![]() They scoured the toy aisles of department stores and toy stores in search for watches, medals and other items from this new, suddenly all-encompassing franchise whose merchandise was as ephemeral and hard to track down as the in-game and in-animation yokai or 'ghosts' around which the franchise was based. Children, parents, grandparents all went in search of merchandise from a new 'media mix' franchise, Yo-kai Watch, that had suddenly taken the nation by storm. A frenzy overtook Japan in the opening months of 2014. This means thinking a 'logistics of consumption' that requires in part an examination of the circulation of objects as well as the function of the anime as an incitement and manual to play. Through a close analysis of the objects, games and animation of Yo-Kai Watch, the author suggests that the endgame of this media mix geared towards very young audiences is their total mobilization towards collection-based consumption. ![]() Taking seriously the incendiary remarks by one of Japan's media mix pioneers – Kadokawa Haruki – who claimed that his model for the media mix was taken from Hitler's 'total mobilization' of fashion, sound, and image for a nationalist endgame, this article considers the Yo-kai Watch media mix in light of the concept of total mobilization. This article examines the 2014 anime and media mix Yo-kai Watch as an example of the animation episode as something else: part of a call towards total mobilization. In multiple contexts, the place of such television shows has been framed as a '30-minute commercial' or 'program length commercial'. Animated television programs have been considered an integral element of the 'media mix' or transmedia in Japan.
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