Oh, I’m sure I would. From what I’ve heard, it’s a very different and quite interesting take on that universe. Unfortunately I just don’t have time for it right now! Maybe over summer, when I don’t have so much work to do… but thanks anyway!
Category: Not yet categorised
Tu madre: On Art
I was actually thinking about this recently, because I was trying to distinguish the terms “craft” and “art” from each other, on the basis that craft resulted in useful objects and art in an expression of an artist’s creativity. Then I remembered that one of the key words when talking about Ancient Greek theater and art was “mimesis”, so basically copying from life, which is not very creative at all; from there I thought of all the old and famous portraits you see in museums, which were essentially the photographs of their time; in other words, they weren’t meant to be creative, but realistic. And yet nobody would argue that they aren’t art! So I gave up trying to find an answer xD This article is an outstanding read, even for those not interested in Pokémon, and it clarified a lot of things for me. One question I still have is about commissioned art: if you have no intention to exalt anything in this scenario, and you were handed a fat wad of cash and asked to portray something specific to the point where your only contribution you is your technical skills, and you did it—how does it fit into Chris’ definition of art? Is it art because someone’s vision was still involved in the decision-making? Does it matter that it wasn’t the artist’s? If it doesn’t, would the commissioner also be considered an artist, having been responsible for the creation of content in the work?
Chris:
Hmm. Tricky.
Y’know, I don’t think the person hired to produce the work would be able to do it without injecting at least a little of his or her own self into it – because, no matter what, it’s going to be that person’s interpretation of what the commissioner asked for. No-one’s ever going to come up with a work of art that’s exactly what someone else had in mind.
I guess to an extent it depends upon the degree of direction involved in producing the work. If someone leaves a comment on your Deviant Art page requesting “a drawing of Arcanine” (for instance) then a) you’ve got a lot of room for interpretation and b) it’s likely that this person wants something in your style anyway. If, on the other hand, you have a more complex give-and-take sort of process, with the commissioner constantly reviewing the work in progress, directing the illustrator (“the background should be lighter, and I want there to be a tree over there, and have one paw lifted off the ground, like so,” and so on) then I think at some point you do have to start calling it a collaborative work.
On Art
This is a response to this blog entry by a correspondent of mine, Andrew, who reviews movies on YouTube. The question at hand: what is art? I won’t summarise the whole thing – you can read it for yourselves; it’s not long – but I do want to respond to his conclusion because I think that the question is inherently fascinating, and that the way you answer it probably says a lot about you as a person. And, naturally, I’ll talk about Pokémon for a little bit at the end, because I can turn absolutely anything into a conversation about Pokémon. Just watch me.
There are a lot of things in the world which we call ‘art’ – painting, sculpture, jewellery, architecture, landscaping, et cetera; Andrew mentioned martial arts, which shows just how broad a word it is in modern usage. The Latin word ars, which is where our word ‘art’ comes from, just means ‘skill’ (according to Lewis & Short’s lexicon, it can refer to “any physical or mental ability, so far as it is practically exhibited,” which gives you some idea of where the incredible range of meaning it has in English comes from). There are plenty of skills we wouldn’t think of as art, though: I possess a number of skills relating to the correct use of lab equipment, which I learned in the course of studying for my chemistry degree, but I don’t think anyone would say that this makes me an ‘artist.’ Many other skills would be considered art if honed to a more ‘refined’ state: the ability to speak English does not constitute art, but people might take your claims seriously if you can write a particularly captivating piece of English prose, or give an especially stirring speech. Andrew suggests that an artist is anyone with a new and revolutionary point to what they’re doing, anyone who feels that they can change the way their skill is viewed and practiced; moreover, he suggests that technical skill doesn’t actually make a person an artist unless they also possess this drive to contribute something.
It’s a perfectly reasonable way of looking at the issue, and I fundamentally disagree with it because that’s just how crazy the question is at its most basic level.
I think it’s generally assumed that art is about creativity. People might argue for hours about what is and isn’t art, and what characteristics make a good artist, and whether you can become an artist or have to be born one, and so on and so forth, but one thing that you can probably say without fear of contradiction is that art demands creativity, that artists are people who do things that are new, innovative and different, which is part of what Andrew is getting at in his article. I’m going to argue that while, yes, artists are often creative people, creativity and originality actually aren’t central or even necessary to art.
