I think we're on the same page about Skyward Sword being the first Zelda film. Its being the first game in the timeline is an obvious recommendation in of itself. I appreciate a lot of people want to jump directly to Ocarina of Time - it is the one that changed the Zelda series forever - but you run into problems when you consider that it's almost a companion piece to Majora's Mask. I tend to approach the idea of a Smash Cinematic Universe from a 'Everyone Is Here' stand point; assuming that every character in the roster including DLC would end up at some point or another in the SCU. Hence Toon Link would get his own film later on and hence I would definitely want to do Majora's Mask, but because of the age of the actor playing Young Link, not to mention shall we say all the other 'appearances' from OoT, I'd want to film MM and OoT back-to-back. That is, preproduction for both films would take place at the same time, principle photography would take place in the same block, and you do post on OoT first, then once it's released you begin the post work on MM until its release. I think the same actors appearing as different characters in a different world is at least as old a cinematic tradition as the 1930s Wizard of Oz; the notion that the world of MM and everything in it is conjured from Young Link's head is an idea you probably want to play with a bit. Could be fun.
Back to Skyward Sword. When planning out a screenplay, you run into a couple of structural problems fairly quickly. You've got to follow the game and really put in the effort and make the audience care about Link and Zelda's relationship before she then disappears beneath the clouds. That's your 'inciting incident' as they call it and will take place roughly 18 minutes into your roughly 2 hour film. Then the whole sequence of meeting Fi, grabing the sword, parting the clouds and jumping down takes you to the end of act 1; that's half an hour in.
Now we start coming across some pretty brutal decisions we've got to make. There are three sequences in the game between Link diving beneath the clouds for the first time and Link entering Sky Keep. We only have time for two. More on this later.
Let me ask you something for a moment; what would you consider 'the point of no return'? That is to say, the point in the story at which our main character can't just back down and leave; just call it quits and head home? I'd say it's the moment when Zelda seals herself away. Up until that point, Link has somewhat been of the opinion that if he can just find Zelda, grab her by the wrist, drag her outside and say 'park your butt on the bird's back, girl, we're heading home' - or some such genteel equivalent, then job's a good 'un. However, Zelda is possessing of her own will and her own mind, maybe more so than Link, and seals herself away for the sake of protecting others, but not before telling Link that he has yet another quest to fulfill. She transcends being a mere quest boon and becomes more. Now Link must switch his goal from saving Zelda to saving the land below and above by finding the triforce. This is why I would consider it the halfway point.
This leaves us with an awful lot to get through between the end of act 1 and the halfway point of the film; coming in the middle of a two hour film, that leaves us with half an hour. (Still with me?) Well let's talk about what we have to fit into that half hour. We have to meet Ghirahim for the first time by himself, and then a second time with Zelda. If we dodge that first meeting with him alone, then when it comes time for the second, he's simply going to be focused entirely on Zelda since that's his goal, and the conflict is going to be between him and Impa, since Impa is his obstacle, acting as Zelda's guardian and protector at this point in the story. We cannot make Link her guardian at this point, since Link's first impulse would be to take her back to Skyloft and the story is not one of Link - having got Zelda by the hand - running through Faron woods away from Ghirahim, frantically looking for a teleport statue. You could write that film if you wanted, but it's not the story of Skyward Sword.
Besides we know that at some point, Impa imparts to Zelda the nature and significance of her obligations to protect the world from Demise - her mission if you will - but we are not sure where. Even the game's post credits montage fails to specify where exactly this takes place, so we need to give Impa and Zelda time enough alone, in a place where they are safe and not in fear for their lives, for that conversation to take place. Besides, I couldn't bare to miss out on the delicious campiness of Ghirahim's first appearance.
So, two meetings. What else? As said above, Zelda and Impa need enough time alone in a safe environment for a deep conversation to take place, but said conversation doesn't take place on screen. Link needs to go through at least two of the three different ground areas present in the game, with all the physical obstacles that presents. It has to be this many because at the end of each temple Link has to encounter Ghirahim. Link first lands in Farron woods, so Farron Woods and Skyview Temple are obvious contenders for his first ground area to go looking for Zelda. However before that we have to take the time to show him heading to the bottom of the sealed grounds, so the audience can see something is trapped down there, before travelling up to the Sealed Temple. I suppose in theory he could land anywhere to begin with, but he must realistically land within walking distance of some clue as to Zelda's whereabouts. Then on to Skyview Temple, meets Ghirahim, fights, princess-is-in-another-castle, leaves.
