“Are You a Boy or Girl?” - · PDF file · 2012-05-02aimed at older...

SOCIAL AND GENDER CONSTRUCTION THROUGH POKEMON

“Are You a Boy or Girl?”

Social and Gender Construction Through Pokémon

Paul Gruber

Ohio Wesleyan University

SOCIAL AND GENDER CONSTRUCTION THROUGH POKEMON 1

Abstract

The Pokémon video games begin with an introduction to the fictional universe in which

the Pokémon and the people that train them reside. Immediately after, the player is given a

choice. “Are you a boy or a girl?” the narrator asks. The choice has no effect on the actual game

play, other than what your character looks like, but immediately the player, most likely a child

around the age of ten is engaging in gender construction through the game. Other aspects of

gender construction can also be observed in how the player interacts with the characters and

Pokémon on the screen, whether he/she is battling with them, trading them, training them,

healing them or decorating them to put them in shows. This paper examines the construction of

gender and social behavior that children may develop and emulate while engaging with Pokémon

across media platforms – Pokémon is not just a game, after all, but also a phenomenon.

Literature Review

Fifteen years after Satoshi Tajiri created the first Pokémon video game with Nintendo in

1996, the worldwide phenomena remains on its waning course out of the spotlight of grand

success since 2001 (Tobin, 2004). Without doubt, Pokémon as a concept has been highly

successful. Having started as a video game for the handheld Game Boy device, it grew into a

franchise, incorporating multitudes of media and consumer products, ranging from toys, to cards,

to television shows, to movies and, in Japan’s case, an amusement park. Mizuko Ito refers to

Pokémon as a “media mix integrating different media forms through licensed character content.”

Indeed Pokémon is one of the best examples of multiplatform media success. One can easily

deduce that the television shows and movies act as advertisements for the games, toys and cards.

Thus children were constantly bombarded by Pokémon related things in all parts of media, from


magazines (Nintendo Power), to books (The Official Pokémon Handbook), to music (2.B.A.

Master), and even plays (Pokémon Live!). Children growing up in the 1990s grew up in a

Pokémon world, whether they participated in it or not.

The main goal in Pokémon is to collect “pocket monsters” and use them and their special

abilities to battle other such creatures. It also involves trading, training, adventuring, and

collecting for the sake of collecting – the slogan after all is “Gotta catch ‘em all!” The Pokémon

video game is considered a role playing game (RPG), in which players control a character(s) they

can often name themselves, take part in strategic combat and typically contains large amounts of

dialogue (RPGs vary greatly depending on the game and its developer, so this description is

generalized). “Although it creates a complete fictional world in the manner of role-playing games

aimed at older players (such as the Legend of Zelda and Final Fantasy series), it effectively

leaves children to imagine much of that world themselves” (Buckingham and Sefton-Green,

2003). The realm of Pokémon also includes a trading card game in which the goal is to collect

cards of Pokémon and use them to battle others, similar to the video game. The television show

depicts a child Pokémon trainer and his friends adventuring and discovering Pokémon while

battling other trainers and fending off the evil crime group called Team Rocket.

This literature review examines works conducted by researchers using Pokémon as a

means of analyzing social behavior children may pick up from the games, television show or

card game.

If children were exposed to Pokémon related things on a consistent basis, it may have had

some effect on their perception of that fantasy world versus reality, particularly socially and with

regards to gender relations. Children who play Pokémon are far more involved in the game than

one would initially think. They collect the creatures (currently 649), raise them (through training


and leveling), trade them with others who own the game, and discuss with others about the game.

In fact, Pokémon grew into a social form of play than most other types of similar entertainment,

as with other video games, or other successful franchises like Teenage Mutant Ninja Turtles or

Transformers. The solitary child sitting in front of a television turned into one who was an

“activist” and highly social about his property (Ito, 2005). “It might more appropriately be

described, in anthropological terms, as a ‘cultural practice.’ Pokémon is something you do, not

just something you read or watch or ‘consume’” (Buckingham and Sefton-Green, 2003).

Children therefore learn how to construct themselves when faced with bartering situations,

nurturing “pets,” and developing strategy. Children may also learn how to construct themselves

socially, particularly from the television show, especially if Pokémon becomes such a large part

of their lives.

Because it is easily accessible, television is one of the most important potential

influencers of children’s construction of gender relations (Ogletree, et al., 2004). Interestingly,

the Pokémon cartoon series contains characters that are less traditional with regards to gender

than what appeared in the 1980s and early 1990s, for instance Teenage Mutant Ninja Turtles.