No, I will not write a sane article for once. That’s just not how I roll.
Like so much else I believe, this comes back – in part, anyway – to Latin and Greek. In the Western world we tend to think of ourselves as the inheritors of the Greeks and Romans, but in some ways our conception of ‘art’ is quite different to theirs, and the difference, I think, is summed up by the Latin word imitatio. Imitatio is, of course, where our word ‘imitation’ comes from, and it describes the literary practice of borrowing ideas, figures of speech, and expressions from earlier authors and improving on them. For instance, in the final book of the Aeneid (the great national epic of Rome), Virgil compares the Italian prince Turnus to a proud lion who commits to battle only after being wounded by a hunter’s spear, because that’s exactly the same simile Homer used to describe Achilles in the twentieth book of the Iliad. It’s not that he thinks he can get away with it because people won’t know the Iliad; he assumes that people will know the earlier poem and wants them to have Achilles and Hector in mind when they think of Turnus and Aeneas. He leaves out the last line, “whether he slay some man or himself be slain,” but anyone who gets the reference will be thinking it. He also adds a little detail – the hunters in Virgil’s simile are Carthaginians, which makes readers recall Aeneas’ disastrous romance with the Carthaginian queen, Dido, earlier in the poem. The basic idea is straight from Homer, but Virgil plays with it to reward readers who know the original and to show how clever he is. To jump to a totally different art form, no one really ‘does’ completely original scenes in Greek vase painting. They think about all the pots they’ve ever seen that depicted the same story, or a similar one, and generally show all the same characters in the same positions with the same iconography (how would people recognise the scene if you changed everything?) but they’ll change a little bit here and there, maybe add some neat new details, to play with the conventions and show off their technical skill. Scenes that are legitimately new are extremely rare. This is what classicists mean by ‘working in a tradition’ – everyone is consciously thinking about the other artists who have done the same thing in the past, and deliberately responding to those previous versions.
The practical upshot of all this is that Greek and Roman art does not place much emphasis on ‘originality.’ They don’t look for new ideas, because they believe that all the best ideas have been used already; instead they look for cleverer ways of using old ideas. This is not to say that they aren’t creative, it’s that doing something new isn’t the point. The point is to appreciate and respond to older art and demonstrate how well you understand it. Anyway, I didn’t bring this up just to bore you all to tears by talking about classics (that is merely an incidental bonus). I brought this up because I think it’s still relevant to the way people deal with art now. No-one creates art in a vacuum. All art is influenced by what we’ve seen in the past; it’s really not easy to find an example of art that isn’t either imitating or consciously refuting what exists already. If you’re painting, for instance, even your choice of a particular style is going to be influenced by the works you’ve seen in that style and, based on that, what you think its strengths are. You’re also going to be aware that there are things people paint, like faces, and landscapes, and still-lifes, and what-have-you, and even if you don’t pick one of those, you’ll probably paint something you can actually see, or something you can imagine as similar to what you can see. You’ve never seen a dragon, for instance, but you’ve probably seen things with scales, things with horns, things with leathery wings, and so on, and you know what all of those are supposed to look like. If – to jump, again, to a completely different art form – you’re writing a story, you probably aren’t going to say “I want to be original, so I won’t have a hero, or a villain, or a romance, or a mystery; those things have been done.” You might try to write a villain who’s different to every other villain before him, but as you do so, you’ll be aware of those other villains and challenging your readers to compare them with yours. This is not a bad thing; even originality is only original when viewed against its predecessors. No-one creates art without some kind of model. The trick is in how you choose and combine your models, and the technical skill involved in splicing together the existing ideas.
