Jessie! James! And Phallic Cat are the names!

Dogasu's Backpack | Pokemon Bashing | Phallic Imagery, Nipples, & Molesting Little Girls

This article, which can be read on a Japanese blog here, popped up when I was looking for a link to Jon Kelly's official website. The article is...well...I think it's best summed up by a screencap of a YouTube video from The Colbert Report:

The amount of ludicrousness in this article is astounding. Usually, I would put my little snide remarks in with the text, but this time I think the article is crazy enough that it doesn't need them.

POKEMON

~ introductory statement ~

This is not an attack upon an “innocent animation.” These are observations, and associated thoughts, of a crafty cartoon series which is targeted at a young, impressionable child audience. It has not taken any unusual, extreme efforts to locate “suspect” images and themes presented here, only suspicion enough to take the time to observe the show. Television does promote a mental state of hypnotic induction, so efforts were made to watch the tube without “zoning out” in the light pulses.

My curiosity was first aroused by mind control issues suggested by the Pokemon induced epileptic seizures in hundreds of Japanese children. I understand that that particular episode was subsequently edited for American release.

I acted upon my curiosity when it was transformed into suspicion by a posting from [EWAR], the Electronic Warfare newsletter.

While Observing my first Pokemon episode, the first thing out of the ordinary which stood out, catching my attention, was a briefly viewed little girl in the introduction, a child which seemed embarrassed, holding down a suggestively short skirt with both her hands. After discovering what I did, I continued observing episodes to see if there were any more instances of sexual suggestion, and indeed there were.

A couple of AOLers recently emailed me after “interp-reading” this page out of context, and I now know that the original Japanese lyrics to the Pokemon theme song include the following verse:

To catch all the Pocket Monsters, I'll go through trees, the water, the fire, and even under the dresses of girls!

I have yet to hear from any children who feel there is anything wrong with sexual expressions. It is, after all, a part of Japanese culture, I am repeatedly told. And, after all, government controlled public schools now introduce sexuality to elementary students, and in some cases, kids are given condoms. It is my belief that sexualizing children is a very, very bad cultural and social indicator, a step closer to collapsing what was once a Great Nation, a godly people.

Perhaps Pokemon is only a small drop in a sea of secular humanism, but by the same logic, it takes less than a teaspoon of water to drown a human.

A Mind Absorbs Everything it is exposed to.

Most all which we perceive is lost to surface consciousness, incorporated, instead, into the Greater Subconscious Mind, Unfiltered. Brick by brick, mental hallways and alcoves are built through childhood's daily mazes, with stones of thoughts and notions, mortared unquestioned to the conscious mind. The images and ideas projected at children build the foundation of who they are to become. That is how a young mind is molded. Television is a wicked, proven controller, an unhealthy nanny, sitter, or hypnotist. Its victimized puppet puppies and children will, in blind anger or ignorance, try to defend what they cannot; this is true of brainwashing victims, in general.

A Mind Absorbs Everything Exposed.

The Pokemon episodes aired after the posting of this expose are using a new introductory animation. Shows now begin with newer material, some taken from upcoming season episodes, but this only becomes significant once you understand what was used in all earlier Pokemon animations, now in Heavy syndication. This presentation is based upon the earlier, original animations. Newer episodes seem to incorporate new artists, and since Pokemon has become such an enormous CAsh cow, one could imagine that. This may, in fact, be the case, but I do not know, or care. I have not had time to investigate newer episodes, and my thoughts regarding Pokemon have already been established by the show's foundation.

I Do Not intend to imply that this expose is responsible for the alteration of Pokemon's opening.

What could be sinister about a cute animation which once sent hundreds of Japanese children into seizures with flashing lights, strobing from a character's eyes? It has been suggested that Pokemon may be a part of the quiet new frontier of electronic influence, the science of adjusting, or re-tuning, consciousness using light pulses and / or specific sound frequency oscillations. If this is, in fact, a hidden truth of Pokemon, it only worsens the impact of the dirty little secret which rests within plain sight, a secret which anyone with a VCR can confirm.

There is a pedophiliac undercurrent within the animated Pokemon series, and it all begins in each episode with a sneaky little Pikachu.

Where To Look & Still Frame With Your VCR

Within the middle of every episode's startup introduction, there is a sequence of character presentations which are not episode clippings. This particular sequence of the introduction begins with the main character, Ash Catchem, joined a second later by his companions Misty and Brock. Next comes the image of the antagonistic team Rocket (Jessie & James), displaced immediately by their 3 Pokemons, centered upon the cat “Meowth.” Then comes the image of Ash Catchem's arch-rival, Gary, followed by receding views of 3 different Pokemon in succession as the camera seems to pull backwards very rapidly. Next, you see Ash standing in a road, bouncing a Pokeball in his hand, while in the background, Pikachu is running towards the camera very fast.