Ogletree, et al. conducted two studies to examine the perceptions of gender attributes in four of

the main characters in the cartoon.

One study examined the perception of the characters by college students and the other

with children. The participants were asked to rate the male hero Ash Ketchum, the female

heroine Misty, the male villain James, and the female villain Jesse on a numerical scale on

certain gender related attributes, including importance, aggressiveness, sexiness, frailness etc.

Table 1 includes the ratings on a 5 point scale of the characters’ attributes by college students.

Ogletree, et al. found that the participants rated James as the least masculine character based on


the ratings of his collective attributes – he was the most passive, weakest and least assertive.

Jesse, in contrast, was perceived as more aggressive, assertive and dominant than her male

counterpart. Ash was perceived as the most important. Misty, as the counterpart to Ash, was

perceived to display more feminine characteristics but was more confident than the hero

(Ogletree, et al., 2003).

Table 2 includes the ratings on a 7 point scale of the characters’ attributes by children.

Ash was primarily the favorite of the children, receiving higher ratings in the more masculine

attributes than the other three characters. “Children clearly preferred male trainers…If the male

trainers and male Pokémon are given more prominence, children may be learning that boys and

men are still more important than girls and women” (Ogletree, et al., 2003). Misty, although

staying close to Ash’s numbers, was rated to have more feminine features, but was more

aggressive than Ash. Jesse remained more aggressive and showing leadership than James. The

children and the college students perceived counter-traditional gender characteristics between

Jesse and James. Children may process these perceptions in a way that could impact their

perceptions of people with those characteristic in reality:

In the Pokémon series perhaps James became even more “bad” by being portrayed in a

feminine way. Similarly does Jesse’s counter-stereotypical portrayal in terms of

aggressiveness make her more of a villain? The Pokémon cartoon may inadvertently be

teaching children that nontraditional gender role behaviors are bad. (Ogletree, et al.,

2003)


Table 1. College student’s ratings of Pokemon cartoon characters.

Table 2. Children’s ratings of Pokemon cartoon characters.

If these children were so greatly influenced by and knowledgeable of Pokémon, it would

not be farfetched to hypothesize that some part of their construction of gender was influenced by

what they were playing, watching and doing (since kids do not play Pokémon, they do it).


Children may also develop their own gender identities using the world of Pokémon as a

foundation for their imagination. The nature of the world of Pokémon, the main characters of the

television show and the role of the Pokémon trainer (the player) contain aspects that are both

masculine and feminine:

The themes of the cartoon and the activities entailed in the game incorporate

stereotypically masculine and feminine values. Thus, the game is about collecting and

competing; but it is also about nurturing and cooperating…In this sense, they occupy

decidedly ‘adult’ – even ‘maternal’ – roles: they have autonomy and authority, as well as

a burden of responsibility for those who have less power than themselves” (Buckingham

and Sefton-Green 2003).

Rebekah Willet examined two stories written by children about Pokémon. The stories depicted

the use of Pokémon as a way of constructing masculine or feminine things. One story was

written by an eight-year-old girl named Sarah and the other by a nine-year-old boy named Mike.

Sarah wrote her story about herself as a Pokémon trainer capturing and battling with water-type

Pokémon and included aspects of friendship. Her choice of using water-type Pokémon relates her

to Misty, the female hero in the cartoon. Mike’s story seems more masculine. His story is

primarily focused on the Pokémon battle and more closely mirrors events from the video game.

Therefore, even when writing about Pokémon, children may be constructing gender perceptions

and identities based on the fictional world they consistently engage with across media platforms

(Willet, 2004).


Methodology

To further explore the concept of gender and social construction of children through

Pokémon, I conducted a media watch of images of the main characters from the video games and

anime television series. I observed aspects of clothing, posture and expression of the images to

examine the portrayed gender identity and the evolution of gender identities of these fictional

characters over time. Table 3 includes the qualitative observations made of the images of the

characters.

The first game, released in 1996 pictured a stocky male boy around the age of ten with a

backpack, baseball cap, a short sleeve jacket and jeans, an arrogant expression and clutching a

Pokéball in his fist. The first four games that were released by Nintendo – Red, Blue, Yellow and

Green (Japan only) versions – only had the option to play as a boy. Gold and Silver versions, the

next in the franchise also only allowed players to control a boy. However, a third game released

soon after called Crystal version allowed players to choose between a boy and girl as their

playable character. Then after, each of the games allowed the player to choose their sex. The

anime series, which debuted in 1998, employed male and female counterparts to the main heroes

and villains.

