How does Pokémon as a global franchise work across multiple screens (game, TV, film, phone) and what role does character (kyara) have in this?

Pokémon: do we need to 'catch 'em all' to understand this global franchise?

"...one cannot truly comprehend any given individual element in isolation, but rather as part of a larger ‘supersystem'" (Iwabuchi 2004:64)

Pokémon is a Japanese media franchise; however, unlike, other global franchises such as Marvel, it differs as an example of Media Mix rather than an example of Transmedia. To understand the 'supersystem' that is called Pokémon, we don't necessarily need to consume all the media in chronological order, like we are urged to do in other franchises, but to gain a comprehensive understanding of its themes, backgrounds and characters. In result, fans can apply that understanding to all forms of media under the "Pokémon umbrella" and to create that bond without having to interact with every 'individual element' of the franchise.

(Internet Archive: 2024)

The electric-mouse was first introduced in the video games 'Pokémon Red and Blue', but claimed his fame in the Pokémon Television series with the aid of book publisher, Kubo Masakazu; he saw the potential in this ordinary Pokémon and the franchise that could arise from it and turned him into the Kawaii Mascot for the convergence across different media platforms (Geraghty, 2023). The increasingly expanding franchise shifts from being a Japanese hit to having massive global appeal, giving them the opportunity to cover more pillars of entertainment and creating that convergence across different brands - with Pikachu as the main face. For example, many established brands, such as Converse, Selfridges and Irregular Choice, reached out for a collaboration as they knew it would be popular and help to shift their products (LicenseGlobal, 2022). Companies would create advertisements with the involvement of the kyara's; like the 90s Heinz Advert, they use the Pokémon and the franchise slogan 'catch 'em all' to promote their pasta (KeepItRetro, 2019).

(Ash Ketchum,PNG, 2024)

From trading cards to video games to animated movies, there is a driving central story-arc of Ash Ketchum's journey on becoming the greatest Pokémon Master. Whilst this journey explicitly means the challenges and battles that Ash must go through to achieve this title, it also implies the metaphorical journey that the young teenage boy will mentally and physically go through which makes him the hero that he is (Geraghty, 2023). Ash throughout the franchise continues to remain 10-years-old which affirms that the franchise is an example of Media-Mix as his timeline never evolves (Melzer, 2023). It grants that their young audiences, from any generation, can identify with the character; he might not age but there is a noticeable ‘subtle evolution’ as he goes through his journey which grows him as a person, and we see the depth and complexity of his character (etimes.in, 2024). This character depth is developed across multiple screens. 

Within this 'commercial supersystem of transmedia intertextuality' (Marsha Kinder) each working part of the system offers and creates something different to its fans. The games and television series focuses on the catching and trading of the Pokémon, which creates this 'culture of consumption' as the aim is to progress and level-up; whereas, the films narrative focuses on Ash, and the heroism of the journey (Buckingham, D., & Sefton-Green, J. (2003). All forms of media present the theme of 'catch 'em all' and help children develop skills; such as determination, socialising and tactics, whilst they participate in modern society (Beeler et al., 2014). The global franchise, Pokémon, has converged across multiple screens (game, TV, film etc.) to cover more pillars of the entertainment sector to offer the fanbase further interactions with the franchise; the kyara's are the familiar icons throughout the universe that the audience can identify and build a connection with to keep them engaged and want to 'catch 'em all'!

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References

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