15 Pokémon Facts to Inspire You to Catch ‘Em All

getty images
getty images

If you can easily attribute the quote, "Hi! I like shorts! They're comfy and easy to wear!" then you were likely one of the millions of kids who have caught, trained, and battled the mini-monsters of Pokémon Red Version and Pokémon Blue Version.

Since the games’ 1998 North American launch, the Pokémon series has racked up six generations of games, more than 600 monsters, and sold 270 million units, so there are a few things about it that even Professor Oak might have missed along the way.

1. PER JAPANESE GRAMMAR, THE SINGULAR AND PLURAL ARE BOTH ‘POKÉMON’

The title Pokémon is a contraction of the romanized Japanese brand name Pocket Monsters (Poketto Monsutā), and also the word for the little beasts. As with most Japanese nouns, which are typically modified for number by preceding ‘counter words,’ the singular and plural versions of Pokémon are identical (as in, “Billy has 249 Pokémon; alas, I only have one Pokémon”), and the singular/plural for species names are interchangeable, too (“I’ll trade you one evolved Pikachu and two Bulbasaur for two non-evolved Pikachu and 1,000 Mewtwo”). 

2. THE GAME WAS INSPIRED BY (AND ITS CHARACTERS BASED ON) INSECTS 


Pokémon creator Satoshi Tajiri told TIME that he, like other kids of his generation, spent many happy childhood hours collecting bugs and examining their behavior. But as urban development began to push bugs out of their natural habitats, he saw kids migrating, too. “Kids play inside their homes now, and a lot had forgotten about catching insects. So had I. When I was making games, something clicked and I decided to make a game with that concept.” 

His solution was a videogame that allowed kids to collect creatures with different features and behaviors that they could study. Just like bugs were for young Tajiri, these creatures were “mysterious” and “odd,” and “moved kind of funny.” 

In the same interview, TIME asked if Tajiri made his insects fight one another, to which he responded, “No, but sometimes they would eat each other.” For his own Pokémon universe, Tajiri also made sure that battling creatures would never bleed or die, but rather just faint when defeated. 

3. AMERICAN AUDIENCES ALMOST GOT BEEFED-UP VERSIONS OF POKÉMON 

As Kotaku points out, U.S. players came close to getting muscular versions of Pokémon instead of the regular, cute versions we know and love. Current Nintendo president Satoru Iwata says that the idea for muscle-bound monsters was an attempt to speak to American gamers. Luckily, American players were perfectly happy to accept the cute fighters, divergent as they were from the then-status quo of kids’ toy culture.

4. BETWEEN THEM, THE ORIGINAL 151 POKÉMON MAKE ONLY 37 SOUNDS ... 

In Pokémon Red and Blue for Game Boy in the U.S., there are 151 different monsters, but their collective cries only contain 37 unique sounds in total. Many of the cries were adapted for different Pokémon by changing their speed or pitch, but several monsters, including Charizard and Rhyhorn, are simply vocal twins. 

5. ... AND WHILE THE BOX PROMISED 139 POKÉMON, YOU COULDN’T CATCH MORE THAN 124.

The Game Boy packaging for first-generation Pokémon games told players that they could round up 139 different characters without needing to trade. However, gameplay requires players to choose between certain character families, so—when excluding starter and Fossil families, and a couple of trading-based evolved characters, as well as glitches—the maximum number of Pokémon attainable in an adventure is 124. 

6. IT LET PLAYERS PLUG IN TO TRADE AND BATTLE THEIR CHARACTERS ... 

Using a Link Cable for Game Boy, Pokémon players were suddenly able to trade uniquely trained and developed characters with one another, a kind of information sharing not previously available to home gamers. As 1UP.com reported, Tajiri explained, "I imagined a chunk of information being transferred by connecting two Game Boys with special cables, and I went wow, that's really going to be something!"

The Pokémon team followed up this game-changing tech, which was a late-in-life achievement for the Game Boy system, with the Nintendo 64 Transfer Pak hardware for Pokémon Stadium, which allowed players to use their own characters (trained and toned via Game Boy) on the big screens of their TVs. 

7. ... PERHAPS SETTING A PRECEDENT FOR THE CARD GAME’S MASSIVE SUCCESS. 