After examine the art produced by the game developers of the main characters, I

discovered that the male characters were depicted as less aggressive and arrogant than in earlier

games. The females however, seemed to remain pretty consistent aesthetically, wearing tight

fitting clothing and having happier expressions. The females’ postures also tended to be more

traditionally “girly.”


Pokémon Red, Green, Blue and Yellow

(1996)

Red (male)

Stocky build, rectangular shape, edgy.

Clenched Pokéball in fist, other hand in clenching backpack

strap.

Stern, aggressive look on his face, with an arrogant smirk.

Clothes are baggy, makes him appear large.

Name is game is “Red,” a masculine name.

Appears to be ready for a fight, observing his stance and posture,

as well as how he holds the Pokéball.

Pokémon Animated Series (1998-

present)

Ash (male)

Face is less masculine than the character he is based off of.

Eyes are larger.

A calm, approachable facial expression. Appears friendly and

young.

He appears unsure of what is going on.

Blue clothing – calmer than red clothing.

Misty (female)

Eyes are wide and lightly colored.

Skinny with hips. Exposed midriff and arms.

Clutching male character’s arm – a feminine action.

Shirt and shorts are small and tight.

Messy hair.

Pokémon Animated Series (1998-

present)

James (male)

Hair is purple-blue.

Holding a rose between two fingers, as per the feminine way to

hold a cigarette.

Left hand is curled behind and close to body while left shoulder is

raised – a seemingly feminine poster.

Head is tilted towards shoulder and back is turned.

Jesse (female)

Hair is dark red-purple and very long.

Right hand is on hip in aggressive stance.

Back is turned and is peering over right shoulder. Midriff and

upper legs are exposed – wearing short shirt and short skirt with

thigh high tights.

Pokémon Gold, Silver and Crystal

(1999)

Ethan (male)

Stocky build.

Stance is slightly aggressive – pointing to a goal.

Hair is messy sticking through hat.

Smiling arrogantly.

Wearing backpack.

Kris (female)

Short shorts that expose majority of leg. Shirt is unbuttoned,

revealing tight shirt underneath. Wearing purse.

Smiling happily.

In a more passive stance.


Pokémon Ruby, Sapphire and

Emerald (2002)

Brendon (male)

Aggressive, wide stance – looks ready for a fight.

Clothes are tight except for pants but only show lower arms.

Fists are clenched.

Wearing a backpack.

May (female)

Wide hips and small upper body. Tight clothing revealing long

legs and arms.

Stance is more passive than Ruby’s.

Palms are open and facing down.

Has a wide smile – less aggressive facial expression.

Wearing a purse on her hip

Pokémon Fire Red and Leaf

Green (2004)

Red 2.0 (male)

Aggressive facial expression, not smiling.

Clothes are a little baggy – wearing collared shirt and jeans.

Rectangular, edgy.

Tossing a Pokéball with left hand while right hand is in pocket –

seemingly arrogant.

Green (female)

A “cuter” posture – with hands behind back and head tilted

down.

Tight shirt and short skirt revealing arms and legs.

Long brown hair.

Smiling, less aggressive facial expression, almost blank.

Wearing a tote bag.

Pokémon Diamond, Pearl and

Platinum (2006)

Lucas (male)

Angry eyebrows, but smiling – an arrogant facial expression.

Wearing tight clothing – cold weather clothing: scarf and winter

jacket.

Wearing a beret instead of a baseball cap.

Left hand on hip and right hand holding Pokéball between thumb

and forefinger.

Wearing backpack.

Dawn (female)

Wide smile with eyebrows raised – a happy facial expression.

Wearing winter clothing but legs are exposed.

Hair is long and dark, covered by winter cap.

Wide hips and small upper body.

Feet are pointed inward – posture is more expressive than

Diamond’s.

Wearing purse.


Pokémon Heart Gold and Soul

Silver (2010)

Ethan 2.0 (male)

Body type is skinnier and taller than previous model.

Facial expression is calm and happy – smiling with wide eyes.

Wide stance, but arms colder to body – less aggressive stance.

Tight fitting clothing - capris instead of short.

Clenched left fist.

