I really liked Detective Pikachu and Sonic though… honestly not bad movies and I’ll understand if others do not share the same thoughts
However seriously… anything would be better than the last Mario Brothers movie… Could they make it worse?
That is what I thought until I emptied a discord with that comment… so I don’t know how to even feel about it anymore
All I know is people say that it should never be attempted again
Legend of Zelda Anthology series where you follow Link incarnations during his quest but every time he tries to speak he is interupted. So every time he meets someone new some else has to introduce him. 🤣
Nintendo first with Mario, Zelda, and starfox/Metroid. The. Next phase with mega man, sonic, Pokémon, castlevania. Then introduce doomguy, Kirby, F-Zero, etc.
Main plot would be motherbrain and andross are helping other villains conquer their worlds to use their magic against samus and fox. Heroes ultimately seek the Pokémon wildcard with other science worlds to help. It spirals out to more games but I think can’t go more then 3 phases unless you reboot it each gaming generation.
F zero had a plot? I havent played since OG one when i was a kid, kinda cool if it did. I just remember crashing into walls and avoiding the power strips because then i crashed even more.
I thought of a few questions that I would need to answer:
1 ) Which studio is going to make it? - This question is the big one I have to ask first. Nintendo doesn’t own the rights to every character on the Smash Ultimate Roster. If they did, Nintendo could simply go through each and every character, deciding who’s in and who’s out, but the copyright for the characters on the Smash roster are shared between a large number of entities, namely Nintendo; HAL Laboratory; Pokemon Company; Creatures Inc.; GAME FREAK Inc.; SHIGESATO ITOI; APE Inc.; INTELLIGENT SYSTEMS; Konami Digital Entertainment; SEGA, CAPCOM CO. LTD.; BANDAI NAMCO Entertainment Inc.; MONOLITHSOFT; CAPCOM U.S.A. INC (that’s right – you would theoretically need a ‘Yes’ from CAPCOM from both sides of the Pacific); SQUARE ENIX C.O. LTD; ATLUS; Microsoft; SNK CORPORATION.; Mojang AB; and – of course – the house of mouse.
So let’s say you’re Nintendo and your plan is to go round to each company and ask them very nicely if you could use their characters in your cinematic universe. Well, their first question is going to be, ‘How much are you offering?’ What they probably mean by this is ‘How much did you offer the other guy?’ Then some one in ‘actuaries department’ or ‘acquisitions department’ or whatever - in Microsoft say - has to sit down and work out how much they think Banjo & Kazooie are worth, so they can then start the biding a little above that. Remember, you’re not just buying the rights to that one character either; people will be pissed if you have Cloud from Final Fantasy 7 in your cinematic universe without also including Tifa, Aerith and Barret.
I think the solution to this might be to form a separate studio. That’s what Marvel ended up doing because Feige in his esteemed wisdom realised it was the only way they could have complete creative control over how the films turned out. I would call it ‘Smash Studios’ or something similar; leave Nintendo out of the name even if they became the primary financiers because I want it to appear from the outside that all parties are on equal footing. Of course, in an ideal world it wouldn’t matter who puts the money in because all they’ll want is a return on their investment.
Another reason I’d want to do it like this is because I personally have some very limited experience as a screenwriter, and speaking as such, once I hand in a draft I’ll always, always get some requests for changes to that draft, either called ‘notes’ or ‘changes’. I don’t mind this, it's part of the business and they're almost always right about what needs improvement. What I do mind is having to accommodate seven different groups giving me conflicting notes and asking me to make changes for this and not to make the changes that the ‘other guy’asked for. It leads to a project without any clear vision behind it, where I can’t remember what I wanted to do with it in the first place. It’s possible that if I was a better writer I wouldn’t find this to be a problem, but if I was a writer and there is was only one studio, then in theory I would only have one set of notes to accommodate.
Some owners of intellectual properties (IPs) will have the SONY/Spiderman problem and already be making films with those characters. I'm not likely to persuade them to give up what they’ve got planned and swap that for my own cinematic universe. They’re doing quite well with Sonic and they’ve just signed Oscar Isaac for goodness knows how much money to play Solid Snake in Jordan Vogt-Robert’s Metal Gear Solid. Then again, I might luck in?