The point I am by degrees trying to construct here is that art is not actually about creation at all. Art is about perception. Art is the process by which we identify what makes something interesting, poignant or beautiful, and exalt it – and, naturally, that process involves the audience too, who will be participating in that art to a greater or lesser degree. When you decide to paint something no-one else has ever painted before, you are recognising it as a subject worthy of appreciation. When you decide to write a character with a personality no-one has ever written about before, you are recognising that as an aspect of humanity worthy of exploration. When you create one piece of art that, in some way, recalls another, you are identifying what makes that original piece worth noticing, playing with it, and showing your audience how it can be used. In some cases, the conclusions you draw will be totally bizarre and most right-minded people will have absolutely no idea what you’re on about, which I think is what happens a lot with ‘modern art,’ like Kazimir Malevitch’s Black Square. It’s… well, a black square. When Malevitch painted a black square, painters had for decades been breaking down paintings into more and more basic components, through pointillism and impressionism to cubism and the like; taken in that context, the black square is a response to all that earlier work, saying “okay guys, that’s it; we’re done.” No-one listened, of course. Another example of ‘modern art,’ one which Andrew brought up in his entry, is this unmade bed. Not a painting of an unmade bed, you understand, the actual unmade bed. The ‘art,’ obviously, is not in creating the unmade bed; any university student can do that. The ‘art’ is in the artist’s perception of what the bed can be taken to mean – an insight into the life of the person who slept in it – and her deliberate choice to share that perception with the world.
(Personally I still think it’s a bit weird, though.)
All of this, of course, is the ultimate vindication of fan art and fan fiction as art that participates in and celebrates existing art (I mean, when it gets right down to it, Virgil’s Aeneid is a Homer fanfic – possibly the greatest fanfic of all time), which if I’m not mistaken will be of great relevance to a lot of my regular readers. Pokémon fan art and fan fiction explain, emphasise, develop and share your own experience of the Pokémon universe. They show what you think is important, and why, and they respond to the world we’ve been given, and I think that in itself makes them inherently interesting (yes, even the really bad stuff, provided you can actually stomach it). The wonderful thing about all this is that we’re all fascinated and enthralled by different things. You might love a Pokémon that I can’t stand; maybe that’s because we’re focussing on different aspects of the design? Maybe something in its physical form or its abilities reminded you of some other creature, or person, or place, or time, and you’ve always connected the two in your mind. If you happen to have a talent for drawing or writing, you can bring out those aspects that are so important to your perception and share them with others – and that makes all Pokémon more awesome for everyone.
As for me? Well, this blog is all about my experience and my interpretation of Pokémon. My perception highlights ethics, philosophy, culture and history, and those are the things I think about constantly as I play the games or watch the show. I’m here to share that perception with you, as I do when I talk about mad things like what Pokémon gender really means, or whether the ethics of Pokémon training present a viable moral framework. Does that make me an artist? I guess if I accept my own arguments, it must do.
Discuss.
You’ve touched on the moralistic complaints about the Pokemon franchise before (your post on Torchic, Combusken and Blaziken). I’m on a similar ground to you, seeing teamwork etc being more of what Pokemon is about, but you can’t ignore the fact that violence and animal abuse seem to be essential in fostering that partnership between trainer and Pokemon, can you? Teamwork it may be, but the Pokemon take 100% of the physical side of things. Would you consider doing a post on this issue?
Hmm. Yes, yes I absolutely would. I’ll just let that percolate for a couple of weeks and see what I come up with…
Do you have an About Me or anything like that? I had no idea you were from NZ until I trawled through a few of your posts just now and I’ve been a fan of yours for a while and this Brand New Information that you are from the same country (which also ups the likelihood that you attend the same university?) as me has made me about three times as interested in you as I was before (and I was already pretty interested). I’d been planning on doing an Ask just to compliment your cleverness, but now…
Mmm, well. I have always been a little bit leery of splashing my personal details around the internet; I’m sure that will seem paranoid, but there it is. I imagine I’ve said enough about myself that anyone who was sufficiently interested could probably work out who I am, but I don’t imagine I’d be worth the effort to most people.
In any case, if you study classics or ancient history at the University of Auckland, you’ve probably met me.
You really should be getting paid for this, or be sent freebies by Nintendo, or something. I feel like I have a lot of the same thoughts about the Pokemon universe as you do, but there is no way I could ever get the garble in my head to resemble anything close to coherent in writing, at least not in the small space in time that you manage, and what I have to offer definitely wouldn’t be as entertaining or clever as what you produce. I am so glad you exist!
