Corsola ecosystems in the Galar region

Rodrigo B. Salvador

Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.

Email: salvador.rodrigo.b (at) gmail (dot) com

Download PDF

To begin this article in the most honest way I can think of, I must state that as a biologist I’ve always complained about those absurdities in the Pokémon franchise that could have been solved if the designers had taken 10 minutes to Google them. And I’m not alone in this! – There are issues such as mistaken cephalopod anatomy (Salvador & Cavallari, 2019), using Japanese species on a setting that’s clearly France (Tomotani, 2014), the impossible water-holding capacity of Blastoise (dos Anjos, 2015), and the skewed biodiversity of the Pokémon world towards cats and dogs (Prado & Almeida, 2017; Kittel, 2018; Salvador & Cavallari, 2019).

Maybe that’s why one Pokémon in this new generation (Gen VIII) has caught me so off-guard. Given that the whole franchise is about making monsters beat other monsters, I was not expecting something with an ecological/conservationist edge out of it. I was particularly not expecting a new Pokémon to reflect one of the major environmental problems our planet is facing: coral bleaching. The Galarian form of Corsola was a slap to the face and a brilliant addition to the game, so hats off to Game Freak Inc. and The Pokémon Company in this regard[1].

CORSOLA AND CORALS

Corsola’s first appearance on the franchise was on Gen II, the famed Gold and Silver games (Fig. 1). It is a dual-type Pokémon (Water/Rock) based on a coral, likely the red corals[2], a moniker given to several species in the genus Corallium (Fig. 2).

Figure 1. Corsola. Original artwork from the game; extracted from Bulbapedia.
Figure 2. The skeletal remains of a Corallium rubrum (Linnaeus, 1758). Extracted from Wikimedia Commons (P. Géry, 2010).

Corals are animals belonging to the phylum Cnidaria, which also includes jellyfish and anemones. Broadly speaking, there are two types of corals: soft corals (Alcyonacea) and stony corals (Scleractinia). The latter, as can be surmised by their name, have hard skeletons made of calcium carbonate (Fig. 2). That explains Corsola’s Rock type – or would, because the red corals that are the likely inspiration for Corsola, are not stony corals. Rather, they are soft corals (Alcyonacea) that – atypically for the group – have calcareous structures in their otherwise organic skeleton (Grillo et al., 1993; Debreuil et al., 2011).

The live polyps (Fig. 3), however, look very different from the dead coralline skeleton. But oddly enough, Corsola looks more like a dead coral colony skeleton (Fig. 2) than a living one. Also, Corsola looks like a single creature rather than a colony, as it would be expected of red corals.

Figure 3. Live Corallium rubrum (Linnaeus, 1758). Extracted from Wikimedia Commons (P. Géry, 2010).

Despite being colonial, red corals (and other soft corals) are not reef-building corals. Even though, to better explain the issue with coral bleaching and threats to ecosystems, I need to provide a brief explanation on reefs and reef-builders.

Stony corals are often colonial and a group of them known as “hermatypic corals” are reef-builders; that is, their skeletons fuse to become coral reefs (Fig. 4). These corals often have symbiotic zooxanthellae (single-celled photosynthetic algae) embedded in their soft tissues. Since they depend on photosynthesis to acquire nutrients, they are typically found in shallow and clear tropical waters.

Figure 4. Coral reef, Israel. Extracted from Wikimedia Commons (Mark A. Wilson “Wilson44691”, 2007).

Coral reefs are hotspots of marine biodiversity. They sustain and shelter a myriad of species: lobsters and shrimps, snails and squids, worms, fishes, turtles, and many others (Fig. 5). So, why does that matter? Simply put, the highest the biodiversity (number and types of different species), the more ‘ecosystem services’ we can benefit from (CORAL, 2019). Think of these services[3] as everything nature can provide us if we could just take good care of it. To help inform decision-makers, many ecosystem services are being assigned economic values. It seems ridiculous that we have to assign an economic value to nature, but unfortunately that’s how our short-sighted governments work.

Figure 5. The typical example of coral reef biodiversity is a bunch of colorful fishes. Extracted from Wikimedia Commons (Fascinating Universe, 2011).

Inevitably, coral reefs are extremely threatened by overfishing and pollution (including the now pervasive microplastics) and by climate change, because the increased temperatures lead to coral bleaching and ocean acidification (McClanahan, 2002). But I will come back to this later; first, let’s take a look at the Galar region and its Corsola.

GALAR

The Galar region is the setting of the newly released games Pokémon Sword and Pokémon Shield, the franchise’s Gen VIII. Galar is based in the United Kingdom and several locations in the game were inspired by real-world places. Part of the new fauna (but not all of it[4]) is also appropriate to the UK, such as ravens (Corviknight) and cormorants (Cramorant). However, as the game says, Galar is heavily industrialized and this has influenced some Pokémon living there, like Weezing, whose Galarian variant manages to look even more noxious than the original form from Kanto (but see Box 1).

The Galarian variant of Corsola is a Ghost-type Pokémon, clearly indicating it’s already dead. It is entirely white (bleached) and has a sad face (Fig. 6). Its Pokédex entry in Pokémon Shield bluntly states: “Sudden climate change wiped out this ancient kind of Corsola.” In Galar, Corsola also have an evolution, named Cursola (Fig. 6), which is likewise Ghost-type. It is a larger and more branched coral.

Figure 6. Top: Galarian Corsola. Bottom: Cursola. Original models from the game; extracted from Serebii.net.

However, contrary to regular Corsola, the Galarian Pokémon are not based on the red coral. Instead, given the shape of their branches, they seem to be based on actual reef-building corals such as Acropora spp. (Fig. 7). That is fitting, because Acropora are major components of reefs and are one of the most sensitive corals to climate change (Loya et al., 2001). Also, Acropora corals are what you usually find when googling for “bleached coral”. So it seems Sword and Shield developers are finally using Google, after all.


Box 1. Galar/UK and Kanto/Japan

Galar is badly industrialized and that is true for its real-life counterpart too. Great Britain is famous as the starting point of the Industrial Revolution and infamous for social problems associated with it, such as poor working conditions and child labor. But a fact that is often overlooked is the collapse of the English Channel’s ecosystem. The Channel separates southern England from France and is one of the busiest fishing areas in the world. The place has been overfished to a scary extent and the habitats on the bottom of the Channel has been destroyed by trawling (Southward et al., 2004; Roberts, 2007). As is, the Channel’s ecosystem cannot recovery and the biodiversity in the area has plummeted (Molfese et al., 2014).