The original Japanese releases of Pocket Monsters: Red and Green established a winning formula (for Nintendo, anyway): Pokémon-hungry players needed to buy both separately-sold games in order to amass all available characters and adventures. Players’ ability to collect and swap characters also made the practice of stockpiling as many Pokémon as possible an even bigger part of the franchise’s culture. The Pokémon Trading Card Game, first launched in Japan in 1996, complemented this formula, and more than 21.5 billion cards have been shipped out to more than 74 countries to date. (Some are now worth between $20 and $100,000 each.)

8. IN THE JAPANESE VERSION, THE OLD MAN IS SECRETLY DRUNK. 

If you played Pokémon Red and Blue, you may remember an old man in Viridian City (his character name is “old man”) who blocks your way to Route 2 while grumpily demanding his morning coffee. The character was placed there as a barrier, making sure players complete certain tasks before proceeding. In the Japanese version of the game, the coffee serves not to fill his daily caffeine fix but rather to sober him up (after which he can usefully teach a player needed skills).   

9. THE FIRST POKÉMON GAMES WERE SUPPOSED TO HAVE A FEMALE TRAINER. 

During development of the original Red and Green releases, designers planned to include a female trainer with the games’ two male ones. She didn’t make it into first-generation Kanto (though she’s featured in the games’ strategy guides and artwork) but reportedly became the character “Green” in Pokémon Adventures comics and “Leaf” in the remakes FireRed and LeafGreen

10. MEW WAS LAST-MINUTE, HAS UNIQUE POWERS, AND WAS (SOMEHOW) TRADEMARKED BEFORE POKÉMON ... 

Among the most mysterious of all Pokémon, Mew is rumored to be the ancestor of (or involved in the ancestry of) all other Pokémon, is the only genderless Pokémon to learn to Captivate, is from Guyana, and reportedly was trademarked on March 31, 1994 (with an application date of May 9, 1990)—despite the fact that Pocket Monsters itself wasn't trademarked until December 26, 1997. 

Programmer Shigeki Morimoto claims he snuck Mew into the game at the eleventh hour. Two weeks before the first Pokémon titles were released, he’s said, he added the infamous feline to the game unofficially in a remaining parcel of space, even though the production team had already completed its final checks. As a result, players could collect the secret Pokémon using an in-game glitch through a few different methods.

11. ...AND MAY HAVE TWO CLONES (ONE OF WHICH PRECEDES IT IN POKÉDEX). 

Mewtwo, listed as #150 in the Pokédex character roster, is a clone of Mew, who took the #151 spot as a secret Pokémon. However, fans have also speculated that Ditto—another genderless Pokémon that weighs the same as Mew, has the same base stats, has near-identical coloring, and can also Transform innately—is a "failed" clone of Mew. Ditto is also known to hang out with Mewtwo and on Cinnabar Island in a mansion where Mew was supposedly experimented on. 

12. NINTENDO DIDN’T THINK THE GAME WOULD SUCCEED ... 

Nintendo had turned down the plans for Pocket Monsters—first called Capsule Monsters while in development by Tajiri at Game Freak—several times before Shigeru Miyamoto (of Mario Bros., Donkey Kong, Legend of Zelda, and Star Fox fame) got involved and became a proponent of the game. Once Nintendo was on board, the team had the funding to see development through.

13. ... BUT IT BECAME THE SECOND-MOST SUCCESSFUL FRANCHISE EVER, AND AN ALL-TIME CRITICS’ PICK. 

Haseo, Flickr //CC BY 2.0

From a financial standpoint, the pint-sized scrappers of the Pokémon franchise have more than pulled their weight. Pokémon is second only to Mario (and right above Final Fantasy) as an all-time top seller, and early games collected the hearts of critics across the board, too. Upon the release of Pokémon Red, the gaming site IGN wrote that the game “isn't just a fad. It's an awesome game worthy of any gamer's Game Boy library,” and that, "Even if you finish the quest, you still might not have all the Pokémon in the game. The challenge to catch 'em all is truly the game's biggest draw." In its review of Pokémon Blue, GameSpot noted that "Under its cuddly exterior, Pokémon is a serious and unique RPG with lots of depth and excellent multiplayer extensions” and “easily one of the best Game Boy games to date."

14. TAJIRI NAMED POKÉMON’S RIVAL CHARACTER AFTER HIS MENTOR.

To thank Shigeru Miyamoto for his help with and support in launching the game, creator Satoshi Tajiri named the default rival in the first-generation Japanese games “Shigeru” (with the games’ protagonist called, of course, “Satoshi”).

