A Study On Pokemon Detective Pikachu
Added on 2022-08-13
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Running head: A STUDY ON POKEMON DETECTIVE PIKACHU
A STUDY ON POKEMON DETECTIVE PIKACHU
Name of the Student
Name of the University
Author Note
A STUDY ON POKEMON DETECTIVE PIKACHU
Name of the Student
Name of the University
Author Note
A STUDY ON POKEMON DETECTIVE PIKACHU1
In a world full of advanced communication systems, the function of media and digital
technology has become evidently significant in order to generate the entertainment across the
globe, provided with the inclusion of moral values, beliefs and the behavioral conduct. The
process integrates the multitude on the basis of categorized interest. Following it, Transmedia
introduces the new aesthetic aspects established in response to the convergence of media
technology (Kirby, 2016). It is the trail of active participation of the communities that are
identified as knowledgeable and conveys the art of digital world creation of a fictional
dimension. The process involves the act of hunters and gatherers, penetrating down the pieces
of the story across media channels, collaborating the diverse effective inputs in order to
ensure that the viewers who invest the time will receive rich entertainment (Bainbridge,
2014). Through the inclusion of multimedia and interactive communication technology, the
Pokémon Company retained a sufficient dedicated fan base to receive the recognition of
being the highest-grossing media franchise of all time (Wagner, 2019). The essay focusses on
the deliverance of the concept of transmedia storytelling, and how the ownership structures
and the models of the companies that are involved in the film, Pokémon Detective Pikachu,
influence the concept.
Pokémon Detective Pikachu is the first video game based film that is based on the
legendary Japanese media franchise, owned by Nintendo. It is further recognized as the first
Pokémon film that has incorporated live action provided with an adaption of core themes and
inputs of mechanics in the world dominated by pocket monsters (Bainbridge, 2014). With the
release of the movie, Pokémon Detective Pikachu, having Ryan Reynolds as the starring cast,
the franchisee receives its first film based on live action (Kirby, 2016). The movie potentially
positioned itself in being the first video game film ever and successfully hits the box-office
(Shamoon, 2019). The movie also receives early hyped reactions from the die hard fans who
have been waiting for the release of this movie. The encouragement of the media mix in the
In a world full of advanced communication systems, the function of media and digital
technology has become evidently significant in order to generate the entertainment across the
globe, provided with the inclusion of moral values, beliefs and the behavioral conduct. The
process integrates the multitude on the basis of categorized interest. Following it, Transmedia
introduces the new aesthetic aspects established in response to the convergence of media
technology (Kirby, 2016). It is the trail of active participation of the communities that are
identified as knowledgeable and conveys the art of digital world creation of a fictional
dimension. The process involves the act of hunters and gatherers, penetrating down the pieces
of the story across media channels, collaborating the diverse effective inputs in order to
ensure that the viewers who invest the time will receive rich entertainment (Bainbridge,
2014). Through the inclusion of multimedia and interactive communication technology, the
Pokémon Company retained a sufficient dedicated fan base to receive the recognition of
being the highest-grossing media franchise of all time (Wagner, 2019). The essay focusses on
the deliverance of the concept of transmedia storytelling, and how the ownership structures
and the models of the companies that are involved in the film, Pokémon Detective Pikachu,
influence the concept.
Pokémon Detective Pikachu is the first video game based film that is based on the
legendary Japanese media franchise, owned by Nintendo. It is further recognized as the first
Pokémon film that has incorporated live action provided with an adaption of core themes and
inputs of mechanics in the world dominated by pocket monsters (Bainbridge, 2014). With the
release of the movie, Pokémon Detective Pikachu, having Ryan Reynolds as the starring cast,
the franchisee receives its first film based on live action (Kirby, 2016). The movie potentially
positioned itself in being the first video game film ever and successfully hits the box-office
(Shamoon, 2019). The movie also receives early hyped reactions from the die hard fans who
have been waiting for the release of this movie. The encouragement of the media mix in the
A STUDY ON POKEMON DETECTIVE PIKACHU2
movie facilitates the viewer with the perception of the creator of Pokémon game, Satoshi
Tajiri (Wagner, 2019). With the encouragement of the transmedia and the diversified
innovative measures, the film gains an immense outreach of viewership across the globe
(Shamoon, 2019). the ownership structure of the company grabs the highlight leads and
success factors through the reaction of the immense viewership. In the making of the movie,
the vision of the creator was encrypted with the help of the players who explore the dynamics
of the fictional region of catching, training and battling in the virtual arena (Bainbridge,
2014). The series of Pokémon has evolved an enthusiastic crave in the market. It influenced
the children, even the graphics designers and variant fan base across the globe (Kirby, 2016).
Through the generation of active participation of the players, the movie develops a
huge wave of interest by introducing the three dimensional graphics of video games in the
movie in order to retain the entire dedicated fan base of Pokémon (Wagner, 2019). The movie
by installing the editorial independence provided with a sustainable media mix in the social
platform gives rise to immense market opportunities (Bainbridge, 2014). The creation of
Pokémon reveals the magnification of the sociological order through media and the fact that
it is presented on screen both in terms of commercial strategy as well as in terms of an
appealing factor to the child market (Kirby, 2016). The movie sparked the sensation of the
dedicated players and a fan base through the addition of different forms of transmedial
dialogues (Wagner, 2019). The movie incorporates innovative ways of reframing elements of
fantasy mythology based on Pokémon and further explores its usage in order to enrich the
detective narrative and its compatibility with the paradigm of the real world (Shamoon,
2019). It is known to everyone that Pokémon is itself a centralized figure of the franchise’s
mythology. Following it, Pikachu has been an eternal character of adoration (Kirby, 2016).
Thereby, the focus was on Pikachu as a detective. The film provides a standardized visual
movie facilitates the viewer with the perception of the creator of Pokémon game, Satoshi
Tajiri (Wagner, 2019). With the encouragement of the transmedia and the diversified
innovative measures, the film gains an immense outreach of viewership across the globe
(Shamoon, 2019). the ownership structure of the company grabs the highlight leads and
success factors through the reaction of the immense viewership. In the making of the movie,
the vision of the creator was encrypted with the help of the players who explore the dynamics
of the fictional region of catching, training and battling in the virtual arena (Bainbridge,
2014). The series of Pokémon has evolved an enthusiastic crave in the market. It influenced
the children, even the graphics designers and variant fan base across the globe (Kirby, 2016).
Through the generation of active participation of the players, the movie develops a
huge wave of interest by introducing the three dimensional graphics of video games in the
movie in order to retain the entire dedicated fan base of Pokémon (Wagner, 2019). The movie
by installing the editorial independence provided with a sustainable media mix in the social
platform gives rise to immense market opportunities (Bainbridge, 2014). The creation of
Pokémon reveals the magnification of the sociological order through media and the fact that
it is presented on screen both in terms of commercial strategy as well as in terms of an
appealing factor to the child market (Kirby, 2016). The movie sparked the sensation of the
dedicated players and a fan base through the addition of different forms of transmedial
dialogues (Wagner, 2019). The movie incorporates innovative ways of reframing elements of
fantasy mythology based on Pokémon and further explores its usage in order to enrich the
detective narrative and its compatibility with the paradigm of the real world (Shamoon,
2019). It is known to everyone that Pokémon is itself a centralized figure of the franchise’s
mythology. Following it, Pikachu has been an eternal character of adoration (Kirby, 2016).
Thereby, the focus was on Pikachu as a detective. The film provides a standardized visual
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