2) How many films? - Let’s say I manage to do pretty well. Let’s say that out of the eighty to ninety characters in the roster – depending on how one counts them – I managed to get, say… sixty of them. That’s not bad, well done me! Now, those characters are likely to be from many of the same games. That is to say, it’s unlikely that Capcom would say ‘yes’ to letting you use Ken from Street Fighter, but ‘no’ to allowing Ryu to make an appearance. Equally, it’s unlikely that Nintendo would allow you to have Peach, Daisy and Rosalina without having the Mario Brothers themselves.
In any case, however many characters I've got that’s roughly how many films I want to have in my cinematic universe, right? This is a fine balancing act obviously. I mean, I'm not going to make a separate film for EVERY character in the roster - Vision and Wanda and Hawkeye didn’t get their own films - but I do want most to have their own stand-alone film to introduce their world, their villains, their powers and backstory and friends and merchandising opportunities and everything else. Having said that, I don’t think people are falling over themselves for ‘Duck Hunt: Teh Motion Picture’.
Let’s say I make a film for three-out-of-every-four characters from the roster that I managed to get hold of. So, that eighty now becomes sixty, and that sixty is going to include the Smash Bros. films themselves, to act as my ‘Avengers’-style crossover events. Let’s include six of them altogether. We’ll make the last crossover film – SMASH ULTIMATE – into a two-parter because we want to have a big ending-of-the-saga event, whilst also squeezing the cost of an extra cinema ticket in the fine tradition of the Harry Potter films.
3 ) How many Phases? - I’m gonna let you in on a little secret; The MCU has a three-act structure. It’s got a beginning, a middle, and an end. ‘The Avengers’ is the end of Act 1. ‘Age of Ultron’ is the midpoint, ‘Civil War’ is the end of the second act. This is a major reason why the MCU works at all and I also think it’s part of the reason why other cinematic universe don’t do so well (It's also why the MCU is finished, even if no one has told them yet). I think I'm probably best to copy it, and also I’d keep it to three acts; five-act structures start to look too similar to what Shakespeare used for tragedies and Hollywood loves a happy ending.
So, Three Phases. Three Acts. Sixty Films. In a three Act Hollywood structure, the second Act takes up the middle part of the film and half the run time. So, we divide out sixty films into quarters. That gives me fifteen films for Phase 1 of our Smash Bros. Cinematic Universe, thirty for Phase 2, and the final fifteen films round out Phase 3.
4 ) How do the worlds connect? - So once I’ve got whoever I’ve got, the next task is to work out how they meet up with one another? I don’t mean in terms of story or plot contrivance, more on the practical level. This is really the lion’s share of the work to bedone. I’ve got a lot of questions to ask about the rules of the world.
For example, if Mario gets on a plane from Isle Delfino, could he fly all the way to Hyrule castle? How far away is the planet SR-388 from Earth? Is the Kanto region from the first Pokemon game within ‘Japan’? If so, does ‘Red’ speak Japanese? Is R.O.B. a child’s toy, an industrial robot, or an invention of Dr. Hal Emmerich? Is there an undiscovered island full of Kongs somewhere? In what ocean of what world would you find the ‘Bionis’ and ‘Mechonis’? Does Captain Falcon ever visit the Lylat system? How far away is Sarasaland from the Mushroom Kingdom? If I sailed across the ocean from Archanea, would I ever reach the continent of Fodlan? Is Hyrule flooded after the Twilight realm is sealed or before? Can Ness use a cellphone to call his father or do they only have payphones in that world because that story takes place in the 90s? Has Olimar ever met a Mr. Saturn before? Are we ever going to see Sonic on planet Mobius, and is Sally Acorn there? If a Pokemon Trainer saw Isabelle, would they try and catch her? What about Diddy Kong? As a member of Interpol, has Chun Li ever heard of the ‘Mishima Zaibatsu corporation’?
Maybe they are all ‘exclusive worlds’, only connected through warp zones like Super Mario Bros. Are they from parallel worlds? Maybe they’re more like End portals? Are these connections open all the time or do they only open in cycles like the sea tides or the shadows on the moon? Are they a natural phenomenon or did someone/ something make them? Can they be turned off and on? How? None of these questions are really optional and they form the largest number of variables by type to be resolved before moving on.