15. POKÉMON IS STILL A REAL MONEY MAKER—AND WAS ALSO MADE INTO MONEY. 

Next year, the Pokémon franchise will celebrate 20 years of nonstop mini-monster brawling. During that time it’s churned out not only 270 million game units and 21.5 billion cards in 10 languages, but also 18 international seasons of an animated series, 17 feature-length films, and countless toys and other kinds of merchandise. In all, the monsters have raked in $2 billion. 

Unlike other bestsellers, however, Pokémon has the rare honor of having been made into actual legal tender. In 2001, the self-governing state of Niue (a South Pacific island nation in free association with New Zealand) printed a special run of $1 coins featuring Pikachu, Meowth, Squirtle, Bulbasaur, and Charmander. Collectors hotly pursue the coins, which sell for $300 apiece or more. 

Take Advantage of Amazon's Early Black Friday Deals on Tech, Kitchen Appliances, and More

Amazon
Amazon

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

Even though Black Friday is still a few days away, Amazon is offering early deals on kitchen appliances, tech, video games, and plenty more. We will keep updating this page as sales come in, but for now, here are the best Amazon Black Friday sales to check out.

Kitchen

Instant Pot/Amazon

- Instant Pot Duo Plus 9-in-115 Quart Electric Pressure Cooker; $90 (save $40) 

- Le Creuset Enameled Cast Iron Signature Sauteuse 3.5 Quarts; $180 (save $120)

- KitchenAid KSMSFTA Sifter with Scale Attachment; $95 (save $75) 

- Keurig K-Mini Coffee Maker; $60 (save $20)

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Home Appliances

Roomba/Amazon

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- Facebook Portal Smart Video Calling 10 inch Touch Screen Display with Alexa; $129 (save $50)

- Bissell air320 Smart Air Purifier with HEPA and Carbon Filters; $280 (save $50)

Video games

Nintendo

- Legend of Zelda Link's Awakening for Nintendo Switch; $40 (save $20)

- Marvel's Spider-Man: Game of The Year Edition for PlayStation 4; $20 (save $20)

- Marvel's Avengers; $27 (save $33)

- Minecraft Dungeons Hero Edition for Nintendo Switch; $20 (save $10)

- The Last of Us Part II for PlayStation 4; $30 (save $30)

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Computers and tablets

Microsoft/Amazon

- Apple MacBook Air 13 inches with 256 GB; $899 (save $100)

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Tech, gadgets, and TVs

Apple/Amazon

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Oral History: In 1985, Mr. Snuffleupagus Shocked Sesame Street

Sesame Workshop
Sesame Workshop

On November 8, 1971, during the third-season premiere of Sesame Street, Aloysius Snuffleupagus was introduced to the world and proved immediately indispensable: Lacking a watering pot, Big Bird was delighted to see the massive, lumbering creature use his trunk to tend to his garden. The two became fast friends.

No one else, however, could be absolutely certain that Mr. Snuffleupagus actually existed.

Time and again, “Snuffy” would shuffle into the frame, just missing the adult residents of Sesame Street. Big Bird would try to convince them his pal was real. They’d humor him, but never really believed it.

So it went for 14 years, until the show’s producers began to hear of a growing concern among viewers: In the wake of news reports about child abuse cases, Big Bird’s implausible eyewitness testimony about his oversized friend might have real-life consequences. If adults were ignoring Sesame Street's biggest star, would kids feel like they wouldn't be heard, either?

The solution? Get rid of the ambiguity and let Snuffy loose. Three decades after his coming-out party, Mental Floss spoke with the writers, producers, and performers who had the delicate, important task of restoring Big Bird’s credibility and resolving his droopy-eyed friend’s identity crisis.

I. The elephant in the room

Sesame Workshop

Sesame Street was just two years old when Jim Henson decided he wanted to incorporate a massive presence on the show: A puppet that required two men to operate. Dubbed Mr. Snuffleupagus, the character debuted in 1971. News media described him as a “large and friendly monster resembling an anteater.” Then-executive producer Dulcy Singer and writer Tony Geiss agreed he would be Big Bird’s not-quite-real friend—a reflection of the wandering imaginations of the show’s preschool-aged audience.

Norman Stiles (Writer/Head Writer, 1971-1995): The character was kind of a collaboration between [executive producer] Jon Stone and Jim Henson. I think the initial idea was really to be ambiguous in the sense that, well, Big Bird says he’s real and the audience sees him and yet he always manages to not be there when the other people were there—so is he real or isn’t he real? The whole idea was to not really answer that, but to leave it as an open question.

