Pokémon

Origins

The main idea behind Pokémon was conceived by Satoshi Tajiri. Tajiri grew up in Machida, a suburb of Tokyo. In his youth, he enjoyed discovering and catching insects and other small creatures in the various ponds and fields that surrounded his town. As Japan's economic miracle occurred, many cities, including Machida, were significantly expanded. As a consequence, Machida's nature was largely destroyed. In his second year of junior high school, an arcade hall opened in Tajiri's neighborhood, introducing him to video games. While studying electrical engineering at Tokyo College of Technology, Tajiri began publishing a doujinshi magazine titled Game Freak. The title was inspired by the 1932 film Freaks, which Tajiri was fascinated with at the time. He self-published the first issue of the magazine in March 1983, at the age of 17. At the time, magazines specializing in video games did not yet exist in Japan, allowing Game Freak to fill a gap in the market. Concurrently, Tajiri was contacted by aspiring manga artist Ken Sugimori, who became Game Freak's illustrator. Game Freak folded in the late 1980s, by which point Tajiri had become a respected game journalist in Japan's fledgling video game industry.

Tajiri's knowledge of video games brought him into contact with Tsunekazu Ishihara. Ishihara had studied Arts and Science at Tsukuba University, and was trained in CGI. After working in advertisement for two years, Ishihara joined a company named Sedic in 1983, which created video graphics and software, including one video game, Otocky (1987). As video games grew in popularity, Sedic also produced a number of game-related television shows for Fuji Television's late-night slot. In his job as a TV producer, Ishihara befriended Tajiri, as well as Shigesato Itoi, who would later become CEO of Ape, Inc. Ishihara was also the general director of the world's first gaming encyclopedia: TV Games: Encyclopedia of Video Games (テレビゲーム―電視遊戯大全, Terebigēmu ― Denshi Yūgi Taizen). Hatakeyama & Kubo (2000) wrote that, at the time, Ishihara was probably the most well-connected man in the industry, with a knowledge of games "beyond comparison". Ishihara was also interested in playing cards, and contributed to the development of at least three simple card games designed by Itoi for Ape.

In 1986, Tajiri, Sugimori, and a few other enthusiasts started an informal development team called Game Freak, named after the magazine it grew out of. Over the next few years, they independently developed the puzzle game Quinty, working on it alongside school or their regular jobs. However, no one within the group knew how to make the game's music. After consulting all his contacts, Tajiri got in touch with Junichi Masuda, who became the group's composer. Quinty was finished in 1989, and published by Namco. Tajiri officially incorporated Game Freak Co., Ltd. on April 26, 1989.

1989–1995: Development of Red & Green

Tajiri started to think of what was to become Pokemon while completing Quinty, and before he officially founded Game Freak. Around this time, Nintendo announced the upcoming release of the Game Boy, a handheld console that would revolutionize the gaming industry. Tajiri learned that the device would have a link port, and with the corresponding Game Link Cable, two Game Boys could be linked together. Sometime later, Tajiri remembered an incident while playing Dragon Quest II (1987), a role-playing game (RPG) for the Famicom (NES). The game features randomly appearing items of varying rarity, including an extremely rare item called Mysterious Hat. Tajiri did not encounter any, while Ken Sugimori, who was also playing the game, encountered two. Upon recalling this experience, Tajiri realized that the cable now made it possible to transfer things from one cartridge to another. He noted that, until then, the Game Link Cable was only used for competing, but not for something else. Combining this inspiration with his memories of catching insects and other small species, Tajiri's idea would eventually evolve into a virtual recreation of his boyhood experiences, and an attempt to "regain the world that he had lost". He would later state that the game represents "the story of a boy's summer day".

Tajiri and the Game Freak staff began pondering over a game centered on capturing creatures of differing rarity. Since the Game Boy is a portable device, these creatures could then be exchanged with other players in real life. Once the player has caught a creature, it was to be stored in miniaturized form in a special capsule. This facet of the game was inspired by Ultraseven, a tokusatsu show that Tajiri had enjoyed as a child. The series' titular character owns a number of capsules containing miniaturized kaiju (monsters), which come out and return to their original sizes when the capsule is thrown into mid-air. Kaiju media in general were an important influence on Pokemon, as many Game Freak staff members had grown up with them. Other cited influences include: gashapon, capsules with toy figures in them that can be drawn from vending machines; collectible cards, such as baseball cards, Ultraman cards and menko; The Final Fantasy Legend (1989), the first RPG for the Game Boy; and petting in Japan, with Tajiri noting that having Pokemon is similar to having pets. Tajiri initially named his project Capsule Monsters, which GF's staff commonly shortened to Capumon. However, it later turned out that the term Capsule Monsters could not be trademarked, and it was subsequently decided to call the game Pocket Monsters, which became Pokemon. According to Tomisawa (2000), the phrase "Capsule Monsters" was already registered. According to Hatakeyama & Kubo (2000), the word "capsule" could not be used in the trademark. Tomisawa (2000) states that the Game Freak staff then came up with several alternatives, before someone within the team suggested "Pocket Monsters".