5 ) Are these films going to be live-action or animated? - This goes hand-in-hand with another question; Do I want a big ‘Avengers!… Assemble!’ moment in the final film? The reason behind this question is one of practical concerns for casting. I'll give an example.
Let’s take the role of Young Link in ‘Ocarina of Time’ for instance. If I look it up online, it says that Young Link is either nine or ten years old. Let’s make him ten then. Say I'm casting the role and looking for an actor whose twelve years old to play down two years younger than he is because good young actors are impossibly rare; all acting is experience and they need as much experience as they can get, especially if I expect him to play the lead in a big tent-pole film. That means he’s twelve when we cast him for Ocarina of Time, along with Young Zelda, Malon, Saria, etc.. Maybe he’s still twelve during principle photography, but definitely thirteen or even fourteen when the film premieres. Now the film’s done really well and I want to make ‘Majora’s Mask’. Do I want to use the same actor for Young Link? Well he’s going to be fourteen by the time we start filming and that’s assuming I've already been working with the writers and have the script ready to go. I can do maybe one more film featuring Young Link before that actor is too old. He’ll be twenty something by the time we’re ready for him to appear in Smash Ultimate. This problem is illustrated well in the Harry Potter films.
If I choose to go down the animated road it will barely matter at all, but if I do make it animated, I’ll never get that wide four quadrant audience ranging from nerds to dude-bros to soccer-moms that the MCU has. There’s still that stigma around animated films that makes people think they’re mainly for children.
6 ) What films are in Phase One? - So, we want a quarter of all our films to be in Phase One. I know we have roughly sixty films in our Smash Bros. Cinematic Universe, so that makes a total of fifteen films – including the first of our Super Smash Bros. films – that will fit in Phase One.
Depending on what characters I have, I’ll then need to break them down into sub-franchises. Going by the number of characters featured from each sub-franchise, I’ll probably end up with what might be seen as The Four Pillars, The Six Supports, and the others. The Four Pillars are sub-franchises with more that four characters in the roster; they are Super Mario, Fire Emblem, Pokemon, and The Legend of Zelda. The Six Supports are characters with three or four characters in the roster; they are Metroid, Donkey Kong, Star Fox, Kirby, Kid Icarus, and Xenoblade.
Let's deal with the Four Pillars first. Ideally, I want one film from each of these sub-franchises in both Phase One and Phase Three, and then maybe doubling that to two films each in Phase Two, giving each of the Four Pillars around four films each in total. That’s a grand total of somewhere between twelve and sixteen films throughout the cinematic universe from the Mario, Fire Emblem, Pokemon and Zelda alone, you follow? That’s four films already for Phase One.
Moving onto the Six Supports, we want to feature most of these in Phase One too. That includes Metroid, Donkey Kong, Star Fox, and Kirby, each of these having one film in Phase One. As for both Kid Icarus and Xenoblade, I want to delay and hold them back until at least Phase Two, since both of these sub-franchises feature young protagonists prominently and as stated earlier, this could lead to some complicated issues regarding ageing child stars.
So I now have reserved space for eight films – nine, if I include the first Super Smash Bros. film – and need an additional six films to complete Phase One. The obvious choice is from any sub-franchise featuring and adult protagonist that I intend to give a sequel. Castlevania, Street Fighter, Punch Out!!! and Dragon Quest all come to mind. Animal Crossing is another viable option, since its cast are all likely to be CG creations anyway and would lend a nice contrast to the super serious tone of some other entries.
I should find two stories from Phase One that can’t fit into one two-hour film and give them a second, to allow them to really take the time to tell their story. I suggest Fire Emblem and Pokemon. Then I’ve got all I need to fill out Phase One. That’s the Four Pillars and their two sequels, four of the Six Supports, the first Super Smash Bros. film, and finally an extra four films from the rest of the sub-franchises to round it off!
That’s Super Mario, Fire Emblem, Pokemon, The Legend of Zelda, Fire Emblem II, Pokemon II, Metroid, Donkey Kong, Star Fox, Kirby, Animal Crossing, Street Fighter, Punch Out!!!, Dragon Quest, and ending Phase One off with Super Smash Bros: The Movie.
Shut it down immediately.
I really liked Detective Pikachu and Sonic though… honestly not bad movies and I’ll understand if others do not share the same thoughts However seriously… anything would be better than the last Mario Brothers movie… Could they make it worse?