Heh. I wish! I’d be lying if I said I’d never entertained fantasies of being somehow recognised for all this nonsense I produce, but I suspect that most Pokémon fans don’t want what I’m selling (so to speak). I’m okay with writing for a niche audience, though. How did Seneca put it again…? Haec ego non multis, sed tibi; satis enim magnum alter alteri theatrum sumus – I do this not for the many, but for you; for we are a great enough theatre for each other.
The man’s prose is terrifying, but you can’t deny it’s eminently quotable.
Oh my God, your article on genders!!! Sorry, but this stuff makes me so excited. I really, really like the way you think about the Pokémon universe. Have your read the “Theory of Incense Breeding” from The Cave of Dragonflies? You’ll find it very interesting, certainly.
…huh. Y’know, I had never read that, but it’s almost exactly the same as the explanation I just came up with in response to a question in the comments to my entry on gender. Well, there you go; it *must* be a reasonable explanation!
(For the interest of other readers, here is a link to the Cave of Dragonflies discussion, the question I was asked, and the answer I gave)
Q: How do you reckon the whole “holding incense” works? Because it seems to be some sort of drug which caused pokemon to form new under-developed species which they previously could not (for example, breeding a sudowoodo in GSC or Emerald would not get you a Bonsly, as rock incense did not exsist).
A: That’s more or less the same explanation I came up with when I tried to puzzle it out, but the idea of deliberately giving a Pokémon drugs that stunt the growth of its offspring is so wildly out of step with the rest of the series that I have trouble accepting it. For an explanation that makes sense from an ecological perspective… it could be that those ‘baby’ forms represent a slower growth to maturity which is, in the long term, healthier for the Pokémon, but also requires greater parental investment in the offspring, and is therefore only suitable in times of conspicuous environmental benevolence. The incense stimulates the Pokémon’s body in the same way as those positive environmental conditions, prompting the release of hormones that cause offspring to develop more slowly.
Im curious to know how you think the creation of a new pokemon works? Or more importantly how you would go about it?
You mean, like, at Game Freak?
Um… good question.
They definitely seem to have a lot of stock ideas, like there’s always a comparatively useless Normal-type based on a small omnivorous mammal, and there’s always a comparatively useless (except Staraptor) Normal/Flying-type based on a generic bird, and there’s often a cute little Electric rodent thingy, and so on… and I guess for those it’s sort of a paint-by-numbers thing, which makes me suspect they have a target number of new Pokémon they want to release in a generation and don’t much care how they get there. Not that they don’t still have awesome ideas too, of course.
I think sometimes they just go to the zoo or whatever and chill until they see something awesome. Or read obscure zoology textbooks. Honestly that seems to me like as good a way as any. ‘Truth is stranger than fiction,’ so they say, and nowhere is that more the case than in animal biology. On that note, I find it bizarre that they have yet to concoct a platypus Pokémon (though I suppose one of the stranger things about the platypus is that it lays eggs, which is standard for Pokémon).
Other times they go delving into Japanese folklore, and in my opinion that’s where some of the most fascinating and quirky designs come from. Whereas designs based on bizarre real animals have the undeniable charm of being weirder than anything a human mind could invent, designs based on folklore have a certain timeless quality to them – myths and monsters persist for a reason; they resonate with certain aspects of our psychology, and when you have such powerful ideas available, why not work with them? It helps, naturally, that Japan has a long-standing cultural fascination with describing and categorising the otherworldly (which, of course, was one of the major influences on Pokémon from the start).
See, I actually don’t have huge problems with the way Game Freak go about creating new Pokémon. I think in many ways they’ve got it absolutely right. I just wouldn’t do as much of it. I have something of a ‘less is more’ approach to the whole thing. Given the choice, I would rather do more work with an existing Pokémon and use it to tell more stories than create an all-new one that serves essentially the same purpose. I also think that a lot of Pokémon would benefit greatly from the added attention. There are a great many fifth-generation Pokémon that, in my opinion, came so close to getting the whole thing fantastically right – Darmanitan, Braviary, Cryogonal, Heatmor – and it really does pain me that the designers wasted their time on blatant filler like Watchog, Basculin, Unfezant and Emolga when they could have spent it really thinking about some of those others. I think we have enough Pokémon now that we don’t actually need another 100+ in every generation – I would totally be happy with 30 or 40 if they were all as well-done as, say, Chandelure.
