Can we catch ‘em all?: Generation I: Difference between revisions

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user=Rebecca Hernandez-Gerber |
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tagline=Versions, remakes, and media archaeology |
tagline=Versions, remakes, and media archaeology |
blurb=In the second of seven articles, Pokémon Professor and Archaeologist Becca takes you on a journey into Generation I core series games through the lens of media archaeology. }}
blurb=In the second of seven articles, Pokémon Professor and Archaeologist Becks takes you on a journey into Generation I core series games through the lens of media archaeology. }}
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"Tajiri had a novel idea: to utilize the tsushin keburu [Game Boy Link Cable] for ‘communication’ instead – for exchanges between players in which the objective would be to barter with, rather than eliminate, an opponent by training monsters.”
"Tajiri had a novel idea: to utilize the tsushin keburu [Game Boy Link Cable] for ‘communication’ instead – for exchanges between players in which the objective would be to barter with, rather than eliminate, an opponent by training monsters.” - Anne Allison, ''Millennial Monsters: Japanese Toys and the Global Imagination'' <ref name="Allison, ''Millennial Monsters.''">Anne Allison, ''Millennial Monsters: Japanese Toys and the Global Imagination'' (Berkeley: University of California Press, 2006).</ref>
- Anne Allison, ''Millennial Monsters: Japanese Toys and the Global Imagination'' <ref name="Allison, ''Millennial Monsters.''">Anne Allison, ''Millennial Monsters: Japanese Toys and the Global Imagination'' (Berkeley: University of California Press, 2006).</ref>


Twenty years ago, many players first encountered a video game through its advertisement campaign. Nintendo, in particular, was notorious for tightly controlling advertisement through censorship of unwelcome critiques in Japanese gaming magazines. This control went even farther in the United States, where the company-run {{bp|Nintendo Power}} essentially functioned as a subscription advertising campaign. As a result, marketing controlled how players understood their games.<ref name="Allison, ''Millennial Monsters.''"/>  Nowhere is this more obvious than in {{bp|Generation I|Generation I core series titles}}.
Twenty years ago, many players first encountered a video game through its advertisement campaign. Nintendo, in particular, was notorious for tightly controlling advertisement through censorship of unwelcome critiques in Japanese gaming magazines. This control went even farther in the United States, where the company-run {{bp|Nintendo Power}} essentially functioned as a subscription advertising campaign. As a result, marketing controlled how players understood their games.<ref name="Allison, ''Millennial Monsters.''"/>  Nowhere is this more obvious than in {{bp|Generation I|Generation I core series titles}}.
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In many ways, this article adds nothing new to fan knowledge. It does not discuss {{bp|Pokémon data structure in Generation I|data structures}} or {{bp|trade}}. Such factors are best discussed in the context of inter-generational trade beginning in {{bp|Generation II}}. Instead, what is most significant about this generation is that it lays the base for how Nintendo communicated Game Freak’s products to their fans. Reality within code and reality within advertising are not the same, and if players do not consider media specific ideologies, the truth is quickly obscured.
In many ways, this article adds nothing new to fan knowledge. It does not discuss {{bp|Pokémon data structure in Generation I|data structures}} or {{bp|trade}}. Such factors are best discussed in the context of inter-generational trade beginning in {{bp|Generation II}}. Instead, what is most significant about this generation is that it lays the base for how Nintendo communicated Game Freak’s products to their fans. Reality within code and reality within advertising are not the same, and if players do not consider media specific ideologies, the truth is quickly obscured.


{{8bitbecca}}
{{canwecatchemall}}


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