Return to the 50th blog post... #PokemonGo


©Pokemon anime (1998-)

Note:

The original version of this article was written to celebrate the 50th blog post from www.themodernistson.com! Thank you for your support, my friends.


At the time of republishing this article, our team keeps getting closer to 200 blog posts. Hopefully, that goal is achieved by the end of the summer (2021). Fortunately, it's not just me (the owner) working here, now.


The concept of narrative intertextuality and cultural hegemony are quite similar, but significantly differ in terms of how they work.




Keeping that in mind, these components of the narrative-cultural world prove to be quite similar through the issue of connecting with others on a universal level.


For instance, with the creation of ancient Greek and Roman mythological stories during the archaic era- these works often shared themes, characters, and other literary aspects with other mythological narratives of the time.



©Nintendo


By today’s standards, think of how characters from many other fictional worlds within popular culture make an appearance in "The Lego Movie"(2014). Furthermore, the origin story of Persephone plays an important role throughout stories about Demeter and Hades.


With respect to cultural hegemony, people connect universally through shared interests within the realms of popular culture. Prior to finishing my English major at Memorial University I learned of cultural hegemony through the work of John Storey from the University of Sunderland in the United Kingdom.



©Pokemon anime (1998-)


However, during the time "Pokémon Go" was at its peak popularity “cultural hegemony” was a term I had never heard before. Hegemony plays a significant role in the concept of identity as Storey writes:


This produced a situation in which the interests of one powerful section of society are “universalized” as the interest of society as a whole. Our identities are made in culture, rather than something we inherit from our nature. In other words, the roots and routes of our identity are staged and performed in culture with culture. (Storey, Inventing Popular Culture)


Just like love for video games.


Storey’s take on popular culture applies to my experiences during the summer of 2016. But why specifically the year 2016?


This is because Pokémon Go created a section of society as a whole where gamers became adventurists, and those who were not original fans of the Pokémon franchise unexpectedly became a part of its world-wide fandom. I have been a fan of Pokémon for fifteen years, but I did not actually play Pokémon Go during its peak popularity- until 2021.


It has been strictly the main series video games for me. However, I couldn't ignore the Pokémon Go “craze” was quite fascinating.


Although that could easily change because during the COVID-19 pandemic I bought a Nintendo Switch, and one of the console’s games is Pokémon: Lets Go. When I originally wrote this article, I had not played "Let's Go". However, I own the "Pikachu" version for Nintendo Switch. It's a lot of fun.



©Pokemon anime (1998-)


In July of 2016 Niantic and the Pokémon Company launched a project known as Pokémon Go, which is an augmented reality game where players travel to real-world locations through their mobile device’s in-game map, with the ultimate goal of catching “wild Pokémon”.


Initially, I di