In March 1989, Nintendo co-founded Ape, Inc. with Itoi. Ape's principal work was Mother (1989), a role-playing game written by Itoi, but it was also founded with the intent to give outside talent a chance to pitch new, innovative games. At the time, Ape was housed in the same Kanda-Sudachō office building as Nintendo, located in Tokyo. Ishihara, a friend of both Itoi and Tajiri, was involved with Ape's management (and would become its vice-president in 1991). Tajiri's relationship with Ishihara prompted Tajiri to present his idea for Pokemon at Ape's office. Present during Tajiri's pitch was Takashi Kawaguchi, who worked at Nintendo's General Affairs Department and was also a manager at Ape. Kawaguchi brought the idea to Nintendo president Hiroshi Yamauchi, who reportedly said: "This is it. This is the idea I've been waiting for." By pure coincidence, Ishihara had come up with an idea for a game similar to that of Tajiri, and around the same time was discussing it with Ape. This game, Toto, involved "using the Game Boy as an insect cage". GF and Ape subsequently agreed to merge their projects together. According to Tajiri, the two teams initially collaborated on the project, but the work proved difficult, one of the reasons being that Ape was busy developing EarthBound. Tajiri eventually figured that "rather than working with Ape, we had to do something on our own, or the project would never get finished". Ape, Inc. is not credited on the final product.

The development contract was signed at the beginning of 1990, with a planned delivery of the game in October. Tajiri directed the project, working under Ishihara. Ishihara was the producer – he managed the budget, staff, and work schedule, monitored the game's overall progress, and served as a liaison between Game Freak and Nintendo. Ishihara also contributed ideas to the development, and helped with debugging. Sugimori was in charge of the graphics and character design. Masuda created all music and sound effects, and did part of the programming. The budget that Nintendo granted to Game Freak was low. Thus, Pocket Monsters was initially planned as a small, compact game, based primarily around Tajiri's core idea of exchanging. However, as development progressed, GF's ideas and ambitions for Pokemon grew. They soon realized that the game they were beginning to envision would not be easy to make. Sugimori admitted that, at the time, no one at GF had much knowledge of RPGs. "We thought we could handle it, but as we began working, we realized it was going to be tough", he acknowledged. Pokemon was suspended indefinitely, and GF turned their focus on other titles.

After the game's initial development phase in 1990 and '91, the staff "tinkered with it from time to time", as Sugimori put it. For instance, by October 1992, a large number of Pokemon had been designed, and a poll was held that month among all staff members to gauge the popularity of the different species. Several more such votes followed to determine collectively which Pokemon should be included. Still, development had mostly come to a halt until the summer of 1994, after the release of Pulseman, upon which Tajiri decided it was time to make a serious effort towards finishing Pokemon. By this point, Game Freak's experience had grown considerably. Over the years, a number of new staff members had been added to the company. One of them was Atsuko Nishida, a graphic designer who created Pikachu, among others. Ishihara used his knowledge of card games to add more depth to the battle system, and among other things suggested Pokemon types. Ishihara also came up with the idea of the Pokedex, a portable encyclopedic device which players can use to keep track of the Pokemon they caught. Throughout the years, Tajiri had several conversations with Shigeru Miyamoto, Nintendo's top game designer who Tajiri described as a mentor figure. Although, in a 2018 retrospect, Miyamoto downplayed his role in advising Tajiri, and stated that his contributions to Pokemon were in fact limited. Miyamoto did, however, suggest the use of different colored cartridges for the game, in response to Tajiri's and Ishihara's musings about making each playthrough slightly different, as to 'individualize' the player's experience. According to Tajiri, "five or seven colors" were considered, but they eventually settled on two: a Red version and a Green version. Both games were identical, but each had Pokemon not found in the other, encouraging players to socialize and trade to complete their collection.

Ishihara aspired to create video games of his own. As Pocket Monsters Red and Green were nearing completion, Ishihara founded Creatures, Inc. on November 8, 1995. Upon founding, the company was housed in the same Kanda-Sudachō office building as Nintendo, located in Tokyo. Co-ownership of the Pokemon property, which Ishihara helped create, was subsequently assigned to Creatures. This resulted in Pokemon having three legal owners: Game Freak, the main developer; Creatures, representing producer Ishihara; and Nintendo, the publisher. Anne Allison (2006) wrote that Nintendo also bought Pokemon after it was finished. Hatakeyama & Kubo (2000) noted that the ownership structure of Pokemon is uncommon. They wrote that "Pokemon is probably the only property in the world today for which the original rights are not concentrated in a single company", like The Walt Disney Company does with their IPs. Tajiri and Ishihara did consider merging Game Freak and Creatures at one point. However, Tajiri decided against it because he feared it would erase what he had built up since he was a teenager. "I felt threatened by the idea of changing how Game Freak was operating, and starting back over with Mr. Ishihara", he said. "It was an identity problem. If Game Freak ceased to exist, then so would I". Tajiri noted that, since Game Freak and Creatures both focus on Pokemon, it sometimes felt more like different departments than different companies.