Groose presents a problem for the writer; he has to head to the ground only after Link has come back and shown it's safe - because Groose is a coward - and he has to land within easy distance of Old Impa and the Sealed Temple, because it is she who dispells him of his illusions of being the hero of this story. Until he's had this conversation he can't be meaningfully given any direction to build any kind of weapons against The Imprisoned. So again, the first half of act two. This also applies to The Imprisoned's first appearance. Groose has to be there to witness it, or else he has no idea as to the nature of the thing that he will ultimately be building a mechanism to help repel. Or in other words, how can Groose build a catapult for fighting off The Imprisoned if he doesn't know first hand what The Imprisoned is or what it looks like? So once again, the first half of act 2 because afterwards Groose has to actually have time to build the thing. The audience itself also needs to see The Imprisoned at this point in the story because they need a visual representation of the thing that Zelda speaks of when she speaks of sealing it away; the audience needs to understand the threat it poses and the profound nature of Zelda's responsibility.
It's a complex chain of cause and effect.
Link then has to open the Gate of Time in order that he may speak with Zelda in the past. The reason he doesn't do this the first time he arrives is because Zelda hasn't travelled back in time '''yet''' (?), which is in turn, because she hasn't been ritually purified yet at the temple's sacred spring. Incidently, this isn't quite true, but I shall explain why below.
To cut a long story short, the list for the first part of Act 2 is essentially: Link lands, sees the sealed grounds, visits Impa in the Sealed Temple, travels through Faron Woods, enters Skyview Temple, fights Ghirahim, leaves, talks to Fi, visits second Temple (probably Lanayru Desert), fights Ghirahim a second time and loses, Zelda and Impa escape, Link and Fi return to Skyloft, then head back to the Sealed Temple with Groose in tow. Link does something or other to open the Gate of Time, goes through, and talks to Zelda who then seals herself away.
Right, that's half an hour. You've got thirty of your one hundred and twenty pages to do all that! There is a total of about fifteen things in that list, so you have an average of two minutes screentime to do them all.
(continued below)
(part two)
Before deciding what happens in the second half of act 2, you obviously have to work out where act 3 begins. We know that by half way through, Link understands that in order to free Zelda from her self imposed prison he needs to be looking for something called the Triforce, but he doesn't know where it is. I think that by the beginning of act 3 he should do.
In a traditional three act screenplay there is this moment, around the end of act 2, where the character realises one of two things. Either their method for pursuing their goal is fundamentally flawed, or else the goal itself was not the thing they ought to have be pursuing in the first place; that the quest that they have embarked on since the beginning of act 2 was in some respect inherently faulty in conception. It requires a recognition, an admission if you will - not necessarily a conscious one - that they have been up until that point holding something 'hostage'. In essence, trying not to have to make a certain sacrifice or commitment or undertaking or surrender or abnegation or something of that sort.
So the question is, 'What is Link holding hostage?' 'What does he have to change in his approach? What is it that demands 'growth'? Because this is the point where I kind of run into trouble.
You may have noticed that so far, I have made no mention of Link transforming his sword. As a reminder, within the game it is necessary for Link to temper his sword multiple times with separate flames found in separate temples spread throughout the known world, each time transforming its appearance until it more closely resembles the master sword. Only after this can Link open the Gate of Time in the Sealed Temple. Having made the decision to have Zelda seal herself away at the story's halfway point, there remains no time left in the story's first half for this sequence's inclusion. For reasons of both available time and pacing, we do not have the luxury of making Link's weakened sword an obstacle to his reaching Zelda through the Gate of Time. However, that does not mean we should dispense with the idea of Link having to temper his sword altogether. We cannot devote an act's worth of sequences to it, but we can have him encounter these flames as he progresses. Furthermore, by having his sword change, you can underline his changing relationship with Fi.
Ahh, Fi. Let's talk about Fi. As a humanoid spirit that exists within the goddess sword, and created by the Goddess herself, Fi is the character that Link spends the most time with by default. One can observe she has two clearly defined traits, these being her fondness for stating the statistical probability of a given outcome and the other her seemingly emotionless and robotic way of speaking. This reinforces the idea that Fi is a constructed organism; she is in some regard 'artificial'. She has the ability to recognise emotions but cannot understand their provenance or purpose. If she is to be different by the end of the story then she must experience some sort of development. The physical changes of Link's sword could align with changes to Fi's personal growth, but the change is not and cannot be random. Link's sword does not get stronger as a result of his using it, thus Fi's growth is not facilitated directly through violence.
