How Nintendo’s failed attempt to shut down artist turned him into the Banksy of Pokémon

In an unusual convergence of intellectual property law, art, and fandom, a pseudonymous artist nicknamed “Zalkian”, operating in the familiar anonymous tradition of Banksy – has found a novel way to push back against corporate control while deepening his connection with collectors and fans alike.

Known for his retro-themed, etching-based artwork that frequently explores themes of consumerism and nostalgia, the artist initially gained a cult following for his limited-run prints depicting iconic video game characters. His style blends the aesthetics of vintage gaming with a sharp critique of modern commercial culture, earning him a devoted base and a small corner of niche appreciation in the contemporary art scene.

In late 2024, the artist hosted a giveaway offering limited edition Pokémon prints to his fans, as Pokémon art had been requested by his niche collector base for a long time. In total, 20 pieces were given out, 10 prints of two distinct designs featuring Kyogre and Groudon.

Even though the giveaway was not publicly paraded across the media, it was enough to draw a response from Nintendo which issued a cease-and-desist order via email through one of their proxy legal associates, demanding the artist halted the distribution of Pokémon related art – or else.

Nevertheless, the complaint never actually escalated to anything more than an empty threat, since a case could not be formed due to a lack of legal grounds. Even though the artist did admittedly create art depicting Pokémon characters, a combination of variables made the case unviable for any kind of meaningful prosecution.

Still, Nintendo initiated legal action, claiming unauthorized use of its intellectual property. But rather than proceed to court, the case was legally dismissed early in the process, reportedly due to a combination of factors:

The key factors:

• No profit was made from the prints.

• Only a few dozen pieces had been created in total; far too few to argue market dilution, commercial impact or to claim any meaningful amount in damages.

• The value of the art, which now resells for five-figure sums in private markets, was attributed not solely to Pokémon imagery but -at least partly- to the reputation and collectability of the artist as well.

Interestingly, the dismissal has had the opposite effect Nintendo may have intended: the artist has turned the giveaway event into a series, with a new exclusive Pokémon print being gifted to fans in strictly limited editions of three. The prints themselves trade privately for tens of thousands of dollars on the secondary market; not because of commercial hype, but because of the unique story behind them. The clash itself has become part of their value; a reminder that context and intent matter, even in an IP landscape dominated by corporate enforcement.

As fan art continues to thrive in digital and physical forms, the case raises new questions: Where does homage end and infringement begin? And more importantly, how do we value art that isn’t made for profit, but for passion?.

Whether viewed as art, activism, or an elaborate social experiment, this project raises timely questions about the limits of intellectual property, the role of fandom in the creative process, and what happens when the boundaries between tribute and transgression begin to blur.