Even so, Japan is not truly in a position to point fingers about this topic. The country has one of the most destructive fishing practices in the word, including harvesting shark fins[5] and being one of the only nations that still hunt whales (Clover, 2004; Sekiguchi, 2007; McCurry, 2011). Japan has overfished several, if not most, edible animal species in their EEZ, from the famous bluefin tuna to squids and crabs; as a result, the country’s fisheries have witnessed a sharp decline in the past decades (Popescu & Ogushi, 2013; Katsukawa, 2019). Researchers within Japan are now arguing for a change to sustainable and scientifically informed fishing practices (Katsukawa, 2019). We can only hope they will.


CORAL BLEACHING

When ocean temperatures increase[6], the symbiotic zooxanthellae leave the corals. This makes the corals become white (Fig. 7); they “bleach”, so to speak. Also, without their photosynthetic “buddies”, corals are under more stress, start to starve, and overall have a serious decrease in their chances of survival (Fig. 8). Decline in coral ecosystems have been reported from all over the world: from the Caribbean to the Indo-Pacific, most famously including the Great Barrier Reef (Bruno & Selig, 2007; Edmunds & Elahi, 2007; De’ath[7] et al., 2012). Reports from the Galar region are yet to come.

Figure 7. Bleached coral (Acropora sp.), Andaman Islands. Extracted from Wikimedia Commons (Vardhanjp, 2016).
Figure 8. Coral bleaching. Extracted from NOAA (https://coralreef.noaa.gov/); used under NOAA’s general usage permission for educational/informational purposes.

Decline in coral reefs will start a cascading effect and most other species dependent on them (lobsters, squid, fish, etc.) will decline as well (Jones et al., 2004). This might lead to ecosystems collapses and, needless to say, it will affect all those ecosystems services (including food) we derive from the sea. When corals die, the dead rocky reefs become dominated by low-productivity and non-commercial invertebrate species such as sea urchins, starfish, and small snails (McClanahan, 2002).

OCEAN ACIDIFICATION

Bleaching, however, is not the only threat to corals. Our oceans are acidifying due to increased CO2 concentrations in the air since the Industrial Revolution. When CO2 is absorbed into the water, it reacts to become bicarbonate ions, making the water more acidic. This effect is, of course, amplified by higher temperatures (Humphreys, 2017). Acidified waters make it more difficult for corals to produce and deposit calcium carbonate (Albright et al., 2017), which is the substance that makes up their skeleton, as we’ve seen above.

Unfortunately, corals are not the only animals threatened by rising temperatures in the ocean. Mollusks have shells made of calcium carbonate and are thus vulnerable to more acidic waters, especially during their larval or juvenile phase. Mollusks such as planktonic sea-butterflies (pteropod snails; Fig. 9) and bottom-dwelling bivalves are as important as corals for ecosystems, and several other animals depend on them, from other mollusks to crustaceans and fish (Manno et al., 2017). Here, the situation might be even worse than with corals: while reefs are restricted to tropical regions, ocean acidification will affect mollusks in temperate regions as well (Soon & Zheng, 2019).

Figure 9. Limacina sea butterfly. Because of their diaphanous shells, pteropods are amongst the most threatened animals by ocean acidification[8]. Extracted from Coldwater.Science (http://coldwater.science/), © Alexander Semenov, used with permission.

As much as we can protect the natural world by creating nature reserves (including marine ones), unfortunately they will not work in this case (Allison et al., 1998; Jameson et al., 2002). Reserves can protect the reef ecosystem against overfishing and trawling, but it cannot stop ocean acidification. That is linked to climate change and we are already passing the tipping point in which the change could be turned back (Aengenheyster et al., 2018); soon, all we’ll be able to do is damage control.

REFERENCES

Aengenheyster, M.; Feng, Q.Y.; van der Ploeg, F.; Dijkstra, H.A. (2018) The point of no return for climate action: effects of climate uncertainty and risk tolerance. Earth System Dynamics 9: 1085–1095.

Albright, R.; Mason, B.; Miller, M.; Langdon, C. (2010) Ocean acidification compromises recruitment success of the threatened Caribbean coral Acropora palmata. PNAS 107(47): 20400–20404.

Allison, G.W.; Lubchenco, J.; Carr, M.H. (1998) Marine reserves are necessary but not sufficient for marine conservation. Ecological Applications 8(sp1): S79–S92.

dos Anjos, J.P.P. (2015) Turtles with cannons: an analysis of the dynamics of a Blastoise’s Hydro Pump. Journal of Geek Studies 2(1): 23–27.

Bruno, J.F. & Selig, E.R. (2007) Regional decline of coral cover in the Indo-Pacific: timing, extent, and subregional comparisons. PLoS ONE 2(8): e711.

Clover, C. (2004) The End of the Line: how overfishing is changing the world and what we eat. Ebury Press, London.

CORAL, Coral Reef Alliance. (2019) Coral Reefs 101. Available from: https://coral.org/coral-reefs-101/coral-reef-ecology/ (Date of access: 10/Nov/2019).

De’ath, G.; Fabricius, K.E.; Sweatman, H.; Puotinen, M. (2012) The 27–year decline of coral cover on the Great Barrier Reef and its causes. PNAS 109(44): 17995–17999.

Debreuil, J.; Tambutté, S.; Zoccola, D.; Segonds, N.; Techer, N.; Marschal, C.; Allemand, D.; Kosuge, S.; Tambutté, É. (2011) Specific organic matrix characteristics in skeletons of Corallium species. Marine Biology 158(12): 2765–2774.

Edmunds, P.J. & Elahi, R. (2007) The demographics of a 15-year decline in cover of the Caribbean reef coral Montastraea annularis. Ecological Monographs 77(1): 3–18.

Grillo, M.-C.; Goldberg, W.M.; Allemand, D. (1993) Skeleton and sclerite formation in the precious red coral Corallium rubrum. Marine Biology 117(1): 119–128.

Humphreys, M.P. (2016) Climate sensitivity and the rate of ocean acidification: future impacts, and implications for experimental design. ICES Journal of Marine Science 74(4): 934–940.