As you might have gathered from that last paragraph, my entries from last year have rather a lot on my thoughts about this if you want more; I hope I’ve managed to explain the main salient points, though.
Pokémon and Gender
So, I’ve been wanting to write this entry for a while, but haven’t because I can’t make it fit into any of the series I want to do. In that sense, it’s actually something of a cool opportunity that I’m not committing to writing anything in particular at the moment, because I can just do whatever. I will warn you, though, that this will be one of my most trippy and speculative entries yet. Brace yourselves.
The premise of what I’m going to be talking about today is a choice of vocabulary that just about every person on the planet has probably taken for granted, but which has always stuck in my craw (because, as we know, I’m obsessed with languages): “gender.” The word “gender,” unbeknownst to many, doesn’t actually refer to the biological distinction between male and female. Male and female are sexes, not genders. Masculine and feminine are genders. Traditionally the word has referred to the concept of grammatical gender, an idea present in every major European language except English, whereby all nouns are considered masculine, feminine, or (in e.g. Latin, Greek, and German) neuter, and adjectives must change their forms to suit the gender of the nouns they describe (for instance, in Latin, ‘tall’ is altus if you’re talking about a mountain, but alta if you’re talking about a tree). There is no real rule to these, and they’re not always consistent across languages either (the Latin word for tree, arbor, is feminine; the ancient Greek word, δένδρον, is neuter, and the French word, arbre, is masculine, even though it’s clearly derived from the Latin word). In short, something that has ‘gender’ is associated with maleness or femaleness (or absence thereof) in some vague and unspecified way. In modern usage, this meaning has expanded to include descriptions of a person’s general psychological disposition, certain traits being regarded as ‘masculine’ – typical of a man, but not exclusive or necessary to men – others as ‘feminine’ – typical of a woman, but not exclusive or necessary to women. We’ve all met masculine women and feminine men; I’ve been called ‘feminine’ once or twice (by my best friend, no less). Things get much worse when we throw sexuality into the mix, because that’s even more complicated and doesn’t necessarily line up with sex or gender, but honestly I don’t want to go anywhere near that particular can of worms. Anyway, here’s the thing…
Pokémon don’t have sexes. They have genders.
I’m aware, of course, that this is probably a mistranslation caused by squeamishness about exposing ten-year-olds to the inherent horror and immorality of the word ‘sex’ (never mind that you’re selling them a game in which Pokémon engage in ‘breeding’). I think we can all agree, though, that just letting it go would be far less entertaining than grabbing it with both hands and following it to its most insane possible conclusion.
The Pokémon franchise in general has always been extremely closed-mouthed about how Pokémon reproduce. None of the characters seem to have any idea how the process works. A number of NPCs pointedly insist that it hasn’t been proven that Pokémon lay eggs, because in thousands of years of recorded history no-one has ever actually seen it happen. Until the events of Gold and Silver, likewise, it hasn’t been conclusively proven that Pokémon hatch from eggs either; that’s why Professor Elm is so excited when your Togepi egg hatches. A Pokémon egg is an incredibly rare curiosity, the preserve of obsessive collectors like Mr. Pokémon. The kind men and women of the various day-care centres, likewise, are utterly mystified whenever eggs show up in their backyards, no matter how many times it happens. There is also a whole string of little discrepancies in the system as it’s given to us. There are a few single-gendered species, which creates obvious problems – female-only Pokémon, like Kangaskhan and Lilligant, would need to breed with males of other species in the same egg group to maintain a population (because, of course, inter-species breeding is not especially problematic for Pokémon), while male-only Pokémon can’t even do that, since all baby Pokémon are of the same species as their mothers; players can only get babies of those species with the help of the ‘breeder’s wildcard,’ Ditto. According to everything we have been told, Sawk, Throh, the Hitmon triplets, Braviary and possibly Tauros cannot reproduce in the wild. The same goes for ‘genderless’ Pokémon, like Electrode and Starmie. Now, I realise biology has never exactly been Pokémon’s strong point, but it doesn’t take a genius to work out that a species which is completely incapable of reproducing cannot exist. It doesn’t seem to make a whole lot of sense for Chansey, Petilil, Mandibuzz, Kangaskhan and Jynx to be totally reliant on hybridisation to continue their species either. There’s a little question mark over Ditto as well – Ditto can Transform into an exact duplicate of a Pokémon standing in front of it… so, by all common sense, a Ditto presented with a biologically male Pokémon should Transform into a biologically male Pokémon. Ditto might be able to alter its form to a small extent, but the games don’t really provide any evidence for that, and the anime implies that it can only make superficial changes, so I doubt it could reconfigure an entire organ system without help. In short, whatever goes on in day-care centres, it’s not straightforward sexual reproduction on the model of real-world animals.
