Originating in 1996, Pokémon has become the second most successful game-based franchise in the world and arguably one of the best-known examples of transmedia storytelling in youth media today. Based around creator Satoshi Tajiri’s love of insect collecting, Pokémon imagines a world where wild creatures exist to be collected, trained and battle with one another. Such an ideology, simultaneously embracing both the conservation and consumption of nature, is emblematic of the larger challenges Japan has had to negotiate as a nation trying to balance economic development and environmental protection. In this way, this article argues that, when subjected to textual analysis, the Pokémon franchise can function as vernacular theory, interrogating the relationship between environmentalism, materialism and sustainable development, a series of popular youth media texts engaging with issues and subjects that are usually reserved for academia.

Swinburne Research Bank http://researchbank.swinburne.edu.au Bainbridge, J. (2007). 'This is the Authority: this planet is under our protection': an exegesis of superheroes' interrogations of law Originally published in Law, Culture and the Humanities, 3(3); 455-476

The Pokémon franchise is over seventeen years old, a networked assemblage of heterogeneous elements (manga, gaming, toys, anime) that is also constitutive of new knowledges around both consumerism and commodification. This paper explores how all of the elements of this franchise, from the brand, to the various media platforms, to the Pokémon trainers, to the pocket monsters themselves (the non-human objects) as well as the designers and the consumers (the humans) function as objects in the construction of a social network. In so doing it seeks to understand not only how the franchise functions but also how the objects in this franchise (particularly the nonhuman Pokémon creatures and trainers) work in tandem to connect audiences to very specifically Japanese ideas of the "national imagination" (folklore, spiritualism, the supernatural) and environmental concerns (biodiversity, the struggle between conservation and containment) through the larger consumerist framework of acquisition and play structured as cultural practice. In this way, it is argued, that the Pokémon object network functions as a gateway into Japanese culture more broadly and a channel through which Japanese culture is itself mainstreamed internationally.

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People know me. VC:Well, I'm very happy for you. RB:I'm very important. I have many leather-bound books and my apartment smells of rich mahogany.