Jameson, S.C.; Tupper, M.H.; Ridley, J.M. (2002) The three screen doors: can marine “protected” areas be effective? Marine Pollution Bulletin 44(11): 1177–1183.

Jones, G.P.; McCormick, M.I.; Srinivasan, M.; Eagle, J.V. (2004) Coral decline threatens fish biodiversity in marine reserves. PNAS 101(21): 8251–8253.

Katsukawa, T. (2019) Building a future for Japan’s fisheries industry. Nippon.com. Available from: https://www.nippon.com/en/in-depth/d00455/building-a-future-for-japan%E2%80%99s-fisheries-industry.html (Date of access: 10/Nov/2019).

Kittel, R.N. (2018) The entomological diversity of Pokémon. Journal of Geek Studies 5(2): 19–40.

Loya, Y.; Sakai, K.; Yamazato, K.; Nakano, Y.; Sambali, H.; van Woesik, R. (2001). Coral bleaching: the winners and the losers. Ecology Letters 4: 122–131.

MA, Millennium Ecosystem Assessment. (2005) Ecosystems and Human Well-Being: Synthesis. Island Press, Washington, D.C.

Manno, C.; Bednaršek, C.; Tarling, G.A.; Peck, V.L.; Comeau, S.; Adhikari, D.; Bakker, D.C.E.; Bauer, E.; Bergan, A.J.; Berning, M.I.; Buitenhuis, E.; Burridge, A.K.; Chierici, M.; Flöter, S.; Fransson, A.; Gardner, J.; Howeso, E.L.; Keul, N.; Kimoto, K.; Kohnert, P.; Lawson, G.L.; Lischka, S.; Maas, A; Mekkes, L.; Oakes, R.L.; Pebody, C.; Peijnenburg, K.T.C.A.; Seifert, M. Skinner, J.; Thibodeau, P.S.; Wall-Palmer, D.; Ziveriza, P. (2017) Shelled pteropods in peril: assessing vulnerability in a high CO2 ocean. Earth-Science Reviews 169: 132–145.

McClanahan, T.R. (2002) The near future of coral reefs. Environmental Conservation 29(4): 460–483.

McCurry, J. (2011) Shark fishing in Japan – a messy, blood-spattered business. The Guardian. Available from: https://www.theguardian.com/environment/2011/feb/11/shark-fishing-in-japan (Date of access: 10/Nov/2019).

Molfese, C.; Beare, D.; Hall-Spencer, J.M. (2014) Overfishing and the replacement of demersal finfish by shellfish: an example from the English Channel. PLoS ONE 9(7): e101506.

Popescu, I. & Ogushi, T. (2013) Directorate General for Internal Policies, Policy Department B: Structural and Cohesion Policies. Fisheries: Fisheries in Japan. European Parliament, EU.

Prado, A.W. & Almeida, T.F.A. (2017) Arthropod diversity in Pokémon. Journal of Geek Studies 4(2): 41–52.

Roberts, C. (2007) The Unnatural History of the Sea. Shearwater, Washington, D.C.

Salvador, R.B. & Cavallari, D.C. (2019). Pokémollusca: the mollusk-inspired Pokémon. Journal of Geek Studies 6(1): 55–75.

Sekiguchi, T. (2007) Why Japan’s whale hunt continues. Time. Available from: http://content.time.com/time/world/article/0,8599,1686486,00.html (Date of access: 10/Nov/2019).

Soon, T.K. & Zheng, H. (2019) Climate change and bivalve mass mortality in temperate regions. Reviews of Environmental Contamination and Toxicology 251: 109–129.

Southward, A.J.; Langmead, O.; Hardman-Mountford, N.J.; Aiken, J.; Boalch, G.T.; Dando, P.R.; Genner, M.J.; Joint, I.; Kendall, M.A.; Halliday, N.C.; Harris, R.P.; Leaper, R.; Mieszkowska, N.; Pingree, R.D.; Richardson, A.J.; Sims, D.W.; Smith, T.; Walne, A.W.; Hawkins, S.J. (2004) Long-term oceanographic and ecological research in the western English Channel. Advances in Marine Biology 47: 1–105.

Tomotani, B.M. (2014) Robins, robins, robins. Journal of Geek Studies 1(1–2): 13–15.


ACKNOWLEDGEMENTS

I am very grateful to Alexander Semenov for giving me permission to use his fantastic Limacina photograph. I am also grateful for Farfetch’d finally having an evolution.


ABOUT THE AUTHOR

Dr. Rodrigo Salvador is a biologist who specializes in mollusks; fittingly, his favorite Pokémon is the West Sea Gastrodon. Part of his research is on marine snails and slugs, but he’s also interested in other marine animals – except fish maybe, which are mostly boring. He has played Pokémon since Gen I, but never really cared about Corsola – until now.


[1] Not in other regards, though. We did not need a new Mr. Mime or a Pokémon who’s a walking dollop of whipped cream. Not to mention that the ice cream Pokémon were included in the game, but Abra, Starly and Lord Helix were not.

[2] Also known as ‘precious corals’ because people like to use its red/pink/orange skeleton for making jewelry.

[3] Ecosystem services are split into four categories: provisioning (e.g., food production); regulating (e.g., climate buffering); supporting (e.g., oxygen production); and cultural (e.g., recreational and spiritual benefits).

[4] For instance, one of the starters is a monkey.

[5] Curiously, Pokémon Moon (Gen VII) had the following Pokedéx entry for Sharpedo, a shark Pokémon: “It has a sad history. In the past, its dorsal fin was a treasured foodstuff, so this Pokémon became a victim of overfishing.” So, the absence of Sharpedo in Sword and Shield could be explained by an extinction event.

[6] Water pollution can also be a cause for bleaching in some cases.

[7] Just using this footnote to point out that this person has a PhD and is thus known as Dr. De’ath. That is one of the coolest Marvel-esque names I’ve ever seen in academia.

[8] Phione and Manaphy are Pokémon based on the pteropod species Clione limacina (Salvador & Cavallari, 2019). Their absence in Sword and Shield could be explained by an extinction event due to climate change.


Check other articles from this volume

 

Inspiration for the character design of Squids Odyssey

Audrey Leprince¹

¹The Game Bakers, Montpellier, France.

