Receiving an unexpected call from Nintendo of America's president prompts immediate action. You answer without hesitation.

This was the guidance given to designer Chris Maple by a colleague in 1998, alerting him to an imminent call. Maple, no stranger to urgent requests from corporate leaders, ran Media Design, a firm known for handling high-pressure, time-sensitive projects that other agencies couldn’t manage. While rarely credited publicly, Media Design earned a strong reputation in Seattle, working with clients like Boeing, the Seattle Mariners, and Holland America Line, among others.

Maple had years of experience when Minoru Arakawa, then-president of Nintendo of America, had his secretary contact him for a meeting at their Redmond office. Informed only that the project involved a new game, Maple accepted, unaware he was about to play a key role in shaping Pokémon, a global cultural juggernaut.

Bringing Pocket Monsters to the West

“I arrived and waited in their lobby for about thirty minutes, captivated by a stunning 21-inch crystal horse head,” Maple recalls of his visit to Nintendo’s Redmond headquarters. “You develop a knack for reading the room in corporate settings. As the creative presenting visuals or solutions, you sense the atmosphere. I was just staring at that crystal horse, immersed in Nintendo’s world.”

Maple was soon ushered into a meeting room where a small group awaited. “It felt like a tribunal was about to begin,” he says. But when Arakawa entered, Maple noted his commanding presence. “You could see why he was in charge.”

Here’s how Maple describes what followed:

“Arakawa introduced himself, explaining they were launching a game in the U.S. and Europe. Previous agencies had fallen short, exhausting the budget and timeline. He asked if I was comfortable with that. I said, ‘Sure, it’ll cost you.’

“Then, someone brought a cardboard box and spilled out toys, papers, and odd sketches onto the table. I looked at them, then at Arakawa, and asked, ‘What’s this?’ He replied, ‘It’s a Pocket Monster.’ I said, ‘What’s a Pocket Monster?’ He clarified, ‘It’s Pokémon. That’s what we’re calling it.’”

Maple was tasked with designing a new logo for Pokémon, then known in Japan as Pocket Monsters Red and Green. Nintendo planned to launch Red, Blue, and later a Yellow Pikachu Edition in the West, needing a logo to match the rebrand from “Pocket Monsters” to “Pokémon.” Struggling to find the right designer, they gave Maple one month and minimal guidance.

Infusing Energy into the Design

Typically, a logo project like this would span six months with extensive client feedback. Nintendo’s one-month deadline, tied to Pokémon Red and Blue’s E3 1998 reveal, was tight but not unusual for Maple. He began sketching logo variations by hand on a light table, experimenting with letter shapes. He created multiple options, setting aside favorites to present to Nintendo.

Original Pokémon Logo Sketches by Chris Maple

Maple had little to work with—no game copies, just toys, papers, and a tiny Pikachu figurine. Nintendo briefly explained the game, showed some monster illustrations, and shared an early Nintendo Power magazine draft discussing Pokémon. The logo needed to suit a pixelated GameBoy screen in both color and black-and-white.

Presenting his designs, Maple started with less favored options, receiving lukewarm responses. Then he unveiled his top choice. “The room went silent,” he recalls. “Then Don James, Nintendo’s executive VP of operations, said, ‘This is the one.’ He nodded, ‘Yep, that’s it.’ Arakawa agreed, and I was told to finalize it.”

Asked why this logo resonated, Maple cites its “energy” and connection to the game’s story. “I tried to capture the narrative behind it, the brand’s potential.”

The logo’s yellow-and-blue palette may have subconsciously reflected the Blue and Yellow game versions, though Maple says it simply felt right. “It’s hard to explain—it just worked.”

After approval, Maple stepped back as Nintendo handled marketing and release. Months later, at Toys R Us with his son, he saw the logo on a massive display. “It was surreal—arches, TVs, noise, and my logo everywhere.”

A Lasting Legacy

Maple’s work with Pokémon didn’t end there. Post-E3, Arakawa requested minor tweaks to the logo’s “P” and “E,” creating the version used today. Maple later contributed to projects like Major League Baseball Featuring Ken Griffey Jr., Mischief Makers, and the Nintendo 64’s Atomic Purple box design.

Maple played Pokémon briefly but was too busy to dive deep. His son collected the trading cards until they were banned at school. “My daughter would tell people, ‘My daddy made that logo,’ and moms in stores would jokingly blame me,” he laughs.

Nintendo eventually built an in-house design team, reducing Maple’s involvement. For years, he didn’t publicly discuss his Pokémon work, as was typical in his industry. Recently, encouraged by his son, he’s shared his story, adding the logo to his website with T-shirt mock-ups.

Chris Maple Modern Mock-up Logo Images

Would he change anything now? Maple might revert to the original 1998 logo. Looking ahead to Pokémon’s 30th anniversary in 2026, he hopes to be involved if the logo is updated. “Adding something like ‘30th’ requires care. The logo’s energy and foundation matter. I’d love to help Pokémon International get it right.”

Maple’s brief work on Pokémon—a single logo—lives on across the franchise, rivaling Pikachu as its most iconic symbol. Does he feel responsible for its success? “I feel good about doing it right for the kids and fans who embrace it,” he says. “Teaching kids in tough areas, they go wild when they learn I designed it. I draw the logo on whiteboards, and it’s a hit. Those moments are priceless.”