Pocket Monsters Red and Green were finally finished in December 1995. A release date of December 21, 1995 was announced, but missed. After sufficient cartridges, manuals and packages had been manufactured, the pair of games ended up being published on February 27, 1996. However, the property was copyrighted in 1995, and "© 1995" is shown on the title screens and cartridges. This year is since used on the copyright notice seen on many Pokemon products, even though no actual Pokemon product was released in 1995.

1996–1998: Rise in Japan

1998–2000: International expansion

1999–2000: Pokémania

In North America, the success of the debuting Pokémon franchise was almost immediate. Red and Blue sold 200,000 copies in its first month. By December, the Pokémon anime had become the highest-rated syndicated children's show during the weekdays. This attracted the attention of two media companies: Warner Bros., co-owner of The WB channel; and Saban Entertainment/Fox Family Worldwide, owners of the Fox Kids channel. A bidding war ensued between the parties, which was won by Warner Bros. On February 13, 1999, Pokémon debuted on The WB's Kids' WB block, where it was broadcast exclusively from then on. The debut episode became the most watched premiere in Kids' WB's history. In European countries, the anime received similar levels of success. For example, in Germany, "a highly competitive kids market", Pokémon was purchased by RTL 2. The show's popularity bolstered the entire program block, more than tripling its viewers. Andrea Lang, RTL 2's editor of cartoons and children's programs, said: "We were speechless. We've never had a comparable success". By March 1998, half a year before Pokémon's overseas launch, 499 million Pokémon cards had been produced. By March 1999, the total number of cards shipped reached 764 million. By March 2000, this figure would grow further to 4.255 billion cards, manufactured in both Japanese and American factories.

By April 1999, there was a general consensus in the US that Pokémon had become a phenomenon and the newest children's fad. By some, the fad was referred to as "Pokémania", including journalists of Time and USA Today. In the US, severe scarcity occurred of Pokémon goods, especially Pokémon cards, causing companies to miss profits. A Milwaukee Journal Sentinel article, published on August 3, 1999, cited a Toys "R" Us manager as saying that a supply of 600 booster packs would last 24 hours. The CEO of one card distributor stated that they were "thousands of boxes behind" on orders. In the same article, a Wizards spokeswoman stated that more employees and printers had been hired to increase card production. However, near the end of the month, a different Wizards spokeswoman told The Washington Post that they had "exhausted most of the card-printing capacity of the United States". Similarly, USA Today reported in November 1999 that factories making Hasbro's Pokémon toys had expanded production by 20 times, but demand still exceeded supply. In Europe, scarcity of Pokémon merchandise also occurred.

In part due to the Pokémon craze, Nintendo saw a 250% increase in profits in 1999 compared to the previous year, reaching a six-year high. The Pokémon franchise accounted for over 30% of Nintendo's revenue that year. Pokémon's popularity also caused a sharp increase in sales of the Game Boy line. The financial windfalls came at a time when Nintendo lost dominance in the home console market, with the Nintendo 64 being outsold by Sony's PlayStation. The global success of Pokémon compensated this loss somewhat. Buckingham & Sefton-Green went even further, writing in 2004: "while Nintendo is now among Japan's most profitable corporations, it could be argued that the company would have struggled to survive without Pokémon".

4Kids, initially a little-known firm, expanded thirty times in revenues, and was named the fastest-growing company in America in the September 4, 2000 issue of Fortune magazine. Many businesses that timely obtained a Pokémon license reaped considerable profits. In the summer of 1999, a massive run on stocks of publicly traded Pokémon licensees caused their value to increase dramatically. However, by November, most investors were shorting their shares. Knowing that the Pokémon fad would peak and fall at some point, investors were bearish about its prospects.

Pokémon: The First Movie premiered in North America on November 12, 1999, and in Europe the following year. Despite being negatively received by many Western critics, it became one of the most successful Japanese animated films of all time. In the United States, November 1999 was estimated to have been the peak of Pokémania. Supporting the American release of The First Movie was a promotional action with Burger King, one of the largest in the history of the fast-food industry. The success of the promotion resulted in supply issues; restaurants often ran out of Pokémon toys to include with their meals. On December 27, Burger King recalled its Poké Ball toy after a 13-month-old girl died suffocating on one.

On October 15, 2000, Pokémon Gold and Silver were released in North America. In Europe, they were released on April 6, 2001. Producer Tsunekazu Ishihara described the games as the "ultimate" Pokémon titles because he imagined that it would be the last Pokémon titles to be developed. The development at that time consisted of only four developers, and they were very ambitious of their visions and the games' features. Above everything such as localizing Red and Green, they prioritized on the development of Gold and Silver. Upon release, Ishihara initially believed that he have finally "fulfilled [his] duty" on reaching the "finish line" of Pokemon," however the games' immense popularity and increasing proposals compelled him to resume developing more Pokémon titles. A third version, Pokémon Crystal, was released in Japan on December 14, 2000 and on July 29, 2001 in North America with similar features.