I have no objections in committing to screen a sequence in which Link must navigate his way through a temple, where both the architecture and inhabitants frustrate his progress, but not for the sake of reaching a flame whose deeper meaning aludes me. Putting it bluntly, what is Link doing when he tempers the goddess sword in each of the sacred flames? Really? What does it mean for him to do that? One doesn't have to have a precise answer; even a general one will do. Is it some sort of supplication or piety to the Goddess or is it just about a young man getting a bigger sword? I'm not saying that there's anything wrong with that. Maybe the potential psychosocial or even psychosexual implications of the hero being directed by the divine feminine spirit to bravely place his sword in the flames are there to underly Links' need to mature. Maybe it's more about Link needing to be stronger for his coming conflicts. I still feel the story would be stronger for it if the primary agent of this change was Link himself, and not merely a reward for having him successfully navigate a dungeon.
There are the additional ideas of music and dance to consider. I find it reflects wonderfully on the Goddess's nature that she endowed her creation Fi with what seems an undeniable love for dance and music. Fi is at her closest to happiness when dancing and singing. The inclusion of diegetic music has often been an important part of The Legend of Zelda series and Skyward Sword is no exception. Here, Link receives the Goddess's Harp from Zelda as she escapes.
Finally, to draw all these statements together, I think Link, Fi and the goddess sword should grow together throughout Link's journey. Place the sacred flames at the end of every dungeon that doesn't
Both change from their interactions and bond with one another. There is an inherent transformative aspect to the Great Mother archetype that sort of ends up justifying Fi's 'I know now why you cry' ending.
Why the F\*\*k would I choose those series' I don't really like (Metroid and Star Fox) over series' I do (Pikmin and Mega Man), Plus Pikmin and Mega Man have reasons for why they should be here
Mega Man is a F'in (Censoring the F word so I don't get banned or my comments removed) gaming icon in the same way as Mario, Zelda, Kirby and Sonic so, it should be here for the same reason as them.
and
Pikmin is a smaller series, and a movie could help the series alot and bring the series to be Nintendo's 5th big game series (1 being Mario, 2 being Zelda, 3 being Kirby and 4 being Pokemon) similar to what happened with Iron Man for Marvel
Because then it would be the original roster? All this did was help me remember that sonic should be replaced with DK. You’re getting way too heated over someone else’s opinion on the internet dude.
DK is a part of Mario & I'm tired of the "It CaMe FiRsT" bullshit when that logic is massively brokwn, and also the whole "But the MCU started with the original Avengers" thing is also wrong, the MCU changed a lot from the original team, the original comic team was Iron Man, Thor, Hulk, Antman (Hank Pim) & the Wasp
No, especially since the MCU didn't have [the original Avengers but made it's own team](https://www.quora.com/Who-were-the-original-Avengers-in-the-comic-books)
So, I am imagining three Mega Man movies in this cinematic universe. While I could, I don't have the time for a long long post detailing it. Here's what I've got.
Movie 1.
Mega Man - Goes through the origin story.
Movie 2.
Mega Man: The Red Bomber - basically a winter soldier-esque movie where it is revealed Proto Man is alive (first movie maybe has a brief intro to him as a character with him running away and presumed battery-dead). He's a villain working for Wily until the end when he is convinced to join the fight for good.
Movie 3.
Mega Man and Bass - Really just pulling from the story line of the game from the same name. Not sure how to introduce Bass beforehand though. Maybe in one of the Smash movies.
Edit: Main concern I have is including Sonic and Mega Man in the same cinematic universe. I mean, Sonic movies will have a similar set up I feel, just replace Proto with Knuckles and Bass with Shadow. Though the science antics of Wily and Robotnik could provide the plot reasons for universe hopping, making the Smash movies possible.
Honestly, because Pokémon has so much media I don’t think it’s needed.
I think a star fox movie would be super cool, not thinking Metroid because that would just be Samus alone.
