Pokemon: An Introduction To Video Games, TV Shows and Cards

It was a craze. It was a fashion. It was mass hysteria in the mid 90’s. Parents didn’t get it but their kids absolutely loved it. Movies, cards, video games, tv shows, it was everywhere in my mind. Children payed it on the way to school, in the playground and then under the bedcovers at night. It was carrying the baton that the tamogutchi left off and marked a significant fascination of Western popular culture into the Japanese equivalent.

Of course I’m talking about Pokemon. But I’m not just casually throwing this word around to describe the 493 creatures that now exist in some fictional wilderness on some kid’s DS cartridge. I’m talking about the original 150. Squirtle, Bulbasaur, Charmander, that’s how it was when our first incarnation of ourselves on Blue and Red would travel across a region in order to become pokemon champion of the world (!!!).

It was a class game and after going a succession of added generations (or three) of unique pokemon to the games we arrived at the latest non-ported versions on the DS - Diamond and Pearl. However some felt the new, shiny creatures sugarcoated over the need for refinements in gameplay. Despite the innovations of the DS, our beloved trainer can still only moves 4 directions even in the latest ports. It is a feature that is clearly dated but familiar to loyalists who would suggest the peak of the series came with the introduction of Gold and Silver.

250 was just right and the addition of berries, running shoes, varieties of pokeballs, a cellphone, radio made it one of the best games on the Gameboy Colour. The RPG and strategy element had been retained from Blue and Red and 16 badges spread over 2 regions meant it had a massive quest in-store for a wannabee champion-to-be. The latest incarnations of these games on the DS has made me realize that they can claim to be the most complete Pokemon games.

But it wasn’t just about video games. Pokemon was much, much more. The cards functioned much like top-trumps to the extent that Ditto’s transform attack would be very appropriate. The number in a pack was dependant on how much you paid and those illusive shinies created the addictiveness factor of the product. However to describe them as “second rate top-trumps” neglects the fact that Pokemon cards are still taken very, very seriously. They can be used at the highest level in Nintendo endorsed competitions but for the devotees they were, depending on what card, collector’s item.

Many tales have been told over the availability of some of the world’s rarest cards. There is no one universally-agreed answer as price evaluation can be very subjective. The most illusive of the first generation of cards? For me perhaps a shiny Moltres but for Ebay a dark Dragonite has an asking price of £127.50. But this is just loose change for completists who seek the ultra-scarce. Whether that be the “illustrator card” of which only 6 were issued or the “prerelease raichu” dubbed the “Holygrail of Pokemon Cards” by the PokeGym curators. The asking price of these cards you ask? Well depending on factors such as quality, they can fetch anything from $1000 to $10000.

The games and the cards are still very much still the facial recognition features of what Pokemon has come to be. The movies now are very much straight-to-tv affairs whilst the tv series is again restricted to kids channels like Cartoon Network. No more is it just Ash, Brok and Misty on their adventures. Familiar faces shoved aside to make way for new characters and the expansion of the franchise is, again, on its way. But as this furthering continues the essence of what Pokemon was, when it was at its peak, is soon going to be lost.

The Gamecube Complex

Nintendo have been at it forever. Their first home console was released 16 years ago and have since built an inventory that keeps the wheels of innovation moving in the console market. The release of Microsoft’s Project Natal and the Playstation Move in the coming months are 4 years too late and shows the competitors are being left to play catch-up. Whether these add-ons will the rival the Wii is questionable but it marks the Wii as a significant improvement on Nintendo’s last hiccup - no not the Virtual Boy but the Gamecube.

By the time the European release of “Project Dolphin” came round in May 2002, Nintendo had already tightened its grip on the handheld market with the Gameboy series but its secure position in the home consoles family was coming under threat. This had been initiated several years previous by the unfashionable entrance of the cartridge based N64. That complemented by the moving-in of the hip-cool newcomer, the Playstation, which continued to carry out its day job of selling 3 Sony’s for every 1 Nintendo.