Email: audrey (at) thegamebakers (dot) com

Download PDF

Squids Odyssey is a role-playing game by French studio The Game Bakers. It is the latest entry in the Squids franchise, released in 2014 for Nintendo 3DS and WiiU, and more recently, in 2018 for PC and Nintendo Switch.

The fun fact about our Squids games is that we were actually all fascinated by octopuses and cephalopods in general long before we created the game. We even almost named our game studio “Happy Squids”… It was when we were working on the game mechanics and looking for some characters that could be “stretchable” on an iPhone screen that we thought about “tentacles”[1]. Then we knew it was a perfect fit! We started designing our little heroes inspired by real octopuses, squids and other cephalopods.

We did a lot of research to get inspiration on shapes and colors, but of course there is also a lot of redesign in cartoon style so sometimes it might be hard to see the direct reference. But you can still recognize a few: for instance, Clint was inspired on the vampire squid. Baron, the bad guy in the story, is inspired by a more regular octopus.

Clint was inspired on the vampire squid (Vampyroteuthis infernalis), a very unique deep-sea species. Source: Wikimedia Commons (C. Chun, 1910: Die Cephalopoden, II. Teil).

 

Baron was inspired on a more classic octopus, such as the common octopus (Octopus vulgaris) – yes, the name says it all. Source: Wikimedia Commons (A. Salo, 2007).

We also looked at shrimps and crabs[2] for the enemies. The big boss of the first game is a coconut crab, while a basic enemy you meet in the game is a hermit crab. You can tell the influences directly from the designs.

Design variations on the crustacean enemies.

 

Coconut crabs (Birgus latro) live on coastal areas around the Indian and Pacific Oceans. They are the largest land-dwelling arthropods and may weigh up to 4 kg. Despite their name, coconuts are not a significant portion of their diet. Source: Wikimedia Commons (fearlessRich, 2006).
Hermit crabs belong to the family Paguroidea, which counts with over 1,000 species. They typically inhabit a snail shell, using it for protection. This one is called blueband hermit crab (Pagurus samuelis) and lives along the Pacific coast of North America. Source: Wikimedia Commons (Stemonitis, 2011).

We took inspiration from other real underwater fauna and flora for the environment design. Even their habitations or their helmets are inspired by things you can find on the bottom of the sea. And in the comic book, we extended the character design to fish; for instance, one of the characters was inspired on a swordfish. In our game, squids and turtles actually cooperate, even though this might not be the case in real life.

Cooperation (mutualism) between squids and turtle. Although uncommon, some sea turtles are known to eat squids!

For simplification, our little characters only have 4 arms. It’s funny that we’ve been told by some members of our Japanese audience – experts in octopuses and squids – that our little heroes did not look enough like these animals!


ABOUT THE TEAM

The Game Bakers are an indie game studio founded by Emeric Thoa and Audrey Leprince, and based in Montpellier, France. Besides the Squids franchise, they are also responsible for the acclaimed Furi and the upcoming Haven.


[1] Squids and cuttlefish have 8 arms and 2 tentacles. Octopuses have 8 arms and no tentacles.

[2] Shrimps, crabs and lobsters are crustaceans and belong to the Phylum Arthropoda, alongside insects and arachnids. They are not related to cephalopods, which belong in the Phylum Mollusca alongside snails and clams.


Check other articles from this volume

 

Wingspan: how birds colonized board games

Interview with Elizabeth Hargrave

Download PDF

Wingspan is a game entirely about birds and it has been a wonderful surprise, being considered one of the hottest titles for 2019[1]. This is the first game from designer Elizabeth Hargrave, published by Stonemaier Games, and will be available in March this year.

In this game, the players take the role of bird enthusiasts (researchers, birdwatchers, and ornithologists) and must discover and attract birds to their wildlife preserves. In board game terms, Wingspan is an engine-building game, that is, a game in which you have to establish an effective system to generate and accumulate points. There are 170 unique bird cards in the game and, as you add them to your nature preserve, they help you do more and more on each subsequent turn. In general, forest birds make you better at getting food, wetland birds help you get more cards, and grassland birds make you better at laying eggs.

The Journal of Geek Studies interviewed Elizabeth Hargrave to understand how ornithology and ecology made their way into a board game. You can read the full interview below.

Interview

Q: To come up with a game based on birds, you must be a birdwatcher or an ornithologist, is that right?

A: Yes, I’m an amateur birder.

Q: When did your interest in birds began?

A: I’ve always been a nature lover and appreciated birds in general when I saw them, the same way I appreciated any other wildlife. I’ve always had a bird field guide and a pair of binoculars around. But I didn’t really start intentionally birding – like, going out with birds as my primary purpose – until maybe 6 or 7 years ago.

Q: What gave you the idea for a bird ecology game?

A: I felt like there were too many games about castles and space, and not enough games about things I’m interested in. So I decided to make a game about something I cared about.

Q: Did you bring into Wingspan some of your experience with birds? Your favorite species, maybe?

A: I tried to get a diverse set of birds from North America into the game, and a lot of the common ones. But some species definitely got a push just because I like them. Roseate spoonbills[2] are only in a tiny corner of North America, but it’s the corner of North America that I grew up in, and I love them, so they’re in. There’s a lot of room with 170 cards – but it’s still only a fraction of all of the species that live in North America[3].

Q: So, let’s turn to the game now. What is the players’ goal in Wingspan? How does one win in a bird game?

A: You win by having the most points. A lot of your points will come from playing the birds themselves, but you can also get points by laying eggs or by using certain bird powers. And then there are specific goals and bonuses that change from game to game. You might have the “photographer” card that will give you bonus points for birds with colors in their name, or the “falconer” that gives points for predator birds. And then there are shared goals that you can compete for, like having the preserve with the most eggs in it at the end of a round.

To win, you usually have to choose to focus on some of those things over others. And you need to think about how the different powers on the bird cards could help you get there.

Q: The game’s strategy is spun around a lot of ecology. What sort of information have you brought from the real world into Wingspan? Or, better put, how much scientific data have you included in the game?

A: There is a ton of real-world information on each card. Birds get played into certain habitats on your player mat, based on their real-world habitat. And each card’s cost is food, based on some very simplified categories of the food that the birds actually eat. And each bird’s nest type could play into the end-of-round goals.

