Any culture critic who insists animation is only for kids or that video games are rotting the brains of our youth is doing it wrong. Knowledge can come from a variety of sources – as long as you pay attention, you’ll be surprised with not only what you learn, but how you learn it.
Tim Goodman is a 21-year-old insurance salesman who once aspired to become a Pokémon Trainer. These dreams came to an end when his mother died. Because his father was never around, he distanced himself from the creatures that inhabit his world. One day, he receives terrible news. His father died in an automotive accident. Upon visiting his father’s apartment in Ryme City, he meets an individual who may prove instrumental in investigating the circumstances of his father’s fate.
When the Game Boy Color was released in 1998, Nintendo’s competitors seemed to lack any kind of recourse. Companies such as Sega and Atari released portable consoles that featured color, yet Nintendo’s monochrome Game Boy had dominated the handheld market. When color was implemented for Nintendo’s Game Boy line, one of the few advantages their competitors had dissipated instantly. In fact, with the Sega Game Gear having been discontinued in 1997, the Game Boy Color’s sole competition upon release was provided by its direct predecessor. SNK and Bandai attempted to enter the market with the Neo Geo Pocket and the Wonderswan Color respectively, but neither console came close to dethroning the Game Boy Color.
Although the Game Boy Color sold very well, rumors had been spreading that Nintendo was in the process of creating a successor as early as the Nintendo Space World trade show in August of 1999. These rumors turned out to be entirely correct. Nintendo was attempting to create an improved version of the Game Boy Color codenamed the Advanced Game Boy (AGB) along with a brand-new 32-bit system slated for a release the following year. Renamed the Game Boy Advance, the system was officially announced in September of 1999. Nintendo initially aimed for a 2000 release, though it wouldn’t make its debut until 2001. Like its two predecessors, the Game Boy Advance was a commercial success with fans and journalists alike praising its significant technical leap from the Game Boy Color.
Within the short lifespan of the Game Boy Color, Game Freak had released Pokémon Gold and Silver. It wasn’t easy for Satoshi Tajiri and his team to follow up a set of games as monumental as Pokémon Red and Blue, but with the second generation, they proved they were more than up for the task. Featuring many novel concepts such as a real-time clock and the ability to pass down moves through breeding, Pokémon Gold and Silver would prove to be the Game Boy Color’s premier role-playing experience. Given the immense popularity of these games, it was only natural for them to create a third set, and the Game Boy Advance would seem to be the ideal platform upon which Game Freak’s flagship series could make a triumphant debut in the sixth console generation.
Unfortunately, this proved easier said than done. The Game Boy Advance was a large technological leap from the Game Boy Color. As Game Freak had been accustomed to developing games on simplistic hardware, they encountered problems almost immediately. Even the fact that the screen was slightly larger meant they had to develop with a different aspect ratio. On top of that, they had far more colors and sound channels to work with. Though the newfound freedom intrigued the team, accomplishing certain tasks became much more difficult and the entire process became highly resource-intensive.
They also had to deal with a factor they couldn’t possibly control: what their audience felt of the series. When Pokémon Red and Blue debuted internationally in the late nineties, it became a true worldwide phenomenon. Sometime after the release of Pokémon Gold and Silver, however, the novelty died down. Fans had dismissed these games’ popularity as a fad, declaring it dead. Junichi Masuda, the man who co-directed the franchise’s third-generation entries alongside creator Satoshi Tajiri, would describe the adverse atmosphere in an interview, believing there was an immense pressure to prove dissenters wrong. Combined with their unfamiliarity with the new hardware, these games proved to be the most difficult to develop out of any generation in the series thus far. Such was the extent of the stress Mr. Masuda felt creating these games that he found himself hospitalized at one point as a result of severe stomach issues. Despite these setbacks, he and his team persevered and saw the project through to the end. The night before games were released, the co-director had a dream in which it was a complete failure.
