenced as a primary source.  Here, he mentions making "a mix CD of songs that capture the right mood" and mentions "a few major songs" including "Scott Pilgrim" by Plumtree and "By Your Side" by Beachwood Sparks.  O'Malley describes the latter as "A swirly cosmic countrified cover of a Sade song. It's the ultimate Scott Pilgrim love song."  Another playlist is at the end of Volume 5 and includes "Under My Thumb" by The Rolling Stones.✅ added O'Malley quote with citation to primary source
 * Also on the comic soundtrack was "Sleazy Bed Track" I think soundtrack &rarr; playlist.
 * Kirk Hamilton notes the differences This is the only time Hamilton is mentioned, so might want to say "Music writer Kirk Hamilton" to give some context so the reader can gauge the importance of his quotation.
 * Den of Geek said that the film has "one of the best soundtracks of the year", as did MTV, who particularly praised the Sex Bob-Omb songs. This may suggest that MTV also used that exact quotation in its review. The MTV piece notes it as one of the "five best" soundtracks of 2010 in "no particular order".
 * Suggest: MTV shared this assessment and particularly praised the Sex Bob-Omb songs.
 * ✅ To all the above. Kingsif (talk) 23:08, 23 April 2020 (UTC)

Two images with fair-use rationale, and two with CC licence.
 * Media
 * I've added a readable blowup of page 15 of the first graphic novel, in a multiple image template, and tweaked the caption. It's just something I wanted to try, I don't mind if you want to revert it.
 * The multiple-image looks much better in horizontal orientation, thanks!

Four audio clips with fair-use rationale given. states that song clips should be no more than 10% the length of the song (or 30 seconds for songs over 5 minutes). Going by the track length as stated in the article: Reading further at Music samples, the 10% is a "rule of thumb" and these are very close (11.7 and 11.2%), so I'm allowing them.
 * "We Are Sex Bob-Omb" 2:00 &times; 10% = 12 seconds. The clip is 14 seconds.
 * "Threshold" 1:47 &times; 10% = 10.7 seconds. The clip is 12 seconds.
 * "Black Sheep" 4:56 &times; 10% = 29.6 seconds. Both clips okay (since they cover the same section of the song).


 * You may have noticed I started edits a few hours ago - I then stepped on some shearers and left everything open while first-aiding it. I'm back now, after managing to get some antiseptic. Kingsif (talk) 21:26, 23 April 2020 (UTC)
 * If the lengths of "We Are Sex Bob-Omb" and of "Threshold" are the issue, and if you insist, then I'll upload the six-second version for the former and nine-second version for the latter, ones that I re-created. BTW, I found old revisions of audio clips barely (or poorly) audible, so I replaced them with newer, more audible ones. George Ho (talk) 10:05, 24 April 2020 (UTC)
 * Whatever is easiest for you at the moment, I can't hear much of a difference in the Black Sheep ones besides not being echo-y as they cut out, which I assume is due to tinniness and that someone on a computer with better speakers will hear improvement throughout. The others do sound much clearer. Kingsif (talk) 12:56, 24 April 2020 (UTC)
 * Thanks for complimenting. :) I am still awaiting Reidgreg's reply on my suggestion. --George Ho (talk) 18:45, 24 April 2020 (UTC)
 * Ouchies! Keep it clean; you don't want to make a hospital visit if you can avoid it.  I'm just being thorough in my review. I'm fine with the clips samples (gave them a plus on the checklist), the rule of thumb isn't exact, these are very close, they add encyclopedic content, and they aren't going to deprive the copyright holders of income. – Reidgreg (talk) 20:19, 24 April 2020 (UTC)

Other areas to improve
Although not part of the GA criteria, here are some other areas you might want to improve (consider this advice toward featured quality):
 * MOS:MAJORWORKS notes Online magazines, newspapers, and news sites with original content should generally be italicized. So when mentioning Den of Geek, it shouldn't be italicized if referring to the company but should be italicized if referring to the website or print magazine.  Similarly with AllMusic, Common Sense Media, etc.
 * There's a long quote in the third paragraph of the first section. MOS:BLOCKQUOTE recommends that a quote of that size be put into a block quote, but a lot of the words are short and I feel that it's fine as is (and it's a good encyclopedic quote, too).
 * For the producer line in the infobox, Template:Infobox album notes that this is for "the actual record producer(s). Do not include those listed as executive, co-, additional, vocal, etc., producers, unless a reliable source identifies their contribution as substantially the same as the main producers. These should be included in the article body". Additionally, for the small (exec.), MOS:SMALLFONT discourages using smaller fonts in infoboxes (where the default font is already reduced).✅
 * Include alt text for images. This text should describe the image rather than repeat the caption. Examples: ,  ,   and  .✅
 * Could mention that the cover art is the same as the theatrical poster, based on the inside cover of the first graphic novel (mentioned briefly at ).

General discussion
I'm putting the review "on hold" for changes. Please take your time. I need to spend a bit of time away from the article to clear my head, but would like to take one more pass at the prose after the paraphrasing is done. If there's anything in my comments that you disagree with, I'm certainly open to discussion. Hope this is of help. – Reidgreg (talk) 17:26, 23 April 2020 (UTC)
 * Thank you for the work and the review, I'm all done besides digging for some better sources for the awards, take your time. Kingsif (talk) 23:19, 23 April 2020 (UTC)
 * I've confirmed your changes, and the new sources and material added to this point. I also made another run at the prose, minor tweaks, and removing a bit of overlinking and applying MOS:SURNAME.  I'm surprised that the Earwig score didn't go down more from all that paraphrasing, but what's left are proper names, common phrases, and the cited quotations.  (The entire Martens piece is about 4,800 words and the total quotes taken from it are about 370 words – within the 10% limited use rule.)  I found some sources for the awards (one is not great).  I think the only point is sourcing/phrasing for the deluxe soundtrack's release. – Reidgreg (talk) 20:19, 24 April 2020 (UTC)
 * Oh, I meant to say that I added a at a couple places above.  I believe those are the last hurdles. – Reidgreg (talk) 15:15, 25 April 2020 (UTC)
 * I believe I've addressed all the question marks, and I added Awards Daily. Reading their about page and googling the editors, it seems reliable. Kingsif (talk) 20:22, 29 April 2020 (UTC)
 * Okay, great! I confirmed those changes and am passing this review. Thanks for all your work on this and its related articles, and for sticking through the lengthy review. – Reidgreg (talk) 21:49, 29 April 2020 (UTC)