Pokémon Red and Blue

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?

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