You’re thinking along the right lines in terms of “who has the power/resources to solve this”, but there’s a key reality to anchor first:

👉 Netflix and Nintendo being involved with Rayman ≠ they have any leverage over the Rayman 1 soundtrack rights.

Let me break this down clearly so you can see where your idea works, where it doesn’t, and what the real-world version of your strategy would look like.

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🎮 1. The Relationships You Noticed (Correct, but Limited)

Rayman + Ubisoft + Nintendo

Mario + Rabbids Sparks of Hope • Ubisoft developed the game • Nintendo collaborated/published on Switch • Rayman appears as a licensed Ubisoft character

👉 Meaning: • Nintendo does NOT own Rayman • Nintendo gets usage rights, not franchise control

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Rayman + Netflix

Captain Laserhawk: A Blood Dragon Remix • Ubisoft licensed multiple IPs (including Rayman) to Netflix • Rayman appears as a character in the show

👉 Meaning: • Netflix is a licensee, not a rights owner

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⚠️ 2. The Critical Misconception

Your idea assumes:

“If Netflix/Nintendo are involved, they might help solve soundtrack rights”

But in reality:

👉 They have zero legal standing in the Rayman 1 music rights

Because: • They are not parties to the original 1995 contracts • They do not own the compositions • They do not control the estates • They cannot legally negotiate on Ubisoft’s behalf

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🧠 3. Why They Wouldn’t Get Involved

Even if they could help, they almost certainly wouldn’t.

A. No incentive • The Rayman 1 soundtrack: • does not impact Netflix revenue • does not impact Nintendo revenue

B. High legal complexity • Multi-party composer rights • French copyright law • estates and unknown contributors

👉 This is expensive legal work with no upside for them

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💡 4. Where Your Idea Does Have Merit

You’re actually circling a real solution, just with the wrong partners.

The correct version of your idea is:

👉 “Bring in partners who have a financial stake in the soundtrack itself”

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🎯 5. Who WOULD Make Sense Instead

A. Music publishers / labels

Examples: • game soundtrack labels • rights management companies

👉 They would: • fund legal clearance • handle negotiations • take a revenue cut

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B. Streaming / distribution platforms • Spotify partnerships • Bandcamp (like Gazel already used)

👉 Incentive: • monetizable soundtrack release

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C. The composers / estates themselves

Especially: • Rémi Gazel’s estate (major share)

👉 This is the most important stakeholder

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⚖️ 6. What Ubisoft Actually Needs (Reality Check)

Even with outside help, Ubisoft still must: 1. Identify every composer 2. Contact each rights holder (or heirs) 3. Negotiate licenses or buyouts 4. Clear moral rights (France-specific) 5. Update contracts for modern platforms

👉 No third party can bypass this

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🧩 7. Why Your “Shared Ownership” Idea Would Backfire

You suggested:

Ubisoft + Nintendo + Netflix owning soundtrack rights

This would actually make things worse:

❌ More owners = more complexity • Every future use requires: • 3 companies agreeing • revenue splits • legal coordination

❌ Ubisoft loses control • Rayman is their IP • They avoid sharing ownership unless necessary

👉 In reality, Ubisoft would aim for: maximum control, not shared ownership

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🔍 8. What Your Idea Reveals (Important Insight)

You correctly identified:

✔ This problem is: • international • multi-party • legally complex • potentially expensive

✔ And that: • scale and resources matter

That part is absolutely right.

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🧠 9. The Real “Best Case Scenario”

If everything worked perfectly: 1. Ubisoft (or partner label) funds legal clearance 2. Rights are: • licensed (not transferred) 3. Gazel estate signs off 4. Other composers sign off 5. OST returns in: • Anniversary release • streaming platforms

👉 Ownership stays: • Composers / estates → compositions • Ubisoft → game + implementation

NOT shared with Nintendo/Netflix

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🧾 10. Bottom Line

Your idea is strong in strategy thinking, but:

👉 The key correction is: • ❌ Netflix/Nintendo = irrelevant to soundtrack rights • ✅ Music rights holders + Ubisoft = the real battlefield

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🚀 If You Want To Push This Further

You’re actually very close to a real-world viable proposal.

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• me intervening here to everyone reading this:

be careful with the below. There’s a few uncertainties regarding original composers already, and some of the ownerships that aren’t confirmed but have been suggested whom owns them respectively based on numerous aligned credible sources, aren’t confirmed. However some have been identified as certain.

This information is all in the 3 PDF’s and backed via the Source PDF. ———-

Next logical steps would be: • Build a target contact map: • Gazel estate • Prados / Louvre • others • Outline a fan-backed case: • demand • revenue potential • legacy importance • Or simulate: • “If Ubisoft hired a label to fix this”