Ash quickly fades back and out of view.

He is replaced by a young girl standing, feet spread, wearing leg warmers, an extremely short green skirt, an orange blouse, and a really huge red bow at her collar. (This girl has no role in the show. Suddenly, Pikachu comes charging forward, running between her legs with its tail held high. Pikachu's tail lifts the little girl's skirt and displays her uncovered vaginal cleft for 3 brief frames. The remaining frames of the little girl show her looking downward, with her knees suddenly brought together and both hands holding down her skirt, all this while Pikachu completes a center screen leap into a light. This pubic “peek-atyou” portion is immediately followed by a brief scene showing the 4 main authority figures, standing together, giving a single, synchronized nod to the viewer, as if they are condoning what the subconscious just saw. The sequence is completed with a huge dragon, a great cone of fire erupting from his mouth. The introduction then proceeds into more clippings from various episodes.

The original, Japanese, theme song lyrics include the following verse: To catch all the Pocket Monsters, I'll go through trees, the water, the fire, and even under the dresses of girls! Once you clearly glimpse the intentional illustration of the little girl's vagina, Pikachu suddenly makes much more sense when you listen to the way the name sounds, which is "Peek-atyou." Although this only works in the English translation from the original Japanese, would it not be logical to assume that even an “Americanized” translation would carry traces and hints of original intents? Pikachu...Peek-atyou... say it Out Loud several times until you hear the secret.

To view this on your own, at home, tape the first few minutes of the show and view the described section with your VCR's frame-by-frame advance, if it has that feature. If it does not, I suggest you record the introductory segment in SP (Slow Play) mode to maximize both image quality and frame count. You will then have to catch one of the frames by using the “pause” button and a sense of timing.

My thanks to Jon Kelly for the video capture and still images (above).

Jon has also provided interesting details in another fascinating angle of the recognized Science and career field of subconscious speech reversals. Such reversals often indicate motivations, thoughts, & intentions which underlie conscious speech. Speech reversals are clearly evident in the sounds and squeals babies make (an amazing phenomenon which anyone can verify with a tape recorder and/or their computer.) This new field of understanding clearly illustrates a (predictable) lack of scientific comprehension of the true nature of human consciousness and cognizance.

The Mind Is Always Listening.

The following excerpt is from a Jon Kelly message. (colorized for emphasis):

“Your findings collaborate my earlier discoveries of reversed expressions in the Pokemon television show that allude to sex, violence and dysfunction.

These include:
GET A GUN, MAKE A BOMB,
*MOLEST ME (a quote by Misty, & her reversed message,) SUCK A PENIS, WE SCREW YOU.”

As I understand it, all the previously mentioned reversals were taken from a single episodeJon also has samples taken from the theme music which opens the show.

"We're a make believe family," was one example.

To hear these (and other) MP3 samples, or the RealPlayer presentation, visit www.retropics.com."

“Pocket Monsters” began as a video game or trading card game, (I am not exactly sure of the sequence of events) and when it expanded into an animated series, the name was shortened to “Pokemon.” Knowing this, set aside the Pokemon connection for a moment, and consider the impression made by someone saying that they have a monster in their pocket. There is culturally inherent sexual innuendo involved in the idea of having, or showing, a 'pocket monster.' It seems the sort of ploy depravity would use trying to seduce a child. One could try to argue that there is no connection, but the very fact that there is connection enough to argue about should be connection enough to concern any parent or guardian of a young, impressionable mind.

It is a curious thing that, within the world of Pokemon, one is either battling to become a "master" or aspiring to be a "breeder." To be a breeder is the noblest goal, according to the show.

Gotta catch'em all!

In Japan, Japanese animation is primarily adult oriented. It often contains violence, eroticism, and sexuality. Even so, why have such things being woven into what is unquestionably a children's animated series? Although I cannot provide an answer to this, I can provide more suggestion and evidence of it.

The mons veneris, Latin for “hill of Venus” (Roman Goddess of love) is the pad of fatty tissue that covers the pubic bone below the abdomen but above the labia. The mons is sexually sensitive in some women and protects the pubic bone from the impact of sexual intercourse. Knowing this, consider what is implied to “pokie mons.” Though “Pokemon” is less the 's,' I would argue that the monster is still there, subtly woven sexual innuendo within the show's infrastructure. Is this just another coincidental connection children will probably miss consciously, or another intended furrow in seed-rows of the subconscious?? The mind subconscious doesn't miss a beat, but consciousness grabs maybe 1 beat out of 15 on a good day, where beats are bits of information.

[Got-ta catch'em, gotta catch'em all! Gotta catch'em all, Pokemon!]

These are a few words from Poke'mon's theme song, and as often as they are repeated, one is apt to remember or react to them. Gotta “catch'em.” Gotta “catchem.” Catchem seems the verb, the action; or, perhaps, an Order To Act.