The reason for this was down to a variety of factors. The unwanted game development costs along with their lack of internal memory lead many third party developers, like Square Enix (who originally had Final Fantasy 7 penciled in for the N), to shift focus on output for the Playstation. Promised dreams of online capability (remember the 64DD?) quickly became fruitless fairytales for Nintendo loyalists in America and Europe. Despite the faster loading times, the “pulling power” of Mario and Link, its innovative add-ons (Transfer, Expansion and Rumble Paks) Nintendo’s role in the family was soon to be outcast.

Sony had overtaken them and after the acquisition of Sega by Microsoft, another developer was looking to emerge and leapfrog over Nintendo much like Sony had just done in the mid to late 90’s. Whilst Microsoft were ambitious with the original Xbox with an original selling price of $400 and aesthetics that had many likening it as “a toaster”, it certainly did raise an eyebrow or two.

Nevertheless it was a more than satisfactory welcoming for Microsoft that proved a successful experimentation and dabble into the console market. It left the Gamecube to fight for scraps at the dinner table in the hope of garnering more attention than it deserved. Mario, Celda, Metroid, the big names were out but don’t be deceived by the orange illuminated smile that greeted you when you turned it on. Everything was not as rosy at Nintendo headquarters.



The lack of third party support left the ‘cube with a band of under 14 followers thanks to a lack of really mature games (Eternal Darkness and Residential Evil 4 aside). Nevertheless on retrospect, the console has aged well. If viewed as a transitional phase towards Nintendo’s crowning the moment, the launch of the Wii, the Gamecube had all the innovations its competitors lacked. Connectivity to the GBA, microphone and wireless controllers all proved to be stepping stones in the blueprints that resulted in Nintendo emerging from the shadows of its competitors.

A word of warning ....

the articles I have just put up are of eld value. They are from the crazy years that was institutionally known as 6th form. I like to think my writing style has come on A LOT (and I mean a lot) since then!

The Sun vs. Mars Bar Boxing Match!?!? [written 2007] [what was I on???]

As supermarkets take centre stage for battles between Pepsi and Coke, Carlsberg and Heineken, McDonalds's and Burger King it begs to ask the question what other businesses are fighting for the sum of money you usually find in your trouser pocket?

In a world where virtually any company can compete against everyone, the Mars Bar and The Sun are having a rivalry across all available frontiers. Though we have not (yet) come to an age where you can eat and read a newspaper, both are ancient in existence and with the same price tag they are eternally battling for the Queen's nose. Indeed at 50p they are surely worth every penny for whatever it is they offer - pleasure, humor, satisfaction, sodium bicarbonate?

The Mars Bar at a towering figure of 17cm swaggers into the ring in a hefty but chocolaty costume of 17 grams, 5 ounces. Engulfed by its adolescent audience, the Mars strikes an expressionless pose to the photographers whilst its competitor waits edgily on canvas. The Sun - guarded by its army of supplements and pull-outs - waits tentatively ready to do battle.

The tabloid edges popularity in the U.K. with 3.3 million copies sold daily whilst the Mars finds itself universally admired with an $18 billion empire across 65 countries. Undoubtedly the Mars has spent much of that money on aiding its brothers and sisters - Mars Snack Size, Mars Delight, Mars Duo whilst The Sun has also spawned a number of siblings in Sun Bingo and SunSingles. In fact this match could have easily been a tag team affair but with one contestant per team there will be no interference tonight.

No doubt both corners are riding on the outcome of the contest; with the Mars going in as the slight favorite. Certainly with the capacity to cure temporary hunger, the alleged ability to "keep the doctor away" and a layer of caramel the Mars has emerged the popular choice. Nevertheless in a bold move this week, The Sun has come out this by publishing its adversary's weaknesses.

The Mars Bar, as The Sun points out, is known for its "bad health, bad dieting and poor stamina". Having a considerable amount of acne the chocolate is hardly a pin-up either, and with reporter's suggesting disfiguration if the temperature rises above 40°C the Mars could already be looking down for the count. Along with rumors of carrying meat extract, the pre-match drugs test for the Mars could be a celebration in itself for its contingent.