Deviating from the color themes of the preceding generations, the third set of mainline games were dubbed Pokémon Ruby and Sapphire. They saw their domestic release in November of 2002 before debuting aboard in 2003. How these games were received isn’t exactly straightforward. On one hand, Mr. Masuda’s fears were ultimately misplaced, for Pokémon Ruby and Sapphire moved sixteen-million units between the two versions, making them the greatest selling Game Boy Advance titles. Interestingly, the third most successful title on that console was Pokémon Emerald – an updated version of these two games in a similar vein to Pokémon Yellow and Pokémon Crystal. There’s no questioning that, from a financial standpoint, these games were complete successes. However, the fans themselves were divided on these games for various reasons. While fans accepted the changes Gold and Silver brought to the table, they weren’t as unanimously receptive of Ruby and Sapphire. What is it about these games that inspired such mixed feelings?
With the international success of Pokémon Stadium for the Nintendo 64, Game Freak’s bestselling franchise had presence on both the handheld and console markets. The latter game was especially novel for its time, having introduced the Transfer Pak. With it, players could insert their own copies of Pokémon Red, Blue, or Yellow into these devices and have the creatures they raised battle it out in 3D. Naturally, Nintendo EAD was compelled to make a sequel following the release of the mainline series’ second-generation games: Pokémon Gold and Pokémon Silver. This sequel was showcased at the Nintendo Space World festival in 2000. It was originally going to be entitled Pokémon Stadium 3 domestically before being changed to Pokémon Stadium Gold/Silver, seeing a release in December of that year. Western fans wouldn’t have to wait too much longer for the game to be released internationally, seeing the light of day in March of 2001 in North America and October of the same year in Europe. As only the second of the two games in the series left their native homeland, it was dubbed Pokémon Stadium 2 abroad. Does this game successfully keep up with the core series’ evolution?
In defiance of Nintendo’s expectations, Pokémon became a worldwide phenomenon when it debuted in the West in 1998. Realizing they had a new, venerable franchise on their hands, they decided to branch out the series as Satoshi Tajiri and the rest of Game Freak devised a sequel. One of their projects was to be called Pocket Monsters 64. True to its name, it would mark the Pokémon franchise’s console debut. Not only that, but because it would debut on the Nintendo 64, the franchise was to jump from its simplistic presentation on the Game Boy and into the third dimension. Nintendo even planned to up the ante by having the game debut on the 64DD (Dynamic Drive). This Nintendo 64 peripheral would utilize a new storage media and afford players many freedoms, including the ability to create characters. These plans ultimately fell through when it became clear the 64DD would require much more time to develop.
Responsibility of this game’s development ultimately fell on Satoru Iwata of HAL Laboratory. Putting his programming expertise to good use, he and his team converted Pocket Monsters 64 to a standard 32-megabyte cartridge. He ported the games’ unique battle system to work on the Nintendo 64. It took an entire week to read the Game Boy source code. Once that was done, he converted Shigeki Morimoto’s programming to the new console. Due to technical limitations, the final product only contained 42 out of the 151 Pokémon. The fruit of their labor, Pocket Monsters Stadium, was released in August of 1998 whereupon it sold 270,000 copies within its first month.
In February of 1999, Nintendo announced a follow-up intuitively named Pocket Monsters Stadium 2. Reception to its unveiling was positive. The original game was criticized for its anomalously high difficulty and several Pokémon being unavailable to use. This prompted Nintendo and HAL to tone down the AI for the sequel. The game saw its domestic release in April of 1999 before debuting internationally the following year. Abroad, the game was retitled Pokémon Stadium due its predecessor having never left its native homeland. It became one of the Nintendo 64’s bestselling titles, moving one-million units before the end of 2000. Did Pokémon Stadium allow the series’ traditional gameplay to make a triumphant entrance to home consoles?
Between 1990 and 1996, a company named Game Freak worked on a game dubbed Pocket Monsters. The company began its life as a fanzine written by Satoshi Tajiri and illustrated by Ken Sugimori. It became a developer when Mr. Tajiri, unsatisfied with the poor quality of the games he discussed, decided to throw his hat in the ring. The project hit many snags along the way, with five employees quitting and Mr. Tajiri taking no salary, instead having live off his father’s income. They received help from members of Ape, Inc., the company that famously produced Mother and its sequel – passion projects of copywriter Shigesato Itoi.