Emilio Delgado (“Luis,” 1971-2017): It was going with the whole thing of a child’s imaginary playmate, which a lot of kids have. Big Bird was the only one who could see him. When adults came around, he would be talking about Snuffy this, and Snuffy that. We’d just say, "Yeah, sure, OK." We didn’t believe him.

Carol-Lynn Parente (Executive Producer, 2005-2016): There was a lot of humor to be mined from the issue. We never explained whether he was imaginary or not. Kids were able to see him, but adults couldn’t. You never really knew—was he imaginary? Playing with that question was a lot of fun; kind of a healthy ambiguity.

Stiles: You really had to believe that it was just terrible coincidences and quirks of Snuffy’s own personality that made it so that he just wasn’t there when Big Bird wanted him to be there to introduce him to his friends.

Delgado: Jerry Nelson originally did the voice and was inside the puppet, in the front. Bryant Young was in the rear. Boy, did we get jokes out of that.

Parente: He’s one of the tougher puppets to operate. Just the massive size of him requires certain [camera] blocking. It’s very physical, and very warm inside his belly. It’s only so long the performers can go through takes before they stop and need to be fanned off before they can start again.

Delgado: Later, Jerry stopped doing it. Maybe his back was bothering him. That’s when Marty took it over.

II. Identity crisis

2004 Sesame Workshop

“Marty” is Martin P. Robinson, a puppeteer who assumed the front end and voice of Mr. Snuffleupagus in 1981. For the first 10 years, the character had been a proverbial one-joke pony (or elephant), catching sight of adults and getting so excited he somehow wound up missing them. This would continue for several more years, which eventually began to wear on the nerves of both Robinson and Caroll Spinney, the actor who has portrayed Big Bird since his inception in 1969. Robinson was especially vocal about Snuffy not being a figment of his friend's imagination.

Martin P. Robinson (via Still Gaming: Lee & Zee Show Podcast, 2009): He was never imaginary. I say that a lot. And I say it with great strength of conviction. He was my character, he was never imaginary; he just had bad timing. He was shy, he had bad timing, and the joke was, he’s big, you can’t miss him, but adults being the way they are—preoccupied, going to work, you know—they miss those little details. And Snuffleupagus just happened to be one of those little details that they kept missing year after year after year. So he was a good, real friend to Bird; it’s just that no one else ever took the time to actually meet him.

Delgado: How long can you play a joke out? As performers, as Muppeteers, as artists, you can only carry a story so far before you have to do something else with it. They probably felt that’s what was happening.

Robinson: Those scripts just got so old. Caroll and I would look at the scripts and say, "Oh, lord, this one again."

Delgado: The adults would play along, knowing he didn’t exist. At the same time, I liked the idea of Marty saying, "OK, he just happened to be there at the wrong time." People were barely missing him.

The actors’ desire to play off a new dynamic was soon joined by a more pressing, potentially catastrophic issue. In the early 1980s, news programs like 60 Minutes were reporting on troubling statistics involving child abuse both at home and in daycare centers. If Big Bird—ostensibly the show’s stand-in for the 6-year-old viewing audience—was being brushed aside when trying to convince people Snuffleupagus was real, there was the chance children might not be convinced adults would believe them if they came forward with more troubling claims.

Stiles: We started getting some letters from people who worked with children who had experienced some kind of abuse, and what we were told was that they often don’t think they’ll be believed because the stories are so fantastic in their minds.

Michael Davis (Author, Street Gang: The Complete History of Sesame Street): I remember having my own internal conversations about Snuffy. My kids were in daycare and there were a lot of those stories about what was happening in daycare, a lot of those stories about children being abducted and kids on the back of the milk cartons and all of that. It became kind of a national focus, sometimes bordering on a mania.

Parente: All this was really stemming from a specific set of incidences in the news, claims of sexual abuse going on in some daycare centers, and kids being questioned about what was going on. The fear was that if we represented adults not believing what kids said, they might not be motivated to tell the truth. That caused us to rethink the storyline: Is something we’ve been doing for 14 years—that seemed innocent enough—now something that’s become harmful?

Delgado: It was a very serious consideration. It was something that could happen in their lives, and the [Children’s Television] Workshop was very attuned to things like that.