2001–2006: End of the craze, business reforms

In North America, Pokémania peaked in 1999. Throughout the next year, it showed signs of slowing down. On April 29, 2000, the anime was bumped off Kids' WB's #1 spot after holding it for 54 weeks. Around the same time, Pokémon was surpassed at Fox Kids by its rival Digimon. In late 2000, Wizards of the Coast laid off 100 employees, owing in part to the weakening demand for Pokémon cards. Its parent company Hasbro reported a loss over 2000 and the first half of 2001, partly due to an overly optimistic forecast regarding the demand for Pokémon cards and toys. In Europe, the craze peaked in 2000, which offset some of Hasbro's losses. On January 20, 2001, The New York Times reported that Pokémon's trading card market had collapsed in the US. A June 2001 survey in the United Kingdom confirmed that Pokémon's popularity was waning there. Tobin (2004) wrote: "By the summer of 2001, Pokémon's shelf space in Japanese and U.S. toy stores was but a fraction of what it enjoyed in the fall of 1999". By the end of 2001, Pokémania was fading globally, and by 2002, the fad was largely over.

From 2000 to 2002, Game Freak developed Pokémon Ruby and Sapphire, the successors to Gold and Silver, for the newly released Game Boy Advance. Masuda was promoted to director, succeeding Tajiri, who appointed himself executive director. Masuda was concerned that the end of Pokémania indicated the end of Pokémon as a whole: "After Gold and Silver came out, it was a huge hit around the world, but shortly after everyone was saying, 'That's it. The Pokémon fad is over! It's dead!'." Determined to keep the franchise going, GF not only wanted to "prove people wrong" with Ruby and Sapphire, but already started planning their sequels: Diamond and Pearl (2006). They also began planning remakes of older installments, starting with FireRed and LeafGreen (2004), remakes of the original Red and Green.

Ruby and Sapphire were released in Japan on November 21, 2002, and in the rest of the world the next year. The games introduced 135 new Pokémon, bringing the total amount to 386. Because of this, Golin Harris, NoA's ad agency, advised them to move away from the "Gotta catch 'em all!" slogan. They reasoned that if new, younger players were drawn into the franchise with Ruby/Sapphire, they would find the concept of "catching them all" to be a daunting if not impossible task if they didn't also have Red/Blue/Yellow and Gold/Silver/Crystal. Dockery (2022) noted that "from both a marketing perspective and, really, a legal perspective, it would not be to the company's advantage to keep pushing that slogan. The phrase was referenced and used sparingly from time to time in the coming years, but never again was it at the forefront of Pokémon's marketing". However, the slogan did occasionally resurface in a prominent manner, including in the English theme songs of season 17 (which was a remake of the first theme song) and season 19. Ruby and Sapphire were the first games in the series that allowed up to four players to share information, as opposed to the previous limit of two. The developers used more basic graphics in comparison with previous iterations to maintain a careful balance between gameplay and visual complexity. The games were the first Pokémon games that did not contain all of the Pokémon from previous iterations. A third version, Pokémon Emerald, was released on September 16, 2004 in Japan and on May 1, 2005 in North America with similar features. FireRed and LeafGreen were released on January 29, 2004 in Japan and on September 9, 2004 in North America, featuring similar elements with Ruby and Sapphire.

By 2002, the relationship between PUSA and Wizards of the Coast had deteriorated. That year, at least seven high-profile employees were poached from Wizards by PUSA: Wizard's former art director, senior graphic designer, business manager, events marketing director, project management director, and two vice presidents. All employees had signed NDAs. In March 2003, PUSA told Wizards that their contract would not be renewed, and that Wizards would not be distributing the new Ruby & Sapphire card set. Later, Wizards was also prohibited from releasing the sets Jamboree and Legendary Collection II. Notably, Jamboree was the first set containing cards designed by Wizards themselves. As considerable time and money was invested into creating them, Wizards was upset when they were barred from putting them out. On October 1, 2003, the day after their agreement expired, Wizards filed suit against Pokémon USA, alleging that the defendant had seized their intellectual property and trade secrets, and illegally tried to gain advantage over them in the competitive trading card market. The case was settled out of court. Jamboree and Legendary Collection II have remained unreleased.

In October 2001, 4Kids Entertainment signed a new contract with PUSA, continuing to serve as Pokémon's exclusive licensing agent and anime localizer. On December 23, 2005, it was announced that the agreement would not be renewed and would expire on December 31, with PUSA moving all licensing in-house. The localization of the anime would be done by PUSA in cooperation with TAJ Productions. PUSA proceeded to replace almost all of the original English voice actors, who were still under contract with 4Kids. This decision "raised the ire of fans and the actors themselves". According to Stuart Zagnit, who voiced Professor Oak, the recasting was done to cut back on costs.

In March 2003, Pokémon UK was established in London as a British representative of The Pokémon Company.