When I could, I tried to work in real-life bird behavior for the powers on each bird. For example, predator birds go hunting by looking at the top card in the deck: if the bird has a small enough wingspan that the predator could eat it, you get to keep that card and score a point for it. Nest parasites like brown-headed cowbirds get to a lay an egg on another bird’s nest when another player lays eggs. That kind of thing.

And finally, each card has a little factoid on it about the bird, and a very simplified map of which continents it is native to. Those don’t actually come into play on the game, but sometimes they might explain why a bird’s power is what it is.

Q: Do you hope the players will learn something about the birds by playing Wingspan?

A: I hope that it’s a game that you can play primarily as a game, without feeling like you’re supposed to be learning anything… and then maybe accidentally pick some things up along the way. A lot of educational games feel very preachy to me, and that’s not my intention. But I do hope that as players interact with the birds in the game, some of the real-world information that’s there is interesting to them.

Q: Suppose a player is inspired by Wingspan to do some birdwatching of their own. Would you have some tips to offer to this fledgling birder?

A: Find a list of common birds for your area, and look for them right around where you live. Once you have a few birds that you can reliably identify, things get easier.

A pair of binoculars makes a huge difference. You don’t have to spring for a super-expensive pair right away – there are decent starter pairs for the cost of a board game. But it’s incredibly frustrating to try to ID birds without being able to see all their markings.

Find a local birding club, or hit up a birder friend – most people are happy to share their knowledge, and to have you along as an extra pair of eyes. I once caused a major freak-out in a group of more-knowledgeable birders by saying “hey, what’s that one?” – it turned out to be a golden-winged warbler, a beautiful bird that very rarely visits our area.

Download the eBird[4] app and keep lists of the birds you see. If you’re anything like me, growing your personal list will be addictive – but you’ll also be contributing to a worldwide database that ornithologists use to track trends in bird populations.

Q: Do you think ultimately Wingspan can help with bird conservation efforts?

A: As much as the industry is growing, board games are still a pretty niche hobby. But every little bit helps! I have definitely heard from gamers who have started paying attention to birds in real life because of Wingspan.

Q: Is there any takeaway message you’d like the players to get from Wingspan?

A: I always set out to make it a fun game first, about something that I love. If you have fun playing Wingspan, my mission is accomplished. If you can see why people love birds – or get interested in them yourself – after playing, even better.


ABOUT THE TEAM

This is the first published game from designer Elizabeth Hargrave. Bird art is by Natalia Rojas and Ana Maria Martinez Jaramillo, while art for the player mats and birdhouse dice tower is by Beth Sobel. Christine Santana did the graphic design. David Studley designed the solo version of the game, with help from the Automa team. Jamey Stegmaier managed the whole team, and worked with Elizabeth to develop the gameplay.


[1] McLaughlin, S. 2019. Birds star in one of this year’s hottest board games. National Audubon Society. Available from: https://www.audubon.org/news/birds-star-one-years-hottest-board-games (Date of access: 19/Feb/2019).

[2] Platalea ajaja Linnaeus, 1758 (family Threskiornithidae).

[3] There are circa 760 bird species that breed in the USA and Canada, according to the Cornell Lab of Ornithology (https://birdsna.org/Species-Account/bna/home).

[4] eBird (https://ebird.org/home) is a project of the Cornell Lab of Ornithology.


Check other articles from this volume

 

Valleys Between: bringing environmental issues to games

Niamh Fitzgerald

Little Lost Fox. Wellington, New Zealand.

Email: niamh (at) littlelostfox (dot) com

Download PDF

Valleys Between[1] is an environmental puzzle game, where your goal is to grow your world for as long as you can while protecting it from threats that will damage its health.

When we started designing Valleys Between we wanted to explore ways to get people thinking about environmental issues, and while the game has evolved during the game development cycle, the core themes of the game are still there. While we considered real world ecology and nature, we realised early on that to create a fun and engaging game we would need to take inspiration from them without being too literal.

One of our goals is to create a strong bond between the player and the world they’ve created, and one of the ways we do this is by allowing you to literally shape the world with your fingertips. Players only have the ability to swipe up or down to interact with the world, but small actions such as pulling a tree up out of the ground can actually have a big impact. Much like the real world, one action isn’t always enough to solve larger problems but a group of small actions can result in a big change.

The beautiful hexagonal environments of Valleys Between.

Many of the games mechanics are inspired by nature, though in a simplified or abstract way. This allows us to craft gameplay that’s enjoyable and relatable without ever straying too far into something that feels completely at odds with reality (at least in most cases). With that in mind we had two important rules that guided our design:

  1. The game is inspired by nature, so the environmental theme should always be present while never overpowering or distracting the player from the gameplay.
  2. We won’t sacrifice enjoyable gameplay for the sake of keeping something too realistic or similar to how our real world works.

These rules allowed us to find a balance between fun and relatable mechanics that are easy for the player to understand. When designing mechanics we often started from an ecological concept and explored how we could distill it down to base elements to see how they could work well within the game. The best way to illustrate this is to look at the primary mechanics in Valleys Between.

At its core, Valleys Between is about creating a thriving world. The first step to doing this is to create an environment where things can grow, so the first move a player makes is to create water tiles in their new world. Water makes all dirt tiles around it turn into grass, and trees can only be planted on grass. To plant a tree, the player pulls up on a grass tile and essentially plucks a fully-grown tree out of the ground. While this is clearly a few steps removed from reality, it feels close enough, and this familiarity helps create a stronger connection between the nature presented in the game and what the player expects from nature in the real world.

Trees that are next to each other can be combined to make a forest, which grows your world by adding a new row of land. In this way, the base relationship between water and trees are shown as being critical to growing a world. Groups of forests can be further combined to make a house, which introduces humans as part of the ecosystem in Valleys Between. While this is an incredibly simplified representation of nature to a few small mechanics in Valleys Between, it’s part of what makes it feel environmentally rich.

Grow a thriving world and find the balance to sustain it.

The game wouldn’t be very fun without something challenging you, so we decided to introduce the two sides of human influence on the environment. The first is a positive influence of creating a house by combining trees which helps your world grow and expand. However, as your world grows, we also introduce a negative influence in the form of factories and other man-made objects. Factories threaten the health of your world and they can spill oil to surrounding tiles if you leave them for too long. While there isn’t necessarily an easy action to fix things these things in our world, we wanted players to want to protect their world from these threats even if they can’t stop them from occurring. We also found in early playtests that people became very attached to the animals that wander their world, and this helped them feel connected to it, so we decided to tie these concepts together and have animals act as the primary protectors of your world. Animals wander throughout your world, and while you can influence their path, you aren’t able to control them directly. You can choose to use them to nurture and enhance a specific area, or use them to convert a factory to something that won’t damage the health of your world. Once you’ve used an animal, they fall asleep for a period of time so the player has to choose when to nurture and when to protect their world.