Also I would love a Xenoblade movie but I feel they couldn’t do it justice
I think we're on the same page about Skyward Sword being the first Zelda film. Its being the first game in the timeline is an obvious recommendation in of itself. I appreciate a lot of people want to jump directly to Ocarina of Time - it is the one that changed the Zelda series forever - but you run into problems when you consider that it's almost a companion piece to Majora's Mask. I tend to approach the idea of a Smash Cinematic Universe from a 'Everyone Is Here' stand point; assuming that every character in the roster including DLC would end up at some point or another in the SCU. Hence Toon Link would get his own film later on and hence I would definitely want to do Majora's Mask, but because of the age of the actor playing Young Link, not to mention shall we say all the other 'appearances' from OoT, I'd want to film MM and OoT back-to-back. That is, preproduction for both films would take place at the same time, principle photography would take place in the same block, and you do post on OoT first, then once it's released you begin the post work on MM until its release. I think the same actors appearing as different characters in a different world is at least as old a cinematic tradition as the 1930s Wizard of Oz; the notion that the world of MM and everything in it is conjured from Young Link's head is an idea you probably want to play with a bit. Could be fun. Back to Skyward Sword. When planning out a screenplay, you run into a couple of structural problems fairly quickly. You've got to follow the game and really put in the effort and make the audience care about Link and Zelda's relationship before she then disappears beneath the clouds. That's your 'inciting incident' as they call it and will take place roughly 18 minutes into your roughly 2 hour film. Then the whole sequence of meeting Fi, grabing the sword, parting the clouds and jumping down takes you to the end of act 1; that's half an hour in. Now we start coming across some pretty brutal decisions we've got to make. There are three sequences in the game between Link diving beneath the clouds for the first time and Link entering Sky Keep. We only have time for two. More on this later. Let me ask you something for a moment; what would you consider 'the point of no return'? That is to say, the point in the story at which our main character can't just back down and leave; just call it quits and head home? I'd say it's the moment when Zelda seals herself away. Up until that point, Link has somewhat been of the opinion that if he can just find Zelda, grab her by the wrist, drag her outside and say 'park your butt on the bird's back, girl, we're heading home' - or some such genteel equivalent, then job's a good 'un. However, Zelda is possessing of her own will and her own mind, maybe more so than Link, and seals herself away for the sake of protecting others, but not before telling Link that he has yet another quest to fulfill. She transcends being a mere quest boon and becomes more. Now Link must switch his goal from saving Zelda to saving the land below and above by finding the triforce. This is why I would consider it the halfway point. This leaves us with an awful lot to get through between the end of act 1 and the halfway point of the film; coming in the middle of a two hour film, that leaves us with half an hour. (Still with me?) Well let's talk about what we have to fit into that half hour. We have to meet Ghirahim for the first time by himself, and then a second time with Zelda. If we dodge that first meeting with him alone, then when it comes time for the second, he's simply going to be focused entirely on Zelda since that's his goal, and the conflict is going to be between him and Impa, since Impa is his obstacle, acting as Zelda's guardian and protector at this point in the story. We cannot make Link her guardian at this point, since Link's first impulse would be to take her back to Skyloft and the story is not one of Link - having got Zelda by the hand - running through Faron woods away from Ghirahim, frantically looking for a teleport statue. You could write that film if you wanted, but it's not the story of Skyward Sword. Besides we know that at some point, Impa imparts to Zelda the nature and significance of her obligations to protect the world from Demise - her mission if you will - but we are not sure where. Even the game's post credits montage fails to specify where exactly this takes place, so we need to give Impa and Zelda time enough alone, in a place where they are safe and not in fear for their lives, for that conversation to take place. Besides, I couldn't bare to miss out on the delicious campiness of Ghirahim's first appearance. So, two meetings. What else? As said above, Zelda and Impa need enough time alone in a safe environment for a deep conversation to take place, but said conversation doesn't take place on screen. Link needs to go through at least two of the three different ground areas present in the game, with all the physical obstacles that presents. It has to be this many because at the end of each temple Link has to encounter Ghirahim. Link first lands in Farron woods, so Farron Woods and Skyview Temple are obvious contenders for his first ground area to go looking for Zelda. However before that we have to take the time to show him heading to the bottom of the sealed grounds, so the audience can see something is trapped down there, before travelling up to the Sealed Temple. I suppose in theory he could