2006–2012: Generation IV–V, TPCi established

Following Ruby and Sapphire, Pokémon Diamond and Pearl were released for the Nintendo DS on September 28, 2006 in Japan and on April 22, 2007 in North America. A third version, Pokémon Platinum, was released on September 28, 2008 in Japan and on March 22, 2009 in North America. They form the fourth generation (Generation IV) in the Pokémon video game series. Diamond and Pearl were designed based on the DS's various features such as its Wi-Fi capabilities and slot for Game Boy Advance cartridge. Pokémon president Tsunekazu Ishihara dubbed the games as the "ultimate" Pokémon titles because they allowed the player to trade and battle Pokémon including every Pokémon from previous iterations globally through WiFi, as opposed to previously only able to do so locally and with fewer Pokémon. The games' characters are 2D and the environments are rendered in 3D, and it is considerably difficult to differentiate them because Game Freak designed them this way to innovate the graphics while also retaining the traditional game style and feel.

In Platinum, the developers focused on changing the most essential elements from Diamond and Pearl to maintain continuity with the previous games. Director Junichi Masuda stated that since they designed Diamond and Pearl as the "ultimate" Pokémon titles, it was only necessary to make Platinum "even stronger" than them. They approached this by designing the "Origin Forme" for the legendary Pokémon Giratina, ensuring that the design would appear significantly different from its regular form in Diamond and Pearl and to express the games' core antimatter and Distortion World concepts. The title Platinum was chosen to reflect a precious material that "shines" and is different from diamond and pearl and their associations of "love" and "happiness" respectively.

Pokémon HeartGold and SoulSilver were released on September 12, 2009 in Japan and on March 14, 2010 in North America as part of Generation IV. They are remakes of Gold and Silver, aiming to balance familiarity for the original games' players and new content for newcomers. The titles reflected the theme of the bond between trainers and their Pokémon. The developers faithfully recreated the original story and added elements from the Generation IV games and Yellow, the latter of which was released concurrently with Gold and Silver.

In 2009, Pokémon USA and Pokémon UK merged to form The Pokémon Company International (TPCi). This subsidiary of The Pokémon Company (TPC) has since managed the Pokémon franchise outside of Asia.

In Generation V, Pokémon Black and White were released on September 18, 2010 in Japan for the DS and on March 6, 2011 in North America. The games feature enhanced visual effects and increased use of 3D graphics. The developers excluded old Pokémon and strategies, while introducing over 150 new Pokémon to evoke a sense of novelty and to provide new players a more "leveled playing field" against old players. The games seek to attract both new players and returning players through its detailed walkthrough and the addition of C-Gear (a real-time communication tool to improve the trade and battle experiences), respectively.

The games were followed by Pokémon Black 2 and White 2, which were released on June 23, 2012 in Japan and on October 7, 2012 in North America. The games were developed for the DS rather than the more powerful Nintendo 3DS to maintain continuity with the game world in Black and White and they were presented from a different perspective in the storyline. Since the games are their first sequels, director Masuda explained that they have strived to find a "fine balance" to appeal to both newcomers and returning players by implementing introductory explanations, and by placing a Pokémon Center in the first in-game city, they were able to further this approach by providing newcomers with a detailed walkthrough and also returning players with new updates. During development phase, director Takao Unno revealed that they had experimented with a 100-player multiplayer experience via their communication feature Entralink drawing from their vision of players "sharing the same space, same time and same game" but this feature was never implemented due to technical limitations.

2013–2016: 3D, Generation VI–VII

In Generation VI, Pokémon X and Y were released worldwide for the 3DS on October 12, 2013, and they are the first games to be released in this way. The developers focused on the themes of "beauty," "bond," and "evolution," and it is based on these themes that they created the games' core mechanic where Pokémon could achieve a higher form of evolution by strengthening their bonds with trainers; however, to maintain game balance, they limited this feature to a special, temporary phenomenon. The games' shift to fully 3D graphics allowed the player to freely manipulate the camera angles although due to technical limitations objects far away are rendered in lower polygon models, and producer Hitoshi Yamagami addressed to 2D players that "Game Freak [developers are also] big fans of 2D graphics... So there are some elements in there that I [Yamagami] think fans of 2D will appreciate as well." When asked about the Horde battle and Sky battle types, he stated that Horde battles are to supplant the roles of "really strong Pokemon" to help the player more easily progress through the games and also to add "more excitement to the battles and a sense of danger," and that they added the Sky battles to take advantage of the games' 3D camera angels capabilities.

Pokémon Omega Ruby and Alpha Sapphire were released worldwide for the 3DS on November 21, 2014 and on November 28, 2014 in Europe as part of Generation VI. They are remakes of Ruby and Sapphire. The developers adopted X and Y's core game mechanic and added enhanced 3D graphics. According to director Masuda, they reviewed the original mechanic and concept and expressed them using modern hardware, such as replacing the original PokeGear feature for the enhanced versions BuzzNav and DexNav to more effectively provide information enabled by the games' hardware capabilities. They seek to explore the concept of Pokémon coexisting with humans and nature, revisiting the concept behind original games' setting, which translated to "richness or abundance in nature and bonds between people and nature" in Japanese. To appeal to the newer audience in X and Y, the developers decided to connect the story with X and Y by further exploring their core mechanic.