In fact where the Mars Bar is already filled with partially hydrated soybean oil, The Sun looks to distract its opponents. Known for the one-two combination of Soduku and Mystic Meg the tabloid aims to fluster its adversary. The tabloid able to inform, humor and persuade its opponent into submission will only want to avoid the inevitable barrage of beverages (and criticism) from the spectators.

As the fight begins, it's clear the match is more than endurance rather a test of mental strength. The Sun starts intimidating its opponent by forecasting tomorrow's front page edition - "Mars Munches Defeat". Instinctively the chocolate bar attempts to land the first punch of the match; but the tabloid almost immediately expecting it goes on a counter-offence. Rapping around its opponent like a boa constrictor The Sun has quite literally tightened his grip upon the match. The Mars is looking down for the count as it stands immobile; anxiously waiting for the bell.

This match could be over in a matter of moments - The Mars not the most flexible of competitors unlike perhaps bubble game or candy floss - is trying to squirm its way out but The Sun is having none of it. Thirty seconds left, and it looks as if the sell by date on this Mars Bar is about to run out. And there it is! The Mars has fallen! The Mars has fallen! The fickle figure falls whilst The Sun returns to its true A4 layout and waits for the ref to count to ten. The ref counts, the tabloid taunts and the audience shocked - eight...nine...ten and he has done it!

Acting on impulse the ref makes his way to collect and carry the crown The Sun has clearly been longing for - the 50 pence piece. He knows that with this unanimous, undisputed and unsurpassable victory, that the tabloid has earned at least some respectability.

The Trouble Of Talent-searching TV [written 2008]

"For the last time it is pronounce couple not cuple" There are many things wrong with Saturday night T.V., one is the B.B.C. employing regional accents to boost viewer ratings and the other is I.T.V. for giving false-hope to anyone who thinks they can sing.

Last night Strictly Come Dancing and The X Factor finally ended, with certified B-lister Alesha Dixon and miserable Scot Leon Jackson taking the crowns. Both are now, set to serve life sentences of daytime T.V. interviews, re-union shows and in time be part of Never Mind The Buzzcock's "Identity Parade" round.

The two shows ability to spit out (and regurgitate) flagging celebrities back into stardom is quite alarming. More concerning is that these two "talent" shows are now the flagship of reality television. However where The X Factor prides itself upon contestants from families who probably have businesses in the Yellow Pages; Strictly is more class conscious.

This series contestants have been born in the near-Southern counties of Kent, (Kelly Brook), Hertfordshire (Letitia Dean), Suffolk (Brian Chapman). Quintessentially this makes Strictly appeal to the middle class, to people who pay for T.V. licenses, who stay in on Saturday nights. These people won't be at the pub watching Rugby League on Sky Sports but sipping wine in the vicinity of their detached suburban houses. Though there is this evidence of "class consciousness" from the BBC there is always an objection to every rule. In this case it is the humble upbringings of co-presenter Tess Daly from Stockport, North-West England.

Subjects such as Mrs. Vernon Kay conform, as always, to the Beeb's over-used recipe for success. Accents - check, Modified Received Pronunciation - check, ethnic minorities - check, as well as every other grey-area of modern society are all force-fed to the audience. Even the dancers diversify the international void inexistent in the "famed" British celebrities. The females particularly, with surnames such as Kopylova and Cacace, bare skin as if there British passports depended on it.

Even early round contestants of The X Factor all too frequently strip themselves to a naked body of dignity: and thankfully nothing else. When the show reaches its 12 finalists, the judges are all too eager to toot their own horn. Bias never validates public opinion, even if it has been subject to scrutiny because of phone-in scandals in this post-Richard and Judy era. Though this could be beneficial when the Eurovision comes around, at the moment it is de-valuing the term "winner".

The fact that these shows are over-exposed too worries me. What are the B.B.C. doing with taxpayer's money? Strictly ... It Takes Two has a mid-week daily slot whilst The Xtra Factor broadcasts straight after the live show. Though they provide hype and exposure, these "complementary" shows are just surely to fill out presenter's employment contracts.

So whilst the two talent shows are either finding the crème of the British public or of that of flagging celebrities fame status, they are further creating stereotypes of reality t.v., and more worryingly British Culture. Do we really want to see over-weight, tattooed, females on prime-time terrestrial television? Probably yes, but deep down you know it can't be good for foreigners' perceptions of the British.