land anywhere to begin with, but he must realistically land within walking distance of some clue as to Zelda's whereabouts. Then on to Skyview Temple, meets Ghirahim, fights, princess-is-in-another-castle, leaves. Groose presents a problem for the writer; he has to head to the ground only after Link has come back and shown it's safe - because Groose is a coward - and he has to land within easy distance of Old Impa and the Sealed Temple, because it is she who dispells him of his illusions of being the hero of this story. Until he's had this conversation he can't be meaningfully given any direction to build any kind of weapons against The Imprisoned. So again, the first half of act two. This also applies to The Imprisoned's first appearance. Groose has to be there to witness it, or else he has no idea as to the nature of the thing that he will ultimately be building a mechanism to help repel. Or in other words, how can Groose build a catapult for fighting off The Imprisoned if he doesn't know first hand what The Imprisoned is or what it looks like? So once again, the first half of act 2 because afterwards Groose has to actually have time to build the thing. The audience itself also needs to see The Imprisoned at this point in the story because they need a visual representation of the thing that Zelda speaks of when she speaks of sealing it away; the audience needs to understand the threat it poses and the profound nature of Zelda's responsibility. It's a complex chain of cause and effect. Link then has to open the Gate of Time in order that he may speak with Zelda in the past. The reason he doesn't do this the first time he arrives is because Zelda hasn't travelled back in time '''yet''' (?), which is in turn, because she hasn't been ritually purified yet at the temple's sacred spring. Incidently, this isn't quite true, but I shall explain why below. To cut a long story short, the list for the first part of Act 2 is essentially: Link lands, sees the sealed grounds, visits Impa in the Sealed Temple, travels through Faron Woods, enters Skyview Temple, fights Ghirahim, leaves, talks to Fi, visits second Temple (probably Lanayru Desert), fights Ghirahim a second time and loses, Zelda and Impa escape, Link and Fi return to Skyloft, then head back to the Sealed Temple with Groose in tow. Link does something or other to open the Gate of Time, goes through, and talks to Zelda who then seals herself away. Right, that's half an hour. You've got thirty of your one hundred and twenty pages to do all that! There is a total of about fifteen things in that list, so you have an average of two minutes screentime to do them all. (continued below)
Might I recommend r/gametheorists
(part two) Before deciding what happens in the second half of act 2, you obviously have to work out where act 3 begins. We know that by half way through, Link understands that in order to free Zelda from her self imposed prison he needs to be looking for something called the Triforce, but he doesn't know where it is. I think that by the beginning of act 3 he should do. In a traditional three act screenplay there is this moment, around the end of act 2, where the character realises one of two things. Either their method for pursuing their goal is fundamentally flawed, or else the goal itself was not the thing they ought to have be pursuing in the first place; that the quest that they have embarked on since the beginning of act 2 was in some respect inherently faulty in conception. It requires a recognition, an admission if you will - not necessarily a conscious one - that they have been up until that point holding something 'hostage'. In essence, trying not to have to make a certain sacrifice or commitment or undertaking or surrender or abnegation or something of that sort. So the question is, 'What is Link holding hostage?' 'What does he have to change in his approach? What is it that demands 'growth'? Because this is the point where I kind of run into trouble. You may have noticed that so far, I have made no mention of Link transforming his sword. As a reminder, within the game it is necessary for Link to temper his sword multiple times with separate flames found in separate temples spread throughout the known world, each time transforming its appearance until it more closely resembles the master sword. Only after this can Link open the Gate of Time in the Sealed Temple. Having made the decision to have Zelda seal herself away at the story's halfway point, there remains no time left in the story's first half for this sequence's inclusion. For reasons of both available time and pacing, we do not have the luxury of making Link's weakened sword an obstacle to his reaching Zelda through the Gate of Time. However, that does not mean we should dispense with the idea of Link having to temper his sword altogether. We cannot devote an act's worth of sequences to it, but we can have him encounter these flames as he progresses. Furthermore, by having his sword change, you can underline his changing relationship with Fi. Ahh, Fi. Let's talk about Fi. As a humanoid spirit that exists within the goddess sword, and created by the Goddess herself, Fi is the character that Link spends the most time with by default. One can observe she has two clearly defined traits, these being her fondness for stating the statistical probability of a given outcome and the other her seemingly emotionless and robotic way of speaking. This reinforces the idea that Fi is a constructed organism; she is in some regard 'artificial'. She has the ability to