In Generation VII, Pokémon Sun and Moon were released worldwide for the 3DS on November 18, 2016 and on November 23, 2016 in Europe. The developers chose Hawaii for inspiration due to its distinctive warm sunlight and clear moonlight and unique biomes that helped support the games' regional Pokémon variance concept. Ohmori said, as director, he aimed to focus on the concept of "Pokémon as these living creatures, [and really focus] on them being alive." Having the release date on the 20th anniversary of Pokémon in mind, he treated this project as a "celebration of that life, and to really express this respect for life." As he contemplated about life and its origins, Ohmori considered the significance of the Sun, enabling life with its light, and the Moon's impact on certain species' reproduction. He explained how the Sun, the Moon, and the Earth "work [together] to influence [one another], and life as a result grows and flourishes based on [this] relationship."

Ohmori stated that with the innovation to 3D in X and Y the designers decided to examine more minor aspects concerning with the Pokémon themselves such as their motions, such as when they designed the games' first starter Pokémon to capitalize on its owl-like characteristics with its head "twists round and round." With the 3DS technologies, the developers are able to design the characters to be more expressive as themselves including different facial expressions and reactions. In addition to portraying Pokémon harmoniously coexisting with people and vice versa in the games, the developers replaced the traditional Gym mechanic with Island Trials, deepening the players' connection with the story and their Pokémon. The enhanced versions Pokémon Ultra Sun and Ultra Moon were released worldwide on November 17, 2017. The games added an alternate storyline and additional characters, Pokémon, and other features. Developer Shigeki Morimoto revealed that they were developed by the younger staff members and veterans so the more veterans can prioritized on developing more important titles, and the developers considered them to be their culmination with the 3DS.

2016–2017: Pokémon Go

In 2016, the Pokémon franchise spawned a second worldwide fad with the release of Pokémon Go, a mobile augmented reality game. The app originated as a Google April Fools's Day joke in 2014: the "Google Maps Pokémon Challenge". The prank was conceived by Tsunekazu Ishihara and Satoru Iwata. On Ishihara's initiation, the hoax was turned into an actual video game developed by Niantic. Ishihara was a fan of Niantic's previous transreality game, Ingress, and saw the game's concept as a perfect match for Pokémon.

Through in-game purchases, the game generated more than $160 million by the end of July 2016, with App Annie reporting that Pokémon Go had generated around $10 million in revenue every day that month. The same month, Sensor Tower reported that the game had passed more than $200 million in worldwide revenue, beating every existing record set by Clash of Clans and Candy Crush by a wide margin. The average daily usage of the app on Android devices in July 2016 exceeded that of Snapchat, Tinder, Twitter, Instagram, and Facebook. By September 2, 2016, Pokémon Go had generated more than $440 million in worldwide revenue, according to Sensor Tower. By September 30, it had received 500 million downloads and grossed $470 million in 80 days, according to market research firm Newzoo. Pokémon Go reached the milestone of $600 million in revenue after only 90 days on the market, becoming the fastest mobile game ever to do so.

2018–present: Let's Go games, Generation VIII–IX

Pokémon Let's Go, Pikachu! and Let's Go, Eevee! were released for the Nintendo Switch on November 16, 2018. They are part of Generation VII. Inspired by Pokémon Yellow, the games seek to introduce newcomers and a new generation of players (particularly Pokémon Go players) to the Pokémon series in addition to catering old players. As such, the games feature similar capture mechanics to Go where the player throw Poke Balls to catch wild Pokémon rather than battling them like traditional Pokémon games. In addition, the games feature the same setting and characters with the first generation of games and the original animated series and include exclusively the original 150 Pokémon to further appeal to their targeted audience.

Generation VIII debuted with the release of Pokémon Sword and Shield on November 15, 2019 for the Switch. Director Shigeru Ohmori stated that they designed the games based on what they believed of the biggest Pokémon theme of becoming/being "the greatest or strongest," which was expressed in the games' gigantic-size Pokémon core mechanic and the games' increasingly powerful software and hardware capabilities. Ohmori further revealed that through developing the Let's Go games as research projects for the Switch, they were able to gain valuable experiences and knowledge to develop Sword and Shield. He noted that they took advantage of the Switch's high resolution and TV connectivity to implement the games' gigantic-size core Pokémon mechanic. They envisioned the games' setting to be a "wide-open space" that is different from the traditional route systems and is constantly changing where the player can meet and explore with other players.

When the games were released, they drew heavy criticism on their lack of many pre-existing Pokémon, which developed into an intense backlash called "Dexit." Unlike previous games, Sword and Shield were accompanied by a paid downloadable content (DLC) expansion pass which consists of Part 1—The Isle of Armor, and Part 2—The Crown Tundra; they were released on June 17, 2020 and October 22, 2020 respectively, and they include additional storylines, places, Pokémon, characters, and other features.

Remakes of Diamond and Pearl, Pokémon Brilliant Diamond and Shining Pearl were released on November 19, 2021 for the Switch as part of Generation VIII. They are the first core series games to be developed by a third party developer, ILCA, rather than Game Freak. The developers revealed that the games would not assume the anticipated style of the Let's Go Games and feature traditional game mechanics. Pokémon intends to celebrate their 25th anniversary with the release of the remakes by revisiting old games and mechanics, which they faithfully reproduced with enhanced 3D graphics.