Here’s my weird-ass take on it all, then…
Pokémon, I will repeat, don’t have sexes. They have genders. That is, they don’t actually have differentiated reproductive systems; they are all, in essence, single-sex species. They do have an unusually large degree of variance in the levels of different hormones they produce, which leads to significant variation in their psychological traits, and in many species (most notably Nidoran) this is linked to some physical aspects, creating the appearance of sexual dimorphism, though in the vast majority of cases the differences are actually superficial. Reproduction takes place via a ‘mind-meld’-like process (I sort of imagine them pressing their foreheads together, murmuring to each other, and glowing softly); genetic information is exchanged, but selectively – the vast majority of a baby Pokémon’s genes come from its mother. Most of the exchange actually involves psychological traits. As a result, a baby Pokémon will be quite close to being, physically, a clone of its mother (which is why inter-species breeding always results in a Pokémon of the mother’s species – the father contributes only a few genes, selected out of those that are compatible with the mother’s species) but will have closer to an even mixture of psychological traits from both parents. The father (as, of course, we know) is additionally capable of passing on a number of conscious mental traits and learned abilities, which become ingrained in the child’s instincts. For most Pokémon species, mental health requires a mixture of masculine and feminine traits, so instinct dictates that two masculine Pokémon will not mate willingly, and nor will two feminine Pokémon. The entire process is far more low-key than what real animals have to go through, and consequently much more difficult to observe, which is why the whole subject is surrounded by such abject confusion.
So, how does this help to resolve the problems with how Pokémon breeding appears to work in the games?
The thing about the all-masculine species, like Hitmonchan and Braviary, is that – being universally and excessively ‘masculine’ – they are extremely pugnacious and aggressive (this, again, is something we already know – just look at the all-masculine species). As a result, practically everything they do is constantly simmering with potential to break into outright violence. What passes for ‘courtship’ among these species is no exception, and is simply so confrontational that human observers have never actually made the leap to identifying it as courtship (if you’re familiar with Homestuck, the concept of a ‘caliginous romance’ is a decent analogy, though it’s far more developed and laden with cultural baggage) and, as I suggested, the actual reproductive act itself is surprisingly easy to miss. The kind of aggression and conflict necessary for a pair of Pokémon from an all-masculine species to develop an intimate relationship simply isn’t allowed to happen in the context of a day-care centre, where the staff normally discourage fighting. Thus, Pokémon from all-masculine species can and do reproduce in the wild, but never get the chance in a day-care. Pokémon from all-feminine species have a similar, but opposite set of issues. They are universally and excessively ‘feminine,’ and therefore extremely passive, gentle, and cautious in their relationships with each other. Courtship is an extremely slow, drawn-out process that can last for months or years; in captivity, there normally just isn’t time to observe it happening, and even in the wild it’s so long-term that human scientists haven’t actually been able to recognise it yet. Many Pokémon from all-feminine species will take masculine partners from other species in order to create social diversity, and this generally happens much more quickly.