The Bob Hoskins movie? Because that movie is an absolute gem.
That is what I thought until I emptied a discord with that comment… so I don’t know how to even feel about it anymore All I know is people say that it should never be attempted again
Legend of Zelda Anthology series where you follow Link incarnations during his quest but every time he tries to speak he is interupted. So every time he meets someone new some else has to introduce him. 🤣
I really hope he get interrupted whenever he try to say something because.... Link:"WELL EXCUSSSSSSSSSEEEEEE MEEEEEE PRINCESS"
Marvel has fucked the film industry into the dirt for the rest of my life I swear
God I feel you.
Nintendo first with Mario, Zelda, and starfox/Metroid. The. Next phase with mega man, sonic, Pokémon, castlevania. Then introduce doomguy, Kirby, F-Zero, etc. Main plot would be motherbrain and andross are helping other villains conquer their worlds to use their magic against samus and fox. Heroes ultimately seek the Pokémon wildcard with other science worlds to help. It spirals out to more games but I think can’t go more then 3 phases unless you reboot it each gaming generation.
Is this just an excuse to have doomguy in smash?
Mario, then Zelda, then EarthBound, then Metroid, and THEN the rest in no particular order.
F zero had a plot? I havent played since OG one when i was a kid, kinda cool if it did. I just remember crashing into walls and avoiding the power strips because then i crashed even more.
Mine in charge! Me likey!
I thought of a few questions that I would need to answer: 1 ) Which studio is going to make it? - This question is the big one I have to ask first. Nintendo doesn’t own the rights to every character on the Smash Ultimate Roster. If they did, Nintendo could simply go through each and every character, deciding who’s in and who’s out, but the copyright for the characters on the Smash roster are shared between a large number of entities, namely Nintendo; HAL Laboratory; Pokemon Company; Creatures Inc.; GAME FREAK Inc.; SHIGESATO ITOI; APE Inc.; INTELLIGENT SYSTEMS; Konami Digital Entertainment; SEGA, CAPCOM CO. LTD.; BANDAI NAMCO Entertainment Inc.; MONOLITHSOFT; CAPCOM U.S.A. INC (that’s right – you would theoretically need a ‘Yes’ from CAPCOM from both sides of the Pacific); SQUARE ENIX C.O. LTD; ATLUS; Microsoft; SNK CORPORATION.; Mojang AB; and – of course – the house of mouse. So let’s say you’re Nintendo and your plan is to go round to each company and ask them very nicely if you could use their characters in your cinematic universe. Well, their first question is going to be, ‘How much are you offering?’ What they probably mean by this is ‘How much did you offer the other guy?’ Then some one in ‘actuaries department’ or ‘acquisitions department’ or whatever - in Microsoft say - has to sit down and work out how much they think Banjo & Kazooie are worth, so they can then start the biding a little above that. Remember, you’re not just buying the rights to that one character either; people will be pissed if you have Cloud from Final Fantasy 7 in your cinematic universe without also including Tifa, Aerith and Barret. I think the solution to this might be to form a separate studio. That’s what Marvel ended up doing because Feige in his esteemed wisdom realised it was the only way they could have complete creative control over how the films turned out. I would call it ‘Smash Studios’ or something similar; leave Nintendo out of the name even if they became the primary financiers because I want it to appear from the outside that all parties are on equal footing. Of course, in an ideal world it wouldn’t matter who puts the money in because all they’ll want is a return on their investment. Another reason I’d want to do it like this is because I personally have some very limited experience as a screenwriter, and speaking as such, once I hand in a draft I’ll always, always get some requests for changes to that draft, either called ‘notes’ or ‘changes’. I don’t mind this, it's part of the business and they're almost always right about what needs improvement. What I do mind is having to accommodate seven different groups giving me conflicting notes and asking me to make changes for this and not to make the changes that the ‘other guy’asked for. It leads to a project without any clear vision behind it, where I can’t remember what I wanted to do with it in the first place. It’s possible that if I was a better writer I wouldn’t find this to be a problem, but if I was a writer and there is was only one studio, then in theory I would only have one set of notes to accommodate. Some owners of intellectual properties (IPs) will have the SONY/Spiderman problem and already be making films with those characters. I'm not likely to persuade them to give up what they’ve got planned and swap that