The CTW—now Sesame Workshop—is the organization comprised of researchers, psychologists, and freelance child experts who generate and evaluate the show’s themes and messages to make sure they’re going to be understood. Revealing Snuffleupagus required a concentrated effort to make certain Sesame Street’s writers and producers were communicating the idea effectively.

Parente: The process has been pretty much the same all these years. We look to experts in childhood development and that helps guide us—what’s the best way to address what we want to address? That’s the model Sesame was founded on, with writers, producers, educators, and researchers all working together.

Davis: I do think that the result from Sesame Street was a smart one because Big Bird, as a character, is a projection of a 6-year-old. So to have a situation where the 6-year-old’s eyewitness reports are being doubted so deeply and ridiculed ... They are kind mocking him a little bit and rolling their eyes at him.

Parente: It’s rare a children’s show is grounded in the real world. Much of our competition is in the animated world, where fantastical things happen. This is a real neighborhood. We think of it as kids coming to a play date with real friends, and it requires a real investment in how you tell a story.

Lawrence Rubin, Ph.D. (Child Psychologist): The writers took a real-world concern and asked themselves, "Are we helping or hurting kids by keeping Snuffy in the imaginary closet, and do we have a moral imperative to respond to a real issue by changing something about the show?"

Stiles: We wanted kids to know that grownups will believe them, but we wanted to preserve the fun that we were having, so I proposed that we have some of the grownups believe Big Bird, and that was the first step.

For the show’s 16th season in 1984 to 1985, producers laid the groundwork for the eventual reveal by depicting Big Bird as knowing the difference between fantasy and reality, with a handful of adults taking him at his word even with Snuffy still at large.

Robinson: They devised this two-year scheme, where in the first year they would have some of the cast members learn from Bird that Bird could indeed tell the difference between what was real and what was imaginary, that he knew the difference and was very clear about it. And once they got that from Bird, they said, "Okay, you know the difference. If you say Snuffy is real, then he’s real and we’d love to meet him, whenever the timing is right." And the other half of the adults said, "What, are you crazy? He’s imaginary! There’s no such thing as a Snuffleupagus."

Stiles: That changed the dynamic between the grownups ... Now, Big Bird wasn’t alone. He had grownups believing him, and we had a new dynamic where the grownups who believed him would now actually try to see Snuffy. That went on, I think, for about a year. I don’t remember the exact combination of conversations, but we finally decided, alright, let’s move. Just creatively, this has run its course.

III. The reveal

The show’s 17th season premiere aired on November 18, 1985. As promised, Big Bird made arrangements to introduce Snuffy to the adults on Sesame Street by telling them he’d yell out a secret word (“Food!”) when they were ready. Unfortunately, Snuffy is too nervous to remain idle, and Big Bird has a few false alarms that make the adults even more dubious.

Rubin: Watching this now, I’m 60 years old, sitting on the edge of my chair, going, "Oh, God, don’t go away! Stay there! Wait!"

Stiles: [Our goal] was to do what we had always done before, which was, "If you stay here, he’ll be here."

Robinson: They did it in one show ... I always thought it would have been nice if they could have revealed him to one person at a time. So that one person would have actually seen him, and then go back screaming to the rest saying, "I saw him!"

In a somewhat bizarre non-sequitur, talk show host Phil Donahue appears to pick up his broken toaster from Luis’s Fix-It Shop and begins to engage characters on the merits of Big Bird’s preferred code word.

Davis: You know, the first thing that comes to mind is that bimodal audience that they always talked about and writing something that would be appealing to adults as much as it would be to kids. Having Phil Donahue being the protagonist kind of making fun of himself and his show was hilarious.

Parente: There are plenty of studies that prove kids get more of the educational value when there’s co-viewing going on, so things like Donahue and other celebrities are by design. When you have a parent viewing with their child, they can ask questions and spawn a conversation.

After some protracted teasing of the audience—Snuffy can’t seem to stay put—the entire cast meets Snuffy and stares at him in awe.

Robinson: He’s starting to peel off and Elmo actually grabs onto his trunk and holds him down. There was a shot when they actually pinned Elmo onto the trunk, and I’m whipping him around in the air like a pinwheel. But it held him up just long enough so that the cast actually showed up, and saw him there. And so, one by one, down the line, it was this line of shocked faces. And they all came up and shook hands with him.

Delgado: We were all amazed that this giant elephant-looking thing was actually real. You get a big reaction from everybody, and everybody was very happy Big Bird had been telling the truth all along. He was very happy people believed him.