Up The Bracket Album Dissection [written 2007]

The Libertines debut album Up The Bracket is one to be remembered. Fronted by Pete Doherty, Carl Barat, Gary Powell and John Hassall, the London quartet proves that they are a band to watch in the future with their mixture of punk and rock influences. Produced by the legendary Mick Jones of The Clash, Up The Bracket has re-introduced teenagers to a new concept of rock music.

The mid 90's was a disaster for guitar music as pop became more dominant in the charts and on the shelves. Even the latter 90's of British music was in a state of decline; haunted by the Brit-pop era of Oasis and Blur. However as the sun set on the 20th century, the dawn of modern rock was established. Fronted by The Strokes and The Libertines, a new generation of music was introduced to the media, to the critics, and most importantly to the music-lovers.

The Libertines early intention as a band was to become signed by a major label. When they formed in 2000, they started to gather a following; playing impromptu gigs at band members apartments. Not only did this make a strong foundation of friendship with their fans but helped put across their image. This image was soon strengthened as Doherty used the Internet as an alternative means of communication with his fans. This act illustrated two things. The influence Doherty could have on people through the message boards, and that he could always be in touch with someone. As the release of Up The Bracket came, The Libertines following increased dramatically as their scheduled gigs soon became fast sell outs. Mick Jones realized he had started a revolution, just like he had done with The Clash.

Despite the two major influences on Up The Bracket of Carl Barat and Pete Doherty, the ex-front man of The Clash shows up notably on one track. Horror Show is a brilliant song captivating the punk roots of the band. "Sharply screw myself to death". The visceral lyrics of Horror Show talk about the effects of alcohol and drugs on the body. Although Doherty knew of their consequences he would continue to keep using throughout the band's journey. The range of genres covered in Up The Bracket meant they could appeal to all sides of the spectrum. The parallels of alcohol and drugs that are so evident between The Clash and The Libertines were what made Mick Jones the perfect person to produce the perfect album.

Up The Bracket's release in 2002 was surrounded by the returns of both Foo Fighter and Coldplay. Therefore the band did not get the press coverage it deserved. But did they want the press coverage? As no one knew who the band was, preconceptions were hard to be made by any of the newspapers. They could only be judged on what they sounded like. Today everyone knows Pete Doherty as that addicted junkie who went out with Kate Moss. However from songs like Boys In The Band and The Good Old Days it was clear he knew how to write a song that could have many levels of interpretation. Boys In The Band is a brilliant post-modern tune, which is an ode to the groupie. "And they all get them out ... for the boys in the band" The arrogance of such a chorus leads the listener to assume it's talking about the sex. However according to the band's biography, The Libertines: Bound Together, it is more about the alcohol. About a week after the release of Up The Bracket the band were launched.

As everyone became accustomed to the excess number of gigs, drugs and alcohol surrounding the album, soon the visions of Doherty and Barat surfaced. I Get Along is a definite highlight which uses the clearest of vocals of Barat to send a message to the band's critics. "People tell me I'm wrong ... fuck 'em". The lyrics define what a Libertine is - a free thinker. There were no rules, and no place in society for The Libertines and in Doherty's case it gave him the ability to do what he wanted, when he wanted.

Starting to treat himself (and Barat) to various drugs, the media were soon constantly surrounding the band. Doherty whose influences range from Emily Bronte to Morrissey, believed that he was on the ship "Albion" which sailed to "Arcadia" - where there are no rules or authority. The vision is instantly recognizable in (name of song) off Up The Bracket. (Up The Bracket lyrics insert here). Doherty resembles his vision as the journey of The Libertines, but as he and Barat became increasingly aware of each others presence other terms soon developed. "Death On The Stairs" is both a song and a phrase (thought up by Barat) to define people who grow old and do nothing but watch television. "Don't bring that ghost around to my door" The song illustrates how the band wanted to be kept as far away from the term as possible. Ironically the band, especially Pete, would indulge in the drugs and the alcohol which would lead to their demise. But at that moment The Libertines could do no wrong.

