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Traces the period of dominance from roughly 1996 to 2001, then examines the subsequent decline in Japan and the United States and the fading of global shelf and attention. Organizes the study across contexts and issues, global circulation, and school-related practices, concluding with an account of the Pokémon “empire.”",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/the-rise-and-fall-of-pokemon-part-1/512077/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/the-rise-and-fall-of-pokemon-part-1/512077.png","ImageObject",300,407,{"name":92,"@type":93},"Emma Wilson","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-16","2026-10-06",true,{"@type":102,"interactionType":103,"userInteractionCount":14},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What does the book argue about Pokémon’s rise?","Question",{"text":112,"@type":113},"It describes Pokémon’s rise as a consumer phenomenon built through production and licensing agreements that connected games, television, comics, movies, and merchandise into a unified children’s media ecosystem.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the book explain Pokémon’s decline?",{"text":117,"@type":113},"It notes that Pokémon fever subsided in Japan and the United States by the end of 2000, and that by the end of 2001 its control of shelf space and consumer attention was starting to fade globally.",{"name":119,"@type":110,"acceptedAnswer":120},"What kinds of topics are covered beyond the Pokémon brand itself?",{"text":121,"@type":113},"The contents address media culture themes such as structure, agency, and pedagogy, localization for different markets, anti-Pokémon voices, and fan identities and practices, including narratives used in school contexts.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},512077,1792183956,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":14,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},3848291630094,"https://eur-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","THE RISE  \nAND FALL OF POKÉMON  \nJOSEPH TOBIN,  \nEDITOR  \nDUKE UNIVERSITY PRESS  \nDURHAM AND LONDON  \n∫ 2004 Duke University Press All rights reserved  \nPrinted in the United States of America on acid-free paper $ Designed by Rebecca Giménez Typeset in Adobe Minion by Keystone Typesetting, Inc. Library of Congress Cataloging-inPublication Data appear on the last printed page of this book.  \nI. CONTEXTS AND ISSUES  \n1. Joseph Tobin, Introduction, 3  \n2. David Buckingham and Julian Sefton-Green, Structure, Agency, and Pedagogy in Children’s Media Culture, 12  \n3. Anne Allison, Cuteness as Japan’s Millennial Product, 34  \nII. GLOBAL CIRCULATION  \n4. Koichi Iwabuchi, How ‘‘Japanese’’ Is Pokémon?, 53  \n5. Hirofumi Katsuno and Je√rey Maret, Localizing the Pokémon tv Series for the American Market, 80  \n6. Christine R. Yano, Panic Attacks: Anti-Pokémon Voices in Global Markets, 108  \nIII. PLACES AND PRACTICES  \n7. Julian Sefton-Green, Initiation Rites: A Small Boy in a Poké-World, 141  \n8. Dafna Lemish and Linda-Renée Bloch, Pokémon in Israel, 165  \n9. Gilles Brougère, How Much Is a Pokémon Worth? Pokémon in France, 187  \nIV. POKÉMON GOES TO SCHOOL  \n10. Helen Bromley, Localizing Pokémon through Narrative Play, 211  \n11. Rebekah Willett, The Multiple Identities of Pokémon Fans, 226  \n12. Samuel Tobin, Masculinity, Maturity, and the End of Pokémon, 241  \n13. Joseph Tobin, Conclusion: The Rise and Fall of the Pokémon Empire, 257  \nContributors, 293 Index, 295  \nI  \nCONTEXTS AND ISSUES  \n1  \nIntroduction Joseph Tobin  \nIn the last years of the last millennium a new consumer phenomenon developed in Japan and swept across the globe. Pokémon, which began life as a piece of software to be played on Nintendo’s Game Boy (a hand-held computer for playing video games), quickly diversified into a comic book, a television show, a movie, trading cards, stickers, small toys, and ancillary products such as backpacks and T-shirts. Entering into production and licensing agreements with Japanese companies—Game Freak, Creatures, Shogakukan, and tv Tokyo, among others—and with companies abroad, including their wholly owned subsidiary Nintendo of America, Wizards of the Coast (now a division of Hasbro), 4Kids Entertainment, and the Warner Brothers Network, Nintendo created a set of interrelated products that dominated children’s consumption from approximately 1996 to 2001. Pokémon is the most successful computer game ever made, the top globally selling trading-card game of all time, one of the most successful children’s television programs ever broadcast, the topgrossing movie ever released in Japan, and among the five top earners in the history of films worldwide. At Pokémon’s height of popularity, Nintendo executives were optimistic that they had a product, like Barbie and Legos, that would sell forever, and that, like Mickey Mouse and Donald Duck, would become enduring icons worldwide. But by the end of 2000, Pokémon fever had subsided in Japan and the United States, even as the products were still being launched in such countries as Brazil, Italy, and Israel. By the end of 2001, Pokémon’s control of shelf space and consumer consciousness, already in steep decline in Japan and the United States, was beginning to fade globally. As the Pokémon craze comes to an end we are left with the task of analyzing its significance and understanding the dynamics of its rise and, just as interesting,","cbCaivJ6F63ysq67","https://ap.wps.com/l/cbCaivJ6F63ysq67","pdf",353856,31,"English","# Contexts and Issues\n## Introduction\n## Structure, Agency, and Pedagogy in Children’s Media Culture\n## Cuteness as Japan’s Millennial Product\n# Global Circulation\n## How “Japanese” Is Pokémon?\n## Localizing the Pokémon TV Series for the American Market\n## Anti-Pokémon Voices in Global Markets\n# Places and Practices\n## Initiation Rites: A Small Boy in a Poké-World\n## Pokémon in Israel\n## How Much Is a Pokémon Worth? Pokémon in France\n# Pokémon Goes to School\n## Localizing Pokémon through Narrative Play\n## The Multiple Identities of Pokémon Fans\n## Masculinity, Maturity, and the End of Pokémon\n## Conclusion: The Rise and Fall of the Pokémon Empire\n# Front Matter\n## Contributors\n## Index","[{\"question\":\"What does the book argue about Pokémon’s rise?\",\"answer\":\"It describes Pokémon’s rise as a consumer phenomenon built through production and licensing agreements that connected games, television, comics, movies, and merchandise into a unified children’s media ecosystem.\"},{\"question\":\"How does the book explain Pokémon’s decline?\",\"answer\":\"It notes that Pokémon fever subsided in Japan and the United States by the end of 2000, and that by the end of 2001 its control of shelf space and consumer attention was starting to fade globally.\"},{\"question\":\"What kinds of topics are covered beyond the Pokémon brand itself?\",\"answer\":\"The contents address media culture themes such as structure, agency, and pedagogy, localization for different markets, anti-Pokémon voices, and fan identities and practices, including narratives used in school contexts.\"}]","The Rise and Fall of Pokémon - Part 1 | PDF",1791264721,48]