While these mechanics may seem to be quite a stretch from the real world, we’ve found that by taking inspirations from nature rather than literal representations, we’ve been able to craft an enjoyable game.

Animals are the protectors of your world.

ABOUT THE AUTHOR

Niamh Fitzgerald is a producer and game designer at indie studio Little Lost Fox, based in Wellington, New Zealand. She organised the New Zealand Game Developer Conference in 2017 and 2018, and likes to combine her love of travel with game development by getting involved in game developer events around New Zealand and internationally.


[1] Released in 2018 by Little Lost Fox. Currently available for iPhone/iPad and coming soon to Android. Learn more at http://littlelostfox.com/


Check other articles from this volume

 

Douglas Adams and the world’s largest, fattest and least-able-to-fly parrot

Rodrigo B. Salvador

Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.

Email: salvador.rodrigo.b (at) gmail (dot) com

Download PDF

The system of life on this planet is so astoundingly complex that it was a long time before man even realized that it was a system at all and that it wasn’t something that was just there.” ―Douglas Adams, 1990

Douglas Noel Adams was born on 11 March 1952 in Cambridge, UK, and grew up to become one of geekdom’s most revered icons. Adams is the author of… Well, that is pretty obvious and I should not have to write this down, but I will nonetheless, just because I won’t be able to sleep well otherwise. So bear with me for a moment – here goes: Adams is the author of the trilogy The Hitchhiker’s Guide to the Galaxy, the self-proclaimed world’s largest trilogy, with five books in total[1].

However, unbeknownst to many of his fans, Adams was also an environmental activist. He spearheaded or participated in several conservation initiatives, such as Save the Rhino International. His history with conservation started in 1985, when the World Wide Fund for Nature (better known as WWF) and British newspaper The Observer partnered up, sending writers to visit endangered species to raise public awareness (BBC, 2014). Adams travelled to Madagascar in search of a lemur species, the aye-aye (Daubentonia madagascariensis). As he put it, “My role, and one for which I was entirely qualified, was to be an extremely ignorant non-zoologist to whom everything that happened would come as a complete surprise” (LCtS: p. 1).

In Madagascar Adams met not only weird lemurs, but also British zoologist Mark Carwardine. They enjoyed the experience and decided to travel the world to see other endangered animals. I mean, Adams and Carwardine travelled the world, not the lemurs; the lemurs stayed in Madagascar as far as anyone can tell. According to Carwardine, “We put a big map of the world on a wall, Douglas stuck a pin in everywhere he fancied going, I stuck a pin in where all the endangered animals were, and we made a journey out of every place that had two pins” (BBC, 2014).

Their travels resulted in Last Chance to See, a BBC radio documentary series that aired in the end of 1989. The companion book (by Adams & Carwardine, 1990, henceforth abbreviated as “LCtS”) was published in the following year[2] (Fig. 1). As a matter of fact, Adams considered this book as his favorite work (Adams, 2005).

Figure 1. Cover art of the American edition of Last Chance to See (Harmony Books, New York, 1991).

Despite Adams’s calling himself an “ignorant non-zoologist”, world-renowned evolutionary biologist Richard Dawkins politely disagreed, writing: “Douglas was not just knowledgeable about science. He didn’t just make jokes about science. He had the mind of a scientist, he mined science deeply and brought to the surface… humour, and a style of wit that was simultaneously literary and scientific, and uniquely his own” (Dawkins, 2009: p. xiii).

Last Chance to See describes Adam’s and Carwardine’s travels around the globe to see nearly-extinct species, such as the Amazonian manatee (Trichechus inunguis) and the northern white rhinoceros (Ceratotherium simum cottoni). As one could expect, nearly all the species are mammals, since most of the public are primarily concerned with cuddly and relatable species. I, however, will focus here on the only bird on their list that got an entire chapter for itself. And I’ll do that for various reasons: (1) I am not very normal, so I am not that fond of smelly mammals; (2) it is a success story and people like success stories; and (3) this is a very funny-looking bird, I promise you.

This bird is called kakapo.

THE KAKAPO

Mark Carwardine first described the kakapo to Douglas Adams as “the world’s largest, fattest and least-able-to-fly parrot” (LCtS: p. 7). His description might seem a little disparaging at first, but it was meant in an affectionate way – you cannot help but smile when you see a kakapo. Besides, Carwardine’s description is actually spot-on (Fig. 2).

According to Adams, “[the] kakapo is a bird out of time. If you look one in its large, round, greeny-brown face, it has a look of serenely innocent incomprehension that makes you want to hug it and tell it that everything will be all right” (LCtS: p. 108).

Figure 2. Sirocco, a male kakapo, looking funny as kakapos usually do. Image extracted from New Zealand Birds Online (http://nzbirdsonline.org.nz/); credit: Dylan van Winkel.

The kakapo (or kākāpō, in Māori or Te Reo spelling) is a nocturnal flightless bird and its face resemble that of an owl, with the eyes positioned more to the front. For this reason, it is also known as owl-parrot or night parrot. Kakapos have green feathers, speckled with black and yellow (Fig. 3).

Figure 3. A kakapo looking unusually serious. Image extracted from New Zealand Birds Online (http://nzbirdsonline.org.nz/); credit: Colin Miskelly (2011).

Furthermore, kakapos are solitary birds, have a polygynous lek mating system (don’t panic, I’ll explain that later), lack male parental care, and breed in irregular intervals (with gaps of 2 to 7 years; Powlesland et al., 2006). Kakapos are so unique that ornithologists classified the species in its own family: Strigopidae. They are the very first lineage to have branched out of the parrot group (the Order Psittaciformes). Even their closest “relatives”, the kaka and the kea (also from New Zealand), are already considered to be very distinct from kakapos.