Gotta catch'em all! Gotta catch'em all!

You hear this over and over and over, in the opening, in the closing, in the ads... Once in awhile, “Catchem” gets stuck behind “Ash,” becoming a name with a “contextual bias;” it seems slightly out of place. “C”Ash Catchem. cash catchem.

“The Kangaskhan Kid”

One of the more disturbing episodes in the Pokemon series is called “The Kangaskhan Kid.” The story is set in a Pokemon reserve, and it involves a young, boomerang wielding wild boy, Tomo, who has been adopted by a herd of Kangaskhan. As the show progresses, a man and his wife are introduced; the man, called “papa,” is short, and wears a mustache which gives him an Adolphish look.

This couple explains that they have come searching for their son, Tommy. In a flashback sequence, we watch papa suspended a very young boy outside of his moving helicopter, to give the child a better view. We then watch papa drop Tommy, to his wife's dismay. Papa later blames her for not holding the child herself.

After some pleading, the main characters volunteer to help the couple search for Tommy, and in the next scene, the protagonists struggle and complain as they carry the couple upon a pole suspended platform. Mama said, “I apologize for this. Papa doesn't get outdoors much, and he's not in the best of shape.” Never does she offer to walk and lighten their load. Papa then pipes in with “I admit it!" Tomo, or Tommy, soon finds the group as they try to help a young, injured Kangaskhan. Mistaking their intentions as being hurtful, Tomo throws his boomerang and strikes Ash in the head, only to be screamed at and berated by Misty for doing so.

Mama begins trying to get Tomo to remember them, but without success. Papa suddenly bashes the boy on his head with a club, knocking him unconscious. Soon after Tomo regains consciousness, Mama again prompts him to remember them. Papa then begins undressing as he prompts the boy saying, “Tommy, remember Papa?” Misty quickly strikes Papa on the head with a club and drags his body away, stating "One memory at a time!"

As the episode progresses, confrontations with the evil Team Rocket occur as the result of their latest plan to thieve and create mayhem using a huge metal replica (armed) of a Kangaskhan. Papa eventually saves the day by crashing his helicopter into the monster, then Tommy remembers them as he views the wreckage, believing they are dead. His parents were not killed, however, and Tommy then faces a dilemma of not wanting to leave his Kangaskhan family. The show ends with the entire family, dressed in animal skins like Tomo's, tucked within the pouch of a very large Kangaskhan.

I have read nationally syndicated articles praising Pokemon as being a wholesome, nonviolent, value filled animation, but I can only imagine that such opinions came from the Pokeproduction propaganda press release package.

Pokemons do not battle with the level of violence which the human characters exhibit, specifically the two lead, redheaded females, Misty & Jessie. While you would expect the antagonist (Jessie) to be hot-tempered, she is only occasionally violent. Misty's temper, however, explodes regularly. Sometimes her head enlarges to 5 times its normal size as she SCREAMS with an enormous mouth of fanged teeth. More often, Misty's temper results in physical violence when someone aggravates her, creating a huge, raised knot on the head or face of her victim, usually her friends, Ash Catchem or Brock.

(Brock's character just left the show, and someone new has joined the little team.)

Consider the message that is being transferred by scenes of lashing out in anger, the message of a female striking a male friend, especially since the relationships and violence are closer to realism than any of the super-hero battling or ray gun blasting type cartoons. There is certainly realistic personality development and interaction between the protagonists. Apologies are never offered, but the huge knots Misty inflicts on her friends do disappear quickly. Perhaps exposing that there is underlying sexuality and occasional, unjustifiable violence will encourage more adults to watch this show.

UPDATE:
“Sparks Fly for Magnemite”

Here is an edited-for-size movie capture of the scene described below (Watch for a quick glimpse of something I haven't mentioned.) A symbolism festival was on display in a relative still frame 4 second sequence in the episode “Sparks Fly for Magnemite.” An electronic orchestra begins. The background is matted with small hearts and large, pastel spheres or bubbles. The scene features Meowth, dressed oddly in a female nurse's uniform, wearing a hat with a large, red cross on it. At the top of the screen, on either side, is a naked cherub, each sporting a long, slender erection, and each sounding a trumpet towards Meowth's head. It could be argued that the cherubs aren't classically indecent, but that they only have their farthest leg thrust forward at a... strange angle.

Whether or not the inference was intentional or not is irrelevant to the fact that it appears positioned and perfectly illustrated to represent a phallus. Hiding the base of the hat's red cross is Meowth's gold forehead plate (his luck charm). It is at an odd angle to the bright red cross, and together they resembles a casket on display, viewed from an upward angle. This effect is strengthened by the two trumpeting cherubs on either side.

This is one of the death inferences in the picture.