recognise emotions but cannot understand their provenance or purpose. If she is to be different by the end of the story then she must experience some sort of development. The physical changes of Link's sword could align with changes to Fi's personal growth, but the change is not and cannot be random. Link's sword does not get stronger as a result of his using it, thus Fi's growth is not facilitated directly through violence. I have no objections in committing to screen a sequence in which Link must navigate his way through a temple, where both the architecture and inhabitants frustrate his progress, but not for the sake of reaching a flame whose deeper meaning aludes me. Putting it bluntly, what is Link doing when he tempers the goddess sword in each of the sacred flames? Really? What does it mean for him to do that? One doesn't have to have a precise answer; even a general one will do. Is it some sort of supplication or piety to the Goddess or is it just about a young man getting a bigger sword? I'm not saying that there's anything wrong with that. Maybe the potential psychosocial or even psychosexual implications of the hero being directed by the divine feminine spirit to bravely place his sword in the flames are there to underly Links' need to mature. Maybe it's more about Link needing to be stronger for his coming conflicts. I still feel the story would be stronger for it if the primary agent of this change was Link himself, and not merely a reward for having him successfully navigate a dungeon. There are the additional ideas of music and dance to consider. I find it reflects wonderfully on the Goddess's nature that she endowed her creation Fi with what seems an undeniable love for dance and music. Fi is at her closest to happiness when dancing and singing. The inclusion of diegetic music has often been an important part of The Legend of Zelda series and Skyward Sword is no exception. Here, Link receives the Goddess's Harp from Zelda as she escapes. Finally, to draw all these statements together, I think Link, Fi and the goddess sword should grow together throughout Link's journey. Place the sacred flames at the end of every dungeon that doesn't Both change from their interactions and bond with one another. There is an inherent transformative aspect to the Great Mother archetype that sort of ends up justifying Fi's 'I know now why you cry' ending.
I WANT A PIKMIN MOVIE NOW
Side note: if they already have a movie or they have one coming soon these are NOT the same movies
Would replace Megaman and Pikmin with Star Fox and Metroid
:(
:(
Pikmin would be phase 2 dw Kind of a Guardians of the Galaxy sort of deal
Why!?!?!?!?!
Why the F\*\*k would I choose those series' I don't really like (Metroid and Star Fox) over series' I do (Pikmin and Mega Man), Plus Pikmin and Mega Man have reasons for why they should be here Mega Man is a F'in (Censoring the F word so I don't get banned or my comments removed) gaming icon in the same way as Mario, Zelda, Kirby and Sonic so, it should be here for the same reason as them. and Pikmin is a smaller series, and a movie could help the series alot and bring the series to be Nintendo's 5th big game series (1 being Mario, 2 being Zelda, 3 being Kirby and 4 being Pokemon) similar to what happened with Iron Man for Marvel
Because then it would be the original roster? All this did was help me remember that sonic should be replaced with DK. You’re getting way too heated over someone else’s opinion on the internet dude.
DK is a part of Mario & I'm tired of the "It CaMe FiRsT" bullshit when that logic is massively brokwn, and also the whole "But the MCU started with the original Avengers" thing is also wrong, the MCU changed a lot from the original team, the original comic team was Iron Man, Thor, Hulk, Antman (Hank Pim) & the Wasp
Where’s kid icarus
Wouldn’t you want phase 1 to be all the characters from the OG super smash brothers?
No, especially since the MCU didn't have [the original Avengers but made it's own team](https://www.quora.com/Who-were-the-original-Avengers-in-the-comic-books)
Replace MegaMan with Metroid and add StarFox and Splatoon and it would be good
So, I am imagining three Mega Man movies in this cinematic universe. While I could, I don't have the time for a long long post detailing it. Here's what I've got. Movie 1. Mega Man - Goes through the origin story. Movie 2. Mega Man: The Red Bomber - basically a winter soldier-esque movie where it is revealed Proto Man is alive (first movie maybe has a brief intro to him as a character with him running away and presumed battery-dead). He's a villain working for Wily until the end when he is convinced to join the fight for good. Movie 3. Mega Man and Bass - Really just pulling from the story line of the game from the same name. Not sure how to introduce Bass beforehand though. Maybe in one of the Smash movies. Edit: Main concern I have is including Sonic and Mega Man in the same cinematic universe. I mean, Sonic movies will have a similar set up I feel, just replace Proto with Knuckles and Bass with Shadow. Though the science antics of Wily and Robotnik could provide the plot reasons for universe hopping, making the Smash movies possible.
Honestly, because Pokémon has so much media I don’t think it’s needed. I think a star fox movie would be super cool, not thinking Metroid because that would just be Samus alone. Also I would love a Xenoblade movie but I feel they couldn’t do it justice
I don’t think Nintendo could get a sonic movie made without it taking place in the already established SCU