Being such an ancient lineage of parrots, researchers consider that it could have split off the rest of the parrot groups when New Zealand got separated from the what is now Australia and Antarctica around 80 million years ago (Gibbs, 2016). All the southern landmasses had been previously joined in the supercontinent Gondwana, which was made up of South America, Africa, India, Antarctica, Australia and Zealandia (Fig. 4) and was by that time finishing its separation.

Figure 4. The supercontinent Gondwana during the Triassic (circa 200 million years ago). Image modified from Wikimedia Commons; credit: LennyWikidata (2008).

This break up left Zealandia with no mammals and a bird “paradise” island started to take shape. It is considered that the kakapo followed the trend of oceanic island bird lineages (where nasty mammals are not present) to evolve larger and flightless forms (Powlesland et al., 2006). For instance, that happened with the lineages of the dodo, moa, and elephant bird.

BIOLOGY

I cannot overstate how weird kakapos are for a parrot – or for a bird, actually. Adams considered the kakapo the strangest and most intriguing of all the creatures he saw during his travels with Carwardine (LCtS: p. 105). So I’ll illustrate that by highlighting some aspects of its biology that are of broader interest or peculiar weirdness. If you, however, are looking for a complete guide to the species’ biology, do take a look at the work of Powlesland et al. (2006).

We already covered that kakapos are nocturnal and flightless, and thus have good hearing and sense of smell, alongside massive legs and feet to walk around and climb trees. Yes, they do not fly, but do climb trees to feed. Evolution works in mysterious ways, it seems. Elliot (2017) wrote: “They often leap from trees and flap their wings, but at best manage a controlled plummet.” I prefer, however, the way Douglas Adams put it: “it seems that not only has the kakapo forgotten how to fly, but it has forgotten that it has forgotten how to fly. Apparently a seriously worried kakapo will sometimes run up a tree and jump out of it, whereupon it flies like a brick and lands in a graceless heap on the ground” (LCtS: p. 109)[3].

It seems kakapos are not able to follow the suggestion of the Hitchhiker’s Guide: “There is an art, it says, or rather, a knack to flying. The knack lies in learning how to throw yourself at the ground and miss. (…) Clearly, it is this second part, the missing, which presents the difficulties” (Adams, 1982). Kakapos just constantly fail to miss the ground.

Overall, kakapos are quite large birds, weighing around 2 kg, but males may weigh up to 4 kg and be 40% larger than females (Eason et al., 2006; Elliot, 2017). Their life span is unknown, but is estimated at 60 to 90 years (Department of Conservation, 2018a, 2018b).

Kakapos are vegetarian and eat almost every possible parts of plants. In fact, they only breed in years with a good abundance of fruit (Cockrem, 2006; Elliot, 2017). In their current habitat, kakapo reproduction is tied with that of the rimu (Dacrydium cupressinum), an evergreen coniferous tree of the podocarp family (Fig. 5). These plants bloom together every 2 to 4 years (sometimes it takes more); the kakapos must wait for the rimu because they depend on its “fruits” (Fig. 6) to feed the chicks (Cockrem, 2006; Ballance, 2010).

Figure 5. A rimu tree is really tall for a flightless bird to climb. Image retrieved from Wikimedia Commons; credit: Kahuroa (2008).
Figure 6. A ripe rimu “fruit”, or better put, a seed sitting on a fleshy cup. Image retrieved from Wikimedia Commons; credit: Department of Conservation (2002).

Unlike any other parrot, kakapos are lek breeders. This behavior is common for other groups of birds and even other animals, though. It consists in males gathering relatively close to each other and starting a competition to show off to females. Birds can do this mainly by song or dance (or both), but might also include somersaults and flying maneuvers. Each female will chose the best performer (in their opinion at least) and successful males typically mate with more than one female during a single season.

Male kakapos sing to attract females. Or rather, they do something akin to “Pink Floyd studio out-takes” (LCtS: p. 111). The most common type of call produced by kakapos is called booming. This is a low-frequency (<100 Hz) resonant call, which can be heard up to 5 km away (Merton et al., 1984; Higgins, 1999). To produce this sound, male kakapos fill up internal air sacs; they can inflate until they look like a fluffy watermelon (Figs. 7, 8). Adams described the sound as a heartbeat, a powerful throb you felt before actually hearing it; and this gave the title to the kakapo’s own chapter in LCtS: “Heartbeats in the Night”.

Figure 7. A male kakapo booming – and looking like a watermelon. Image extracted from New Zealand Birds Online (http://nzbirdsonline.org.nz/); credit: Department of Conservation (image ref 10027966, photo by Ralph Powlesland).
Figure 8. How to camouflage as a watermelon in four easy steps. OK, now serious caption: postures of a male kakapo booming. Figure reproduced from Merton et al. (1984: fig. 4). The original caption reads: “(1) Normal stance; (2) Alert static pose between booming sequences; (3) Commencement of booming: inflation of thorax while giving preliminary ‘grunts’; (4) Maximum thoracic inflation during loud booming.”

Booming also serves to indicate the male’s overall location to the female. Once they are close by, males can produce a sharp metallic “ching” call to enable females to pinpoint their exact location (Powlesland et al., 2006). A good place to hear kakapo booming and chinging is New Zealand Birds Online (http://nzbirdsonline. org.nz/).

The female nests on the ground, either on a spot covered by dense vegetation or in natural cavities (Elliot, 2017). Kakapos usually lay 2 to 4 eggs and the female raise the chicks alone (Fig. 9; Cockrem, 2006; Powlesland et al., 2006). Young birds leave the nest within 2 to 3 months, but remain close to their mother’s home range until they are 6.5 to 8.5 months old (Farrimond et al, 2006; Powlesland et al., 2006).

So how do we summarize kakapos? Adams gives us a nice idea: “The kakapo (…) pursues its own eccentricities rather industriously and modestly. If you ask anybody who has worked with kakapos to describe them, they tend to use words like ‘innocent’ and ‘solemn’, even when it’s leaping helplessly out of a tree. This I find immensely appealing” (LCtS: p. 121).

Figure 9. Alice, a female kakapo, on her nest with her two chicks (circa 45 days old). Image extracted from New Zealand Birds Online (http://nzbirdsonline.org.nz/); credit: Department of Conservation (image ref 10048384, photo by Don Merton, 2002).