The long development cycle had profound implications for everyone involved. By 1996, Nintendo’s inaugural portable console, the Game Boy, had begun showing its age. While a collection of highly regarded games debuted on the platform, they were eventually seen as watered-down versions of console experiences. This didn’t matter to enthusiasts at the time, for they felt it to be an acceptable tradeoff for being able to bring a game with them at all. It was when gaming entered its fifth console generation that this proposition became less defensible. The experimental 3D titles of the PlayStation, Sega Saturn, and Nintendo 64 made the monochromatic Game Boy seem less impressive by the day. Nintendo executives were ready to declare a loss after Pocket Monsters saw its release in 1996 – even after splitting it into two versions. The critical reception seemed to confirm their apprehension, as the few reviews written about it were lukewarm with Famitsu giving it a score of twenty-nine points out of a possible forty. In light of these circumstances, no one could’ve predicted that this relative newcomer would singlehandedly revitalize the Game Boy when Pocket Monsters began selling by the millions.
Despite this success, Game Freak was hesitant to localize Pocket Monsters. Indeed, the idea of releasing it internationally didn’t cross the minds of the development teams. It wasn’t until the then-president of Nintendo, Hiroshi Yamauchi, told them “Release this in America!” that localization was unavoidable. However, there was one slight problem: Game Freak didn’t have people to spare to create a port. As such, they found themselves in a precarious position between having to choose between focusing their attention on the sequel or develop an English version. Not wishing to stop the momentum Pocket Monsters had gained, they elected to begin developing the sequel immediately, believing “overseas development is just a dream within a dream”.
Fortunately, one man was willing to step up to the plate: Satoru Iwata, the president of HAL Laboratories. Joined by Teruki Murakawa, the Assistant Department Manager of the plan production headquarters, he began working on a version of Pocket Monsters tailor-made for Western languages upon obtaining the source code. It is highly unusual for a company president to perform extensive analyses of the source code, yet it was through Mr. Iwata’s efforts that Pocket Monsters saw an official release abroad under the name Pokémon. Because there was little faith in the games to find an audience in the United States, it came as a complete shock when they proceeded to become bestsellers there as well. Pokémon was to the late nineties what Transformers and Teenage Mutant Ninja Turtles were to mid and late-eighties respectively – a truly inescapable phenomenon that united kids from all walks of life.
With Pokémon having fared well both domestically and abroad, Mr. Tajiri and the rest of Game Freak faced an enormous amount of pressure to succeed. Within a few short years, the games inspired an anime series, multiple manga stories, and a treasure trove of spinoffs. Even so, fans across the world were waiting with baited breath for an official follow-up to the titles that started it all. Nintendo first announced the existence of a sequel in 1997, calling it Pocket Monsters 2: Gold & Silver. However, 1997 passed without a release for these games. It wasn’t until March of 1998 when the company announced a delay, though the games were now called Pocket Monsters: Gold & Silver, having dropped the number from the title.
After a year passed with no official word, Nintendo of Japan’s website updated with new information with a revised release date in June of 1999. Even better, these games would be compatible with the Game Boy Color.
It is largely due to the overnight success of Pokémon that this machine was created. As its name suggests, the Game Boy Color was an upgrade to the original Game Boy, rendering compatible titles in color. It stood out from other handheld consoles in that it was backwards compatible. This allowed the Game Boy Color to launch with a sizable library from the onset.
The release date for Pocket Monsters: Gold & Silver was ultimately delayed again to November 21, 1999. Six months later, the game had sold 6.5 million copies domestically. With the franchise’s popularity transcending cultures, it was a question of when the localized games would make their international debut – not if. The games debuted in Australia and North America in October of 2000 before being released in April of 2001 in Europe. Keeping in line with their predecessors’ naming conventions, they were dubbed Pokémon Gold and Silver in foreign markets. As a contrast to their predecessors’ reception, Pokémon Gold and Silver were critically acclaimed upon release in addition to faring well commercially. Pokémon fever had well and truly set in with Pokémon Stadium being the bestselling console game in North America and Pokémon Gold and Silver dominating the handheld market. Most of the people who played both sets of games insist that they are major improvements over their predecessors. Were these games able to iron out the flaws holding back the original, thus allowing the series to fully grasp its potential?