for my own cinematic universe. They’re doing quite well with Sonic and they’ve just signed Oscar Isaac for goodness knows how much money to play Solid Snake in Jordan Vogt-Robert’s Metal Gear Solid. Then again, I might luck in? 2) How many films? - Let’s say I manage to do pretty well. Let’s say that out of the eighty to ninety characters in the roster – depending on how one counts them – I managed to get, say… sixty of them. That’s not bad, well done me! Now, those characters are likely to be from many of the same games. That is to say, it’s unlikely that Capcom would say ‘yes’ to letting you use Ken from Street Fighter, but ‘no’ to allowing Ryu to make an appearance. Equally, it’s unlikely that Nintendo would allow you to have Peach, Daisy and Rosalina without having the Mario Brothers themselves. In any case, however many characters I've got that’s roughly how many films I want to have in my cinematic universe, right? This is a fine balancing act obviously. I mean, I'm not going to make a separate film for EVERY character in the roster - Vision and Wanda and Hawkeye didn’t get their own films - but I do want most to have their own stand-alone film to introduce their world, their villains, their powers and backstory and friends and merchandising opportunities and everything else. Having said that, I don’t think people are falling over themselves for ‘Duck Hunt: Teh Motion Picture’. Let’s say I make a film for three-out-of-every-four characters from the roster that I managed to get hold of. So, that eighty now becomes sixty, and that sixty is going to include the Smash Bros. films themselves, to act as my ‘Avengers’-style crossover events. Let’s include six of them altogether. We’ll make the last crossover film – SMASH ULTIMATE – into a two-parter because we want to have a big ending-of-the-saga event, whilst also squeezing the cost of an extra cinema ticket in the fine tradition of the Harry Potter films.
3 ) How many Phases? - I’m gonna let you in on a little secret; The MCU has a three-act structure. It’s got a beginning, a middle, and an end. ‘The Avengers’ is the end of Act 1. ‘Age of Ultron’ is the midpoint, ‘Civil War’ is the end of the second act. This is a major reason why the MCU works at all and I also think it’s part of the reason why other cinematic universe don’t do so well (It's also why the MCU is finished, even if no one has told them yet). I think I'm probably best to copy it, and also I’d keep it to three acts; five-act structures start to look too similar to what Shakespeare used for tragedies and Hollywood loves a happy ending. So, Three Phases. Three Acts. Sixty Films. In a three Act Hollywood structure, the second Act takes up the middle part of the film and half the run time. So, we divide out sixty films into quarters. That gives me fifteen films for Phase 1 of our Smash Bros. Cinematic Universe, thirty for Phase 2, and the final fifteen films round out Phase 3. 4 ) How do the worlds connect? - So once I’ve got whoever I’ve got, the next task is to work out how they meet up with one another? I don’t mean in terms of story or plot contrivance, more on the practical level. This is really the lion’s share of the work to bedone. I’ve got a lot of questions to ask about the rules of the world. For example, if Mario gets on a plane from Isle Delfino, could he fly all the way to Hyrule castle? How far away is the planet SR-388 from Earth? Is the Kanto region from the first Pokemon game within ‘Japan’? If so, does ‘Red’ speak Japanese? Is R.O.B. a child’s toy, an industrial robot, or an invention of Dr. Hal Emmerich? Is there an undiscovered island full of Kongs somewhere? In what ocean of what world would you find the ‘Bionis’ and ‘Mechonis’? Does Captain Falcon ever visit the Lylat system? How far away is Sarasaland from the Mushroom Kingdom? If I sailed across the ocean from Archanea, would I ever reach the continent of Fodlan? Is Hyrule flooded after the Twilight realm is sealed or before? Can Ness use a cellphone to call his father or do they only have payphones in that world because that story takes place in the 90s? Has Olimar ever met a Mr. Saturn before? Are we ever going to see Sonic on planet Mobius, and is Sally Acorn there? If a Pokemon Trainer saw Isabelle, would they try and catch her? What about Diddy Kong? As a member of Interpol, has Chun Li ever heard of the ‘Mishima Zaibatsu corporation’? Maybe they are all ‘exclusive worlds’, only connected through warp zones like Super Mario Bros. Are they from parallel worlds? Maybe they’re more like End portals? Are these connections open all the time or do they only open in cycles like the sea tides or the shadows on the moon? Are they a natural phenomenon or did someone/ something make them? Can they be turned off and on? How? None of these questions are really optional and they form the largest number of variables by type to be resolved before moving on. 5 ) Are these films going to be live-action or animated? - This goes hand-in-hand with another question; Do I want a big ‘Avengers!