During this scene, Meowth maintains a left eye wink, with the slitted pupil of his widely opened right eye giving him a disturbing reptilian look. The bustle of the shoulder fabric of his left sleeve resembles a skull, another of the death suggestions. His left paw rests on his hip, and the two balled fingers you see, combined with his forearm, strongly resemble a large phallus, with his fingers resembling two testicles. His right paw holds a large syringe with a long needle, and in the method that it was drawn in his hand, it could also easily represent a phallus.

The point is refracting light.

Sex and death, with a dose of needle, dominate the imagery of this odd, out-of-context scene. Considering that Meowth is one of the “bad guys,” a nurse's uniform and an ominous syringe does not convey a healthy feeling.

During this segment, Meowth says, “We got another chance.” Here is a brief (silent) QuickTime movie of this.

In another part of this episode, Ash mistakenly says “streaker,” meaning to say “stalker,” and Misty reacts to the word, blushing heavily and acting nervously guilty, but this is ignored by the guys.

In Response To Feedback:

As I mentioned in a previous section, Japanese anime is known for its sex and violence. A recent detractor of this expose had the following to say:

"...If you think Pokemon is shocking, you should check out the annual Penis worship that goes on publicly in Japanese society. There, the phallus is revered, not reviled. Statues of the penis are stroked, kissed, even made into toys and necklaces for the WHOLE FAMILY, for storefront displays, etc. They don't view these things the way westerners do at all. To them, fertility images are cherishable, honorable and decent (not a bad attitude)..."

In response, I question the truth of his statement, based upon communications from numerous Japanese corespondents who have objected to the outrageous notion of public phallus worship or adoration.

Wrong or right, the USA is a sexually repressed western culture.

As a sexually repressed society, subtle sexual messages can elicit less than healthy responses in children, or adults, if guilt or shame is the trained reaction.

Without open family guidance or moral centering, charged messages could also lead to sexual exploration, exploitation, or even promiscuity, at a very early age, such as we currently see evidenced in society.

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Yes, sexual images and messages are evident in a frame or two of some formats / versions of Disney movies, but these are isolated incidents which have been... corrected. It is clear that Disney has never produced a sexually coded animation and marketed it towards youth. Sure, sexuality pervades almost all television shows, but none of these shows are suitable for, or targeted towards, young children.

Pokemon is rated TV-Y, but it has blatantly base, sexual imagery and inference, more than most other shows I know of, short of adult dramas or steamy movies you can find playing on HBO or Showtime at night. How often do you find multiple phallic representations in even the bawdiest of situation comedies? How about suggestions of death, or hypodermic needles? How can this be good for impressionable, thirsty minds?

It is clearly intentional, so it must be asked, “what is the intent?” Sex and death imagery is often used within advertising in order to grab the subconscious, and I need not point out how enormously profitable the Pokemon industry has become. Children are even assaulting other children over Pokemon trading cards. I am well aware of the translations involved in character names such as Pikachu, but I also know that self revelation is a very interesting facet of the English language. The proverbial “shoe” fits my observation of 'Peek-atYou.'

The series creators clearly play with words. Take, for example, the Pokemon characters EKANS and ARBOC, name reversals of SNAKE and COBRA. Listening can reveal as much as watching. Sound out the word Pokemon in reverse and you get NOMEKOP (NO ME KOPe). These things were brought to my attention by a reader, as was the sexual connotation of the character JIGGLY PUFF, which would seem to suggest a mother's breast's nipple, and its effect of putting a child to sleep, as is the character's power. The character BUTTERFREE, when first introduced in the series, repeated the high pitched phrase "e-e-e-eat me... e-e-e-eat me." It clearly was not repeating its own name, as is usually the case for Pokemon creatures.

Regardless of original name meanings or translations, obvious intents guided the English transformation of Pokemon. This is sadly another example of the dishonorable tradition of lacing children's shows with propaganda. Does anyone remember H.R. Puffinstuff, the magic mushrooms, and the talking flute?

Helpful, Relaxing Puffinstuff?

There are clearly many examples of bad television, but no other “children's show” is as lucratively popular as Pokemon. I appreciate the supportive responses I have received, but I find it sad that almost all of the negative feedback I have been sent offers nothing more than rude, immature comments without substance. It does, however, support my observation that victims of television will blindly defend it, even when they have no grasp of what they are trying to argue. (In other words, I apologize to the children who are angered by what I have revealed, but you really should be directing any angry letters to the show's creators.

I did not put these things into the show, and should not be faulted for revealing them to your parents.

The funny thing about this is that this was written by a real person (his name is David W. Hodges, to be exact) . Someone who likely has a job and a family and everything else society sees as being "normal." So how can someone like this be so out there. I mean, what the hell is wrong with someone if they can write an article like this and be completely serious about it the whole time?