Pokémon Legends: Arceus was released on January 28, 2022 for the Switch as a prequel to Diamond and Pearl. It is part of Generation VIII. The game "represents a new approach for the Pokémon video game series" as Pokémon transition from traditional RPG mechanics to add real-time elements in their games. Unlike traditional Pokémon games, the player can catch Pokémon by throwing a Poké Ball in real-time rather than triggering a battle; however, they can still choose the latter to weaken it for capture. Many in-game aspects, particularly its landscape, heavily resemble those of The Legend of Zelda: Breath of the Wild.

The most recent main installments in the video game series are the Generation IX games Pokémon Scarlet and Violet, which were released for the Switch on November 18, 2022. The games are the first Pokémon games to feature an entirely open-world experience as opposed to the partially open-world experience in previous Pokémon games such as Sword and Shield, and it also departed from the traditional gym mechanics and the elite four battles to opt for unique road quests. The games' improved multiplayer experience allowed for up to four players to travel together. Their DLC, The Hidden Treasure of Area Zero, consists of two parts, The Teal Mask and The Indigo Disk; The Teal Mask was released on September 12–13, 2023 and The Indigo Disk will be released sometime in late 2023 or early 2024.

Video games and other software

Pokémon games have been released in a wide variety of categories, including main series, side series, and spin-off games. Other software applications have also been released, including various transfer programs and a sleep-tracking app. As of June 2023, a total of 122 Pokémon games have been published. According to Pokémon's official website, as of October 2023, over 480 million Pokémon game units have been sold worldwide.

Trading card game

The Pokémon Trading Card Game (PTCG) was one of the first collectable card games (CCGs) in Japan. It was inspired by Magic: The Gathering. In the card game, the players use a 60-card deck featuring Basic and evolved Pokémon, Energy cards, and Trainer cards to help them knock out the opponent's Pokémon, drawing prize cards and winning the game. Cards are classified into various levels of rarity, ranging from Common to Rare Holofoil with a holographic illustration; rare cards, including limited edition, exclusive cards, and older cards, are highly valued among collectors due to their scarcity.

According to the official website of The Pokémon Company, 52.9 billion cards have been produced as of October 2023.

Anime

As of 2023, the anime consists of over 1,200 episodes across 26 seasons, with the latest, Pokémon Horizons: The Series, premiering in April 2023. The anime originally focused on Ash Ketchum and his travels across the Pokémon world with his partner, Pikachu. They were retired as protagonists after the 25th season, and Pokémon Horizons introduced two new protagonists, Liko and Roy. A total of 23 anime films have been released, the most recent being Pokémon the Movie: Secrets of the Jungle (2020).

Spin-off series from the anime have also been produced, including a variety show titled Weekly Pokémon Broadcasting Station (週刊ポケモン放送局, Shūkan Pokemon Hōsōkyoku), which aired on TV Tokyo from 2002 to 2004 and aired in English as part of Pokémon Chronicles, as well as three television specials. Many short films focusing on Pikachu and other Pokémon were released, primarily preceding the films, and many animated mini-series were also released.

Live-action

Detective Pikachu, a live-action/animated film based on the video game of the same name, was released in 2019.

A live-action television drama produced by The Pokémon Company and TV Tokyo titled Pocket ni Boken o Tsumekonde is set to premiere on TV Tokyo on October 20, 2023.

1999–2000

In 1999 and 2000, Pokémon was an unprecedented, ubiquitous fad in the Western world. Time magazine described it as "a multimedia and interactive barrage like no other before it". The franchise, which is primarily aimed at children, elicited mixed responses from parents and teachers, some of them critical. Yano (2004) even claimed that the reactions at one point constituted a moral panic.

The bulk of the criticism on Pokémon was directed at the trading cards, in particular the booster packs, sealed packages of 11 randomly inserted cards that were sold separately from the main sets. The cards are of varying scarcity, the most valuable being the "holofoil cards" (also called "holographic" or "foil cards"), in which the illustrations of the Pokémon have a shiny overlay effect. The rare cards can only be found in booster packs, and the rarest ones are very infrequently included. Tobin (2004) notes that rarity in this case is "artificially created", and "effectively a form of gambling" in which children need to repeatedly purchase booster packs to get more rare cards. Brougère (2004) described a cynicism among adults that corporations could apparently, "out of thin air", ascribe value to cards which they saw as valueless, thereby "deceiving vulnerable young consumers and garnering excessive profits".