The majority of their praise came from the major music magazines, front lined by NME who crowned them best breakthrough band in 2002. The Libertines were propelled into the fast-life involving drink, drugs and gigs. Yet they were still able to establish a relationship with there fans. Time For Heroes demonstrates how they saw themselves as "the rescuer" of there own generation - "We'll die in the class we were born". Doherty's attitude seemed to demonstrate how the band was more for the music than for the money. Although being made up of a drummer, a bassist, and two on guitar, The Libertines still made their intentions heard on Up The Bracket. The different rhythms accompanied to each song on the album showed that they were a raw talent.

The distinctive voice of The Libertines was not how they sounded, but what they said. To communicate with their audience, some of the songs used very colloquial lyrics. "What a divvy, what a fucking divvy" Doherty use of bad language didn't make any of the songs sound violent, but instead more intelligent. In What A Waster (the debut single) Doherty despite having 6 A* grades and 5 A's at GCSE, used very colloquial expressions. This turned out to be a stroke of genius. Although heavily criticised by almost everyone, What A Waster captivated its teenage audience. The debut song had managed to do what punk and rock 'n roll was all about - get them heard nationally and piss off everyone at the same time.

The Libertine's Up The Bracket not only re-introduced rock music from a different perspective, but proved to be a catalyst for the younger generations. Currently Bloc Party, Arctic Monkeys and The Kooks are helping proceed with what The Libertines had started - getting more and more teens to enjoy music, and the life that comes with it.

Los Campesinos Gig Review [written 2007]

If half term is about procrastination then Los Campesinos! are doing it best. Based at Cardiff University, the Welsh septet last night played the ULU as a part of a mammoth 22 date Winter Tour. Supported by electro-indie act Attack + Defend and Canadian dance-punks You Say Party! We Say Die! everyone was getting ready to time waste. Yet with band names containing Spanish, addition signs and exclamation marks, the night was gearing up to be a long lesson in music.

With an 800 standing capacity, the ULU could have been described as a punishment for rocking on your chair. Instead the dance floor stood-out like a hollow classroom, the bar an alcoholic canteen and the stage a moving blackboard. All left that was needed were the teachers. However with tickets costing £12.50, most were educating the high-art halls of the Electric Proms and we had to make do with the substitutes.

First act A + D came on whilst many students deliberately turned up late. They were greeted to the sound of chalk-against-board screeching from keyboards of lead brother Mark Thomas. What followed was, with each song, a concoction of noises that sounded like it had been produced in a lab only to have been welded in a tech room. Certainly idiosyncratic, for many it was just a painful wake up call for pop-punks You Say Party! We Say Die!

However even that wasn't needed. Powering into the song "The Gap" the band instantly gained an audience worthy of any General Studies lecture. The only difference was that people were enjoying this kind of music. Promoting new single "Like I Give A Care" (and a poor use of English) lead singer Becky Ninconovic strutted with a personality of a foxx. Bassist Stephen O'Shea along with his Johnny Borrell white jeans sprung across the classroom before hand-clapping the audience into submission from a wall of amps above.

Fast paced, fun, frantic, YSP! WSD! were everything A + D weren't. Their last practical of the night was a "show and tell" session with LC! who joined them on track "Falling Out" It was from this that brought out, finally, some strangled movement from the crowd. Though other pleasures were enjoyed that night, the satisfaction of a worthy supporting act only was heightened by the intimacy of the event.

It was clear that LC! were in danger of being over-shadowed. But with a unique blend of violins, keyboards, drums, guitars and glockenspiels they weren't going to go quietly. New single "The International Tweex Core Underground" came across as a tale of post graduate love told in the innocence of boy/girl vocals. With each track, the audience was becoming more manic and this wasn't just because it was nearing the end of the day. Crowd favorite "You! Me! Dancing!" sparked a frenzy whilst various handclap routines raised hands as if it were a Q&A session.

No doubt LC! proved by the end of the night they have a flawless formula for making good, catchy music (A + D take note). However being a substitute is only a part-time job, and certainly one you don't want to be living for ever.