Stiles: Big Bird [said] "Well, now what do you have to say?" You know, that was really his moment, and I just loved giving him the opportunity to say that.

Rubin: It was incredibly respectful of a child. The conversation did not diminish Big Bird, it wasn’t dismissive or pandering. It’s how you hope a conversation with someone wishing to be heard would go.

Delgado: It was kind of a big party. And Big Bird has a child’s mind, so he was satisfied. Like, "See, I told you he was real!"

Near the end of the episode, cast member Bob McGrath makes a pointed comment: “From now on, we’ll believe you whenever you tell us something.”

Rubin: It was so honest. Some parents get caught up in authoritarian mode and don’t have the flexibility to retract, recant, or acknowledge a kid’s reality. He was the collective voice of parents—"Sorry, we should’ve listened."

Parente: [A line like that] is exactly what we look to the child experts for, bringing in or soliciting experts to weigh in on specific dialogue to get it right. Simplicity is key, particularly with kids. It’s not about making it flowery with jokes, not doing it in the form of song. Songs are great, but often lyrical messaging is not necessarily the best takeaway. When it’s simple and straightforward, that’s when you have your best chance.

IV. Aftermath

Sesame Workshop

In 1985, Sesame Street was averaging 10 million viewers a week, making any pivotal episode hugely influential with its young audience. Later that year, they depicted the characters of Gordon (Roscoe Orman) and Susan (Loretta Long) adopting a child. Coupled with acknowledging the real-life death of cast member Will Lee (Mr. Hooper) in 1982, Snuffy’s status as a real Sesame citizen was part of the show’s overall evolution from teaching the alphabet to imparting life lessons.

Davis: I think it was a really smart thing for them to eliminate that as a possibility for the viewer and to say that even as outrageous as the claim sounded at first, here was this real-life big woolly mammoth of a friend that they just had not yet met. I give them a lot of credit for changing with the times and I remember some people saying, "Oh, it was politically correct," but it’s not that at all. It’s more that society changes and the way that we view things changes and Sesame Street has successfully negotiated those waters through the years.

Snuffy got topical again in 1992, when the show decided to depict his parents going through a divorce. Unlike his big reveal, this one didn’t go so well.

Parente: It was the first time in history we ever taped an episode and then didn't air it.

Stiles: He had kind of this family going and it helped that we had this family. There weren’t any other puppet families that we had, so I think it was a natural choice.

Delgado: He got a little sister later on.

Davis: It is interesting that they choose to have Snuffy’s parents get divorced because that character, he’s a little bit of a downer. He’s got a little Eeyore about him.

Parente: We knew enough to put it through the rigors of testing before it would air. And it was a lovely episode, but we found kids were upset after watching it. They were just not familiar with what divorce was.

Delgado: Kids freaked out.

Stiles: The shows weren’t necessarily for the child who’s watching whose parents are divorced, although that was part of it. It was, I think, more so that children would understand if they meet other children whose parents are divorced … The whole thing is difficult, because you’re opening up this can of worms for children who may not have even thought of the possibility that their parents might get divorced. Now all of a sudden, they walk into the kitchen and see their parents arguing about something and they go, "Uh-oh."

Parente: Snuffy’s family was going through it in real time, right in the midst of the crisis. We learned if we can see the characters after coming through divorce, it’s a better way of approaching it.

Despite the hiccup, Snuffy has remained a high-profile and viable member of the Sesame gang for well over 40 years. Most recently, he’s been spotted on Twitter, where he follows just one account: Big Bird’s.

Parente: One of my favorite things is to see people meet Snuffy for the first time. He’s bigger than life. He takes your breath away.

Davis: Sesame Street at its finest moments always found a way to include humor and to use it to help smooth things along and to help it go down in a way that was acceptable. You can’t give enough credit to the writers for brilliantly finding a way to make things funny for people who drink from sippy cups and people who drink from martini glasses.

Parente: We want to be helpful and useful for kids as well as parents. I think that’s why we’re here, 46 years later, always paying attention. What is it kids and parents need from us? In 1985, what they needed us to do was to stop that storyline and present a model of adults listening to children.

Delgado: It's definitely one of the biggest things to happen on the show.

Parente: The appeal of Snuffy is that he’s Big Bird’s best friend. People love Big Bird, so he benefits by association: "If that’s Big Bird’s friend, he’s my friend, too."

This story has been updated for 2020.