Hope everyone enjoyed the holiday season! As the final month of the year, December proved to be quite a hectic month. In addition to the obligatory weekly game reviews, I ended up seeing a staggering 14 films (6 in theaters and 8 at home). The good news is that I’ve found a way to manage my time better and write the film reviews without disrupting my pattern. In fact, I used the spare time I had to write two editorials. For a majority of my readers, my piece on the highly unethical viral marketing campaign of Ex Machina was the first editorial of mine they read. Then, in the spirit of Christmas, I wrote an editorial about how gamers are ahead of the curve. They’ve gotten a bad rap over the decades, so I felt they needed something to boost their self-confidence.
Back in August of 2018, I had the pleasure of responding to a Sunshine Blogger Award. After I answered the eleven questions, I, in turn, proposed eleven of my own. To shake things up a bit, I tagged more than twenty random people at once. Though I enjoyed reading these answers, I have to confess that one in particular stood out – and not in a good way, unfortunately. One of the questions I asked concerned what cinephiles could learn from gamers. One individual, in lieu of actually answering the question, took this opportunity to go on a rant on how gamers are anti-intellectual, racist, sexist, exclusionary, and any number of pejoratives anyone versed in the hobby has heard countless times. In doing so, they unfairly put every single well-adjusted person who enjoys gaming into the same box as white supremacists, Neo-Nazis, and any number of unorganized bullies they would want nothing to do with.
The sad part is that it’s a typical example of how gamers tend to get portrayed in the media as well. It’s so pervasive that certain gamers have bought into it, and actively feel shame engaging in the hobby. You should never feel shame doing something you like – provided it isn’t immoral, of course. In all honesty, I wouldn’t be surprised if it turns out the media constantly putting down gamers could be a contributing factor to their bad behavior. After all, gamers have spent entire decades trying to prove they’re not monsters, yet the media pushes that narrative without any signs of stopping. If you tell a group of people they’re monsters for a long enough time, you don’t get to act surprised when they abandon their humanity and become just that. Note that being shunned doesn’t give a person a blank check to behave poorly; barring a debilitating neurological impairment or a truly extenuating circumstance, everyone has the ability to do the right thing.
Fortunately, despite the media’s best efforts, it’s not all doom and gloom. In fact, one thing I’ve observed over the years, which has become much clearer as time has gone on, is that gamers are remarkably progressive in certain fields compared to consumers of other media. Despite being apparent to anyone willing to do even the slightest bit of cursory research, they barely ever get reported in favor of clickbait articles detailing outlying gamers losing their minds, with the writers not knowing or not caring there’s much more to them than that. By this point, I think I’ve demonstrated that I’m not one to blindly go with the flow, so if the mainstream media wishes to demonize gamers, here’s an article praising their strong suits.
Now, to make things clear, the purpose of this editorial isn’t to ignore reality. I cannot deny certain pockets of gamers have certainly proven to be all four of those things that individual spoke of and more. I also don’t wish to downplay the very real instances in which would-be gamers have been shunned for incredibly petty reasons. Any of these grievances deserve to be called out for what they are. However, by that same token, you have to remember that many of these issues aren’t endemic to gamers specifically. One of the biggest reasons they tend to get the worst of it is because video games still haven’t quite reached that level of mainstream acceptance where most people can rightly dismiss the bad apples as not representative of the group as a whole. After all, if a mass murderer were to cite a favorite film as the blueprints for their crime, the media wouldn’t then go out of their way to damn cinephiles. In fact, if the film in question was mainstream, they would likely dismiss the perpetrator as a lone wolf. So now that I have established where I stand when it comes to gamers’ representation in the media, here are four ways in which I feel they can claim to be ahead of the curve.
Growing up in the 1970s, a boy from Machida, Tokyo named Satoshi Tajiri enjoyed collecting insects. Such was the zeal for his hobby that other children called him “Doctor Bug”, and he initially wanted to become an entomologist. As he grew up, he became fascinated with an entirely new pastime: arcade games. He was enthralled with Taito’s 1979 arcade hit Space Invaders, though he played many others as well. Throughout his teenage years, his parents thought their son a delinquent, a perception exacerbated by him frequently cutting classes. He nearly failed to graduate from high school, prompting his parents, who were convinced he was throwing his future away, to take action. His father attempted to get him a job at The Tokyo Electric Power Company, but the boy declined. He eventually took make-up classes and earned his diploma. He didn’t attend university, instead opting to complete a two-year technical degree program at the Tokyo National College of Technology, majoring in electronics and computer science.