‘Genderless’ Pokémon are another kettle of fish entirely. I want to suggest that they don’t necessarily all work in the same way; rather, they’re a ‘miscellaneous’ group. Many of them aren’t actually ‘genderless’ but actually have three, four, five or even more genders, none of which match up exactly with ‘masculine’ or ‘feminine’ – as a result, humans are totally unable to understand the rules that govern their reproductive compatibility. Some of them reproduce in groups of three or more, making it impossible for a day-care centre, which takes two Pokémon at most, to observe their reproduction. A few reproduce by fission, splitting into two or more children only at the moment of death. In short, their reproductive practices are just so weird that human observers don’t have a hope in hell of understanding what’s going on. This, of course, brings me to the most important Pokémon of the lot: Ditto. Ditto, in the games, does not reproduce; it only helps other Pokémon to do so, presumably using its ability to Transform into any other species. Although Ditto forms a perfect physical copy of its partner, psychologically it doesn’t change at all when it Transforms; since Ditto is neither masculine nor feminine, it adopts a totally different role and all the usual rules of courtship go out the window when it gets involved, which is why universally masculine Pokémon can reproduce in captivity with a Ditto. Ditto is likewise capable of overriding whatever whacked-out reproductive norms are in play for ‘genderless’ Pokémon, even producing eggs of Pokémon species that don’t naturally lay eggs at all. It contributes very little to the child, physically or psychologically, but does provide a way to scramble the genes provided by the other parent and throw up new combinations of dormant traits. So, then… question: why, in evolutionary terms, does it make sense for a species to focus its energy on helping other species to propagate themselves? Answer: the relationship is symbiotic. Ditto actually feeds on the leftover energy of cell division to revitalise its own cells. It gets… a bit metaphysical, but the practical result is that, as long as a Ditto continues to help other Pokémon reproduce, it will never die. Absorbing a huge excess of cellular energy allows Ditto to split and form two new Ditto; this doesn’t happen often, but accounts for the Ditto that are inevitably killed by other Pokémon or die in accidents.
As for where the Ditto came from in the first place, I’m inclined to accept the fan theory that they’re closely related to Mew – the only other Pokémon with the ability to Transform, courtesy of her genetic library, who also happens to be bright pink – mostly because it fits well with my ideas about Mew, which suggest that her whole purpose in the world is to absorb DNA from other Pokémon and store it. Ditto have lost the ability to store borrowed DNA on a long-term basis, and as a result their physical form has degenerated, but they retain the ability to absorb DNA and rapidly assimilate it into their own systems. That, naturally, brings me to the last category of Pokémon I need to talk about: legendary Pokémon, who (with the notable exception of Manaphy) cannot breed at all, Ditto or no Ditto. Most of them are also genderless. Many legendary Pokémon are heavily implied to be unique (and presumably immortal) anyway, which means I don’t have to worry about them, but a few seem to exist as entire species; most significantly, a baby Lugia appears in a few episodes of the anime. They’re sufficiently different from other Pokémon that they can’t breed normally with anything else, and their lifespans are so long that humans just can’t observe them properly. Mating season might come around once every three or four centuries and last for a month or two; even then, eggs might take years to hatch. In short, some legendary Pokémon do breed, but for all intents and purposes it’s not something humans can take advantage of.
I think that’s enough from me for now – it’s not every day I try to totally redefine the way we look at a major aspect of the Pokémon games. As always, I’d love to hear your thoughts on my latest weird-ass theory; if you point out something that doesn’t make sense, I might be able to improve on it. Anyway, that’s all from me – thanks for reading, and have a fun day!
Apparently, the Trapinch evolutionary line is based off of antlions, a type of insect which gained popularity through the sink hole traps of the larva. Here’s what bugged me, they were classified as Dragons (excluding Trapinch, of course) instead as part Bug. What do you think was the reason for this?
I think they probably started with the idea of a desert dragon, implying a Dragon/Ground type, and only later tried to come up with an unassuming ‘baby’ form for it. When they did, they eventually settled on Trapinch and then worked the dragonfly aesthetic into the mature designs to build on it.
Also, do notice that they’re in the Bug breeding group, but not the Dragon breeding group. Although they have many of the traits of Dragon Pokémon and few of the traits of Bug Pokémon, they can breed with most Bug-types, and are presumably more closely related to them than they are to other Dragon-types.