As the franchise's popularity grew, children began taking their Pokémon cards to school for trading and playing. Soon, the cards were alleged to be "disrupting learning, poisoning playground friendships and causing such distraction that some children forget their homework, tune out in class and even miss school buses as they scramble to acquire one more card". The cards "turn[ed] the playground into a black market", with card swaps sometimes inciting conflicts. Certain children engaged in "aggressive trading", tricking other (often younger) kids into unfair deals, forcing teachers to arbitrate. Some parents expressed their concerns about the craze, but feared that their children would be ostracized if they were to deny them Pokémon products. In the US, the Pokémon cards ended up "almost universally banned" from school grounds. Similar bans occurred in Canada, Australia, New Zealand, and European countries. In September 1999, US-based law firm Milberg filed a class-action lawsuit against Nintendo of America, Wizards of the Coast, and 4Kids. The suit claimed that the booster packs constitute a form of lottery and promote gambling in kids. Susan Estrich noted that similar lawsuits had been filed against trading-card makers in the US, without success. The Pokémon card suit is not known to have gone to court, and is believed to have been settled.

The Pokémon anime series was criticized by some as "cheap Japanese animation" that is "violent" and has "little educational value". Michelle Orecklin of Time dismissed the TV series as "less a cartoon than a half-hour exercise in Pokémon product placement". Allison (2006) wrote that even those within Pokémon's US marketing team agreed that the anime's visuals were "not especially sophisticated" compared to Disney cartoons. Pokémon: The First Movie premiered in the United States on November 12, 1999, and in European countries in February 2000. While a huge box-office success, the film was received negatively by several Western film critics. The Guardian decried it as a "contemptuously cheap animated cash-in on the monster kids' craze". The American adult animated series South Park satirized Pokémon in the episode "Chinpokomon", aired on November 3, 1999. In the episode, the titular media franchise is portrayed as a low-quality line of products that is part of an evil plan by the Japanese government to invade the US. South Park co-creator Matt Stone commented that, at the time, Pokémon was "scary huge".

Kohler (2016) wrote that at the time Pokémon was considered "ruthlessly commercial", and that it "program[med] children to be consumers of anything and everything Pokémon". CNN quoted child psychiatrist John Lochridge as worrying that "Pokémon's creators and marketers deliberately set out to create a fantasy world so compelling that children would quickly become obsessed". He believed that kids were being "brainwashed", and said: "I have had parents tell me that they cannot get their kids to do anything except Pokémon, so this stuff seems to really capture their minds, in a way". These concerns were countered by psychologist William Damon, who told Newsweek that obsessing is in fact a normal part of a child's neurological development. It should concern parents only when the obsession gets dangerous or excessive. An op-ed in the New Zealander newspaper The Dominion Post claimed that the anti-Pokémon sentiment was particularly American: "The backlash, which seems largely confined to the United States, may be no more than the sound of the world's leading cultural imperialist gagging on a taste of its own medicine".

As Pokémania built, Western media started reporting on several crimes associated with Pokémon. These included violence (including two reported stabbings), burglaries, robberies (some at knifepoint), and shoplifting. Almost all these incidents were connected to the Pokémon cards, and the individuals involved were almost always underage. In the US, the incidents peaked in November 1999. In England, Pokémon-related delinquency reached a head in April 2000. High prices on the grey market were a motive behind some of the crimes, "posing a great temptation for older kids and bullies to take advantage of weaker children". At specialty shops and online auctions, rare Pokémon cards could be bought and sold for prices of $50 or more (c. $88 in 2022).

Aside from the negative reactions, many media also cited alleged beneficial effects of Pokémon. It was noted that the video games and the cards require children to read, memorize, calculate, and plan out a strategy. Both encourage socialization, and trading Pokémon requires negotiating skills. Stephanie Strom wrote in The New York Times that the Pokémon anime taught children "traditional Japanese values -- responsibility, empathy, cooperation, obedience, respect for elders, humility". Anne Allison interviewed various American parents during Pokémania. She found that while most of them were "utterly mystified" about Pokémon, few were overly worried about it, instead meeting the craze with "befuddled acceptance". Allison also notes that the Columbine High School massacre coincided with the fad, causing violent television, music, and games to be scrutinized. Compared to these media, she notes, Pokémon is in fact rather tame.

In contrast, Pokémon received far less criticism in its native country of Japan. Yano (2004) attributes this to cultural differences, which includes: 1) greater acceptance of exuberant consumerism – to buy is to be a good citizen; 2) less focus on media influence – instead, Japan's educational system, bullying, and dysfunctional families are more often the target of attention; 3) less separation between child- and adulthood – what is suitable for adults is not necessarily considered unsuitable for kids; 4) Pokémon being permeated with kawaisa (cuteness), a hallmark of Japanese culture; 5) Japan's core religions, Buddhism and Shinto, are less moralizing in nature. However, Oliver Burkeman wrote in The Guardian that the Pokémon cards were also banned from some Japanese schools.

2001-present

The widespread ennui and excessive leisure time during the COVID-19 pandemic inspired a resurgence in popularity and interest of Pokémon cards, which was further popularized by various YouTube content creators, as well as influencer Logan Paul. The craze resulted in severe supply shortages, and customers' inappropriate and obsessive behavior raised safety concerns in many retail outlets. Pokémon cards' values skyrocketed, prompting collectors to submit cards and overwhelm card grading agencies. The Pokémon Company responded by reprinting impacted products at maximum capacity to ensure price stabilization and general accessibility.