Wearing backpack.

Lyra (female)

Wide hips and small upper body – long legs and skinny arms.

Wearing a “girly” hat with a bow.

Wearing overalls with short very pants legs and high socks.

Facial expression is calm and happy – smiling with wide eyes.

Wearing a purse.

Pokemon Black and White

(2011)

Hilbert (male)

Long, shaggy hair.

Calm expression – slight smile.

Wearing somewhat baggy clothing.

Wearing baseball cap.

Wide stance, but not too aggressive – right hand is hold brim of

baseball cap.

Wearing backpack.

Hilda (female)

Happy expression – wide smile.

Very long hair pulled through back of baseball cap.

Tight fitting clothing – white shirt, vest and very short cutoff

shorts: exposes almost all of her legs and arms.

Wide stance with hands on hips – an aggressive stance, but

leaning backwards.

Wearing pink purse.

Table 3. Pokémon characters and observations. Qualitative data of the main character from the

Pokémon video games and the anime television series.

Conclusion

The Pokémon games include a variety of aspects that can be considered both masculine

and feminine. Interestingly, although boys primarily play video games, Pokémon is not

essentially a highly masculine game. In fact, many actions that are performed in the game, like

caring for Pokémon, healing them and raising them are maternal in nature, which is a

traditionally feminine trait. Most Pokémon themselves are sexually ambiguous, besides a select

few and have both male and female versions of each “species.” The player would most likely not

relate themselves to a Pokémon itself, but the person who is catching them and battling them –


the trainer. Pokémon trainers are depicted as highly stylized and cool. As a role playing game,

the player takes control of this trainer and plays as if it were him/her. Pokémon’s popularity lead

to it becoming a worldwide phenomenon. It quickly spread across media platforms and

marketplaces. On the playground, if a child did not know about Pokémon, they were far out of

the loop. Thus Pokémon was pervasive in the lives of many children, to a point where it may

have influenced their construction of social behavior and gender identity. The texts and research

above indicate that there are gender issues to be examined with Pokémon. A child growing up in

the 1990s continued to grow with Pokémon well into the early 2000s. Now as the first generation

of children exposed to Pokémon grow older, a new one is growing up with new Pokémon games,

merchandise and television shows, though not to the degree of exposure as the previous.

So what does Pokémon teach children about social behavior and gender identity? First

off, the style of play expected, and successfully generated, by the Pokémon games involves

being social, such as trading and battling each other (not just within the games but other actual

people who also own the game). This was originally done through a link cable: a person would

have to find someone close by who owned a Pokémon game and link devices with a one foot

cord. Such interaction was not typical of gaming at that time and to a large degree remains that

way. Thus the existence of aspects within the fictional world of the game spilled into reality.

Secondly, emulation and how the child sees himself/herself in relation to that fictional world can

create construction of gender identity that is portrayed in the game and the anime television

series. As with Willet’s examination of fan fiction by two children, the girl and the boy shape

their stories in ways that mimic traditional gender identities, because, in general they are what

are portrayed by Pokémon. Interestingly however, the evil characters partake in counter-


traditional gender identities and as Ogltree, et al. discuss, such portrayals can effect children in

how the perceive non-traditional gendered people in reality.

Much more research can be done to study the effects that Pokémon and similar popular

franchises have on the social and gender constructions of behavior. Some children have grown

up with Pokémon all their lives and it would be interesting to examine whether or not their

perceptions of gender match the portrayals on screen and by other fans of the franchise.

Works Cited

Buckingham, D. and Sefton-Green, J. (2003). Culture Gotta Catch 'em all: Structure, Agency and

Pedagogy in Children's Media. Media Culture Society. 25 (379).

Ito, M. (2005). Technologies of the Childhood Imagination: Yugioh, Media Mixes, and

Everyday Cultural. Structures of Participation in Digital Culture. Duke University Press.

Ogletree, S. M., Martinez, C. N., Turner, T. R. and Mason, B. (June 2004). Pokémon: Exploring

the Role of Gender. Sex Roles, 50 (11-12), 851-859.

Tobin, J. J., (2004). Pikachu’s Global Adventure: The Rise and Fall of Pokémon. United States:

Duke University Press.

Willet, R. (2004). The Multiple Identities of Pokémon Fans. In Tobin, J. J. (Eds.), Pikachu's

Global Adventure: The Rise and Fall of Pokémon. United States: Duke University Press.

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