In 1981, Mr. Tajiri had begun writing a fanzine he named Game Freak. It was handwritten and stapled together. The content focused on the arcade scene, offering tips on how to win or achieve high scores. Certain editions even listed any Easter Eggs contained within the games. The fanzine proved to be fairly popular in his area; the edition in which he wrote about a game named Zabius sold 10,000 copies. It caught the attention of one Ken Sugimori, who found it being sold at a dōjinshi shop. As someone who had an affinity for art, he asked Mr. Tajiri if he could help make the fanzine even more of a success. Suddenly, Game Freak now had an official illustrator. As more people contributed to the fanzine, Mr. Tajiri decided that most of the games he discussed were of a poor quality. Therefore, he and Mr. Sugimori drummed up a simple solution: make their own games.
Mr. Tajiri had been interested in making his own game ever since he discovered the medium. After receiving a Famicom, Nintendo’s first true home console to use interchangeable ROM cartridges, he dismantled it to see the inner workings. He later submitted a video game idea in a contest sponsored by Sega and won. From there, he studied the Family BASIC programming package, which allowed him to grasp how Famicom games were designed. With the desire to head in a new direction, Game Freak the fanzine ended in 1986. Three years later, Game Freak the video game development company arose in its place. The duo wasted no time pitching their first game to Namco: Quinty.
Known as Mendel Palace when it was exported to North America, Quinty combined action and puzzle game elements. The player character is placed on a 5 by 7 grid of floor tiles. The player must flip tiles to defeat the enemies that seek to collide into their character.
Though satisfied with their first product, Mr. Tajiri wanted to create something a little more personal. As he grew up, the areas around him became progressively more urbanized. As a result, many incent habitats were lost. Moreover, with the rise of home consoles, children began playing in their homes rather than outside. Not wanting to let the joy he felt catching and collecting creatures die, he sought to make a game capable of encapsulating that wonder so he may pass it on to others. His idea for this game began forming in 1990. The previous year saw the release of Nintendo’s Game Boy console. In an era when portable games traditionally consisted of static images on a LCD screen, the Game Boy took the world by storm. The idea of a portable albeit monochromatic Famicom was unheard of, yet the reality couldn’t be denied.
As soon as he observed the Game Boy’s ability to communicate between consoles, Mr. Tajiri knew that this game was destined to debut on the handheld platform. When he thought of people using the link cable required for multiplayer sessions, he imagined bugs crawling back and forth between them.
The original name of this game was to be Capsule Monsters. Mr. Tajiri had taken inspiration from the gashapon, a variety of vending machines popular with children that dispense toys encased in a plastic capsule. The characters in his game would carry capsules containing monsters that were released upon throwing them. Because Mr. Tajiri had difficulties trademarking the name “Capsule Monsters”, he tried to make it into a portmanteau, “CapuMon”, before changing it to Pocket Monsters.
Mr. Tajiri was a bit nervous upon presenting his idea to Nintendo, believing they would reject his idea. Indeed, when he pitched the idea, they didn’t fully understand the concept. Nonetheless, they were impressed with the promise he had displayed in his first games and decided to explore it. Shigeru Miyamoto, the creator of two of Nintendo’s successful franchises, Mario and The Legend of Zelda, began to mentor the up-and-coming developer, teaching him as the game was being created. Pocket Monsters ended up taking six years to produce. For most of the development process, there wasn’t enough salary with which to pay Game Freak’s employees. Over these six years, five employees quit, and the company faced an impending bankruptcy numerous times. Mr. Tajiri himself didn’t take a salary, living off his father’s income. Fortunately, he and his team received help from an unexpected source.