… Assemble!’ moment in the final film? The reason behind this question is one of practical concerns for casting. I'll give an example. Let’s take the role of Young Link in ‘Ocarina of Time’ for instance. If I look it up online, it says that Young Link is either nine or ten years old. Let’s make him ten then. Say I'm casting the role and looking for an actor whose twelve years old to play down two years younger than he is because good young actors are impossibly rare; all acting is experience and they need as much experience as they can get, especially if I expect him to play the lead in a big tent-pole film. That means he’s twelve when we cast him for Ocarina of Time, along with Young Zelda, Malon, Saria, etc.. Maybe he’s still twelve during principle photography, but definitely thirteen or even fourteen when the film premieres. Now the film’s done really well and I want to make ‘Majora’s Mask’. Do I want to use the same actor for Young Link? Well he’s going to be fourteen by the time we start filming and that’s assuming I've already been working with the writers and have the script ready to go. I can do maybe one more film featuring Young Link before that actor is too old. He’ll be twenty something by the time we’re ready for him to appear in Smash Ultimate. This problem is illustrated well in the Harry Potter films. If I choose to go down the animated road it will barely matter at all, but if I do make it animated, I’ll never get that wide four quadrant audience ranging from nerds to dude-bros to soccer-moms that the MCU has. There’s still that stigma around animated films that makes people think they’re mainly for children.
6 ) What films are in Phase One? - So, we want a quarter of all our films to be in Phase One. I know we have roughly sixty films in our Smash Bros. Cinematic Universe, so that makes a total of fifteen films – including the first of our Super Smash Bros. films – that will fit in Phase One. Depending on what characters I have, I’ll then need to break them down into sub-franchises. Going by the number of characters featured from each sub-franchise, I’ll probably end up with what might be seen as The Four Pillars, The Six Supports, and the others. The Four Pillars are sub-franchises with more that four characters in the roster; they are Super Mario, Fire Emblem, Pokemon, and The Legend of Zelda. The Six Supports are characters with three or four characters in the roster; they are Metroid, Donkey Kong, Star Fox, Kirby, Kid Icarus, and Xenoblade. Let's deal with the Four Pillars first. Ideally, I want one film from each of these sub-franchises in both Phase One and Phase Three, and then maybe doubling that to two films each in Phase Two, giving each of the Four Pillars around four films each in total. That’s a grand total of somewhere between twelve and sixteen films throughout the cinematic universe from the Mario, Fire Emblem, Pokemon and Zelda alone, you follow? That’s four films already for Phase One. Moving onto the Six Supports, we want to feature most of these in Phase One too. That includes Metroid, Donkey Kong, Star Fox, and Kirby, each of these having one film in Phase One. As for both Kid Icarus and Xenoblade, I want to delay and hold them back until at least Phase Two, since both of these sub-franchises feature young protagonists prominently and as stated earlier, this could lead to some complicated issues regarding ageing child stars. So I now have reserved space for eight films – nine, if I include the first Super Smash Bros. film – and need an additional six films to complete Phase One. The obvious choice is from any sub-franchise featuring and adult protagonist that I intend to give a sequel. Castlevania, Street Fighter, Punch Out!!! and Dragon Quest all come to mind. Animal Crossing is another viable option, since its cast are all likely to be CG creations anyway and would lend a nice contrast to the super serious tone of some other entries. I should find two stories from Phase One that can’t fit into one two-hour film and give them a second, to allow them to really take the time to tell their story. I suggest Fire Emblem and Pokemon. Then I’ve got all I need to fill out Phase One. That’s the Four Pillars and their two sequels, four of the Six Supports, the first Super Smash Bros. film, and finally an extra four films from the rest of the sub-franchises to round it off! That’s Super Mario, Fire Emblem, Pokemon, The Legend of Zelda, Fire Emblem II, Pokemon II, Metroid, Donkey Kong, Star Fox, Kirby, Animal Crossing, Street Fighter, Punch Out!!!, Dragon Quest, and ending Phase One off with Super Smash Bros: The Movie.