Plot
Blaze the Cat lands somehow in Sonic's world (it is unknown where she came from). Her world had seven Sol Emeralds—similar to the Chaos Emeralds—but they were stolen by Doctor Eggman. She then makes it her goal to retrieve them; this is where Sonic meets her. While she is searching for the Sol Emeralds, Sonic is searching for the Chaos Emeralds. Blaze meets Cream the Rabbit, and is surprised by Cream's politeness. Meanwhile, Miles "Tails" Prower learns that Blaze's world and Sonic's are beginning to merge somehow. Sonic begins to grow suspicious of Blaze and, along with Tails, looks for her. Soon, Sonic and Tails find Blaze and Cream. Sonic questions Blaze about her nature, but she refuses to give any information and leaves with Cream. Sonic follows her, and when he meets her on Eggman Nega's base, it is revealed that Eggman and Eggman Nega are working together to collect both the Chaos Emeralds and the Sol Emeralds. Blaze declares that she is the only one who can save their worlds, so Sonic should not help her. When he refuses to back down, she turns on him and fights him. However, Sonic wins the fight, and Blaze realizes the error of her ways. Eggman kidnaps Cream, and Blaze goes after him while Sonic takes on Nega. Sonic collects the last of the seven Chaos Emeralds; and meets Blaze, who has failed to protect the Sol Emeralds. Sonic and his friends help Blaze realize the meaning of friendship, and she turns into Burning Blaze—apparently her answer to Sonic's Super Sonic form—while Sonic turns into Super Sonic. They fight Eggman and Eggman Nega and defeat them. The two worlds are restored, forcing Blaze into her own world. As she flies there, she realizes that she truly understands her powers. Later, on Sonic's planet, Cream is crying because she misses Blaze, but Sonic tells her that Blaze promised to return someday.
Read more about this topic: Sonic Rush
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)