In 1989, a company named Ape, Inc. was founded. Their first product, released in the same year, was Mother – a passion project of famed copywriter Shigesato Itoi. Though it would be some time before it saw an official release abroad, Mother remains to this day a beloved classic in its native homeland, possessing an intergenerational appeal few other games had. The team stuck with Mr. Itoi when creating its sequel, Mother 2. When the programmers began running into problems, Satoru Iwata of HAL Laboratory stepped in to salvage the project. The game was released to a warm reception in 1994. Unlike its predecessor, Mother 2 would receive an official Western localization, under the name Earthbound. Though initially a sales disappointment, Earthbound would receive a fair bit of retroactive vindication, and is now considered one of the best games ever made.
The Ape team was dismantled in 1995, and one of its former members, Tsunekazu Ishihara, with Satoru Iwata’s assistance, founded a new company in its stead: Creatures. Many of the same people who helped develop Mr. Itoi’s were about to take cues from Mr. Iwata by saving another struggling project. They invested in Mr. Tajiri’s idea, allowing his team to complete the games. In exchange, they received one-third of the franchise rights. Pocket Monsters took such a long time to develop that Mr. Tajiri had assisted in the creation of two Nintendo games in the interim: Yoshi and Mario & Wario. He even directed a game for the Sega Genesis named Pulseman alongside Mr. Sugimori.
After a long, arduous development process, Pocket Monsters was at last released domestically in October 1996. Upon completion, few media outlets paid it attention. This was reflected in how Famitsu, the most widely read video game publication in Japan, awarded it twenty-nine points out of a possible forty. In the six years between Mr. Tajiri conceiving the idea for Pocket Monsters and its release, the industry evolved to a point beyond recognition. Nintendo had a fierce, new competitor in the form of Sony’s PlayStation console, and they themselves had launched the Nintendo 64. Both consoles began experimenting with three-dimensional gameplay and every franchise attempted to make the leap. In the face of the medium’s experimental direction, any game retaining a 2D or side-scrolling presentation was doomed to fall by the wayside regardless of its quality.
As a result of these factors, the Game Boy itself had rapidly declined in popularity. Despite having sold more than 100-million units worldwide, the platform was but forgotten by 1996. The only person interested in releasing anything for the portable system was Mr. Tajiri himself. Nintendo, on the other hand, was prepared to declare Pocket Monsters a loss long before the project saw completion. Therefore, nobody could have predicted the game to not only sell rapidly, but singlehandedly save the Game Boy as a platform. One of the reasons Pocket Monsters sold as well as it did was due to Nintendo’s idea to produce two versions of the game: Red and Green.
In the face of this success, it was only logical for Nintendo to export Pocket Monsters to the West. In order to make this release successful, Nintendo is said to have spent over 50-million dollars to promote the games. Before their release, the Western localization team was highly skeptical about the concept. Believing the “cutesy” art style of Pocket Monsters wouldn’t appeal to Americans, they wanted them to be redesigned and “beefed up”. This was overruled by Hiroshi Yamauchi, the president of Nintendo at the time, who regarded the games’ possible reception in the United States as a challenge to face. On the eve of the games’ launch, an anime series premiered, bearing what was to be their localized name: Pokémon – a romanized portmanteau of its domestic title. In September of 1998, two versions of the game, Pokémon Red and Pokémon Blue debuted in North America before receiving an official release the following October in Australia. The European gaming community wouldn’t receive a port until October of 1999.
Whatever reservations the localization team may have had about the series’ overseas success were fully assuaged when these games began selling by the millions. It is nearly impossible to overstate how much of a phenomenon Pokémon was in the late nineties. It could be thought of as the Teenage Mutant Ninja Turtles or Transformers for a new generation of children – a truly inescapable work beloved by children from all walks of life. As a sign of the renewed interest in portable gaming, Nintendo released the successor to the Game Boy, the Game Boy Color, the very same year Pokémon debuted abroad. Having not only defied all odds and resonated with enthusiasts of varying backgrounds, but also breathed new life into Nintendo’s line of handheld consoles, how well do Pokémon Red and Blue stand the test of time?
What’s better than playing a fun video game? The answer is playing a fun game within a video game. If an arcade or casino exists in a game, you can bet that the programmers took the time to implement several minigames for the player to check out. Sometimes, the staff may be taken aback when players begin dedicating more time to these minigames than the larger one they paid actual money for.