Box 1. Kakapo names

Since there are so few kakapo left and the whole population is managed, each bird has its own name. When Adams and Carwardine visited Codfish Island, they met a kakapo named Ralph. Later on, Adams himself got to name a kakapo Jane, after his then-girlfriend (Balance, 2010). You can check this amazing infographic (by DeMartini et al.) with all the names and family trees of known kakapos: https://public.tableau.com/views/The Kakapo/Dashboard1?:embed=y&:display_count=yes&:toolbar=no&:showVizHome=no.

Presently, the most famous kakapo is Sirocco, who became a YouTube star after he tried to mate with Carwardine’s head during the filming of the Last Chance to See TV series (Carwardine, 2010). Today, Sirocco is 21 years old and is the official “spokesbird” for conservation in New Zealand (Department of Conservation, 2018b), a title given to him by then Prime Minister John Key.


HISTORY

Kakapos were present in New Zealand long before humans arrived there: some subfossil bones have been dated from 2500 years ago (Wood, 2006). They were very common and lived throughout both the North and South Islands (Tipa, 2006), with few natural enemies. They were successful in their pre-human environment, but that was soon to change.

Polynesian settlers arrived in Aotearoa[4] between 1200 and 1300 CE (Wilmshurst et al., 2010) and became known as the Māori. As typical of all humans, they brought domestic/pest species with them: dogs and rats.

As many island species, kakapos were only concerned with their known immediate predators; these mostly harmless birds were thus unprepared for a wave of invaders. Kakapos have the strategy of staying perfectly still when facing danger, which works fine against predators that rely on sight. However, this had little effect against dogs, which hunt by scent. The parrots were hunted for food and ornamentation (for instance, the Māori used the feathers in cloaks; Tipa, 2006) and the population declined. Polynesian rats also played a major role, preying upon defenseless kakapo eggs and chicks.

European settlers arrived on the 19th century and, as one might expect, colonization (and new mammalian predators, such as cats and mustelids) accelerated the species’ decline. The Europeans also brought naturalists, who collected specimens for study at museums (Fig. 10). British zoologist George Robert Gray officially named the kakapo Strigops habroptilus[5] in 1845. Later naturalists (some already born in New Zealand) went further, observing live parrots in the wild and studying their natural history.

Figure 10. Museum drawer full of preserved kakapo specimens, from the collection of the Museum of New Zealand Te Papa Tongarewa. Photo by the author (©Te Papa, all rights reserved).

Already in the 1890’s, naturalists became aware that the species was heading towards extinction, so the first efforts in conservation (transferring animals to islands in Fiordland; Fig. 11) were undertaken (Hill & Hill, 1987). They failed and eventually the species fade out from the thoughts of New Zealanders, being considered extinct or nearly so (Ballance, 2010).

BUT DON’T PANIC

That lasted until the work of Williams (1956), which summarized all knowledge about the kakapo and brought it back to the spotlight. With this renewed interest, expeditions were formed to find the species in the southernmost reaches of New Zealand.

A serious take on conservation efforts started again in the 1970’s, when a population of around 200 kakapos was found on Stewart Island (Fig. 11; Powlesland et al., 2006). A new process of translocation and monitoring then began. During the 1980s and 1990s, the animals were all moved to predator-free islands: Codfish, Maud and Little Barrier (Fig. 11; Elliot, 2017). When Adams and Carwardine visited Codfish Island in 1992, there were only around 40 kakapos left (Ballance, 2010; Carwardine, 2010).

Figure 11. Map of New Zealand showing the locations mentioned on the text. Image modified from Wikimedia Commons; credit: NordNordWest (2009).

However, things started to look brighter after a review in the management of the species (Elliot et al., 2001). A strong and focused policy and full support of the government were essential during the decades since (Jansen, 2006). The kakapo population started to recover and can now be considered one of the greatest successes among global conservation programs – and a good example of how our species can, in fact, clean up after its own mess.

The last report, from June 2017, counted a total of 154 birds (Elliot, 2017), a number exceeding previous population simulations (Elliot, 2005). Recovering the kakapo from the brink of extinction was a feat, but more challenges remain. Presently, the species is considered as “critically endangered” according to the IUCN’s Red List (BirdLife International, 2016). Although this seems better, it is good to remember that this is just one step away from the “extinct in the wild” status in this classification scheme (which the kakapo held during two issues of the Red List in the mid-1990s). Presently, kakapos only survives on offshore islands and there is still lot of work to be done until we have a viable, and self-sustaining population that does not need human management.

Maybe just panic a little bit…

The kakapo is not the only endangered species in the New Zealand – everyone has heard about kiwis, at least. So what about all the other threatened species, birds and otherwise, in the country? Jansen (2006: 190) ominously wrote: “While extinction of kakapo is now less likely than 10 years ago, the future of the 600+ New Zealand species listed as acutely and chronically threatened (…) and that presently do not receive any management is by no means secure.” So yes, there is still a lot of work to be done.

But why should we care if some species go extinct? Why should we strive so much to save them? Carwardine (LCtS: p. 205) gave what Dawkins (2009) considered to be the typical explanations for business-minded humans: (1) we mess with the environment, everything go haywire, and that ultimately affects our survival, and (2) living beings have their uses as food, drugs, etc. However, Carwardine then presented his preferred explanation, one more typical of scientists and that we say to each other over coffee: we try to save them because they are cool. Or, as Carwardine put it: “There is one last reason for caring, and I believe no other is necessary. It is certainly the reason why so many people have devoted their lives to protecting the likes of rhinos, parakeets, kakapos and dolphins. And it is simply this: the world would be a poorer, darker, lonelier place without them” (LCtS: p. 206).

“Up until that point it hadn’t really clicked with man that an animal could just cease to exist. It was as if we hadn’t realised that if we kill something, it simply won’t be there anymore. Ever. As a result of the extinction of the dodo we are sadder and wiser.” ―Douglas Adams, 1990

REFERENCES

Adams, D. (1982) Life, the Universe and Everything. Pan Books, London.

Adams, D. (2005) The Salmon of Doubt: Hitchhiking the Galaxy One Last Time. William Heinemann, London.

Adams, D. & Carwardine, M. (1990) Last Chance to See. William Heinemann, London. [Edition used here: 2009, by Arrow Books, London.]

Ballance, A. (2010) Kakapo: Rescued from the Brink of Extinction. Craig Potton, Nelson.

BBC. (2014) Background. Last Chance to See. Available from: http://www.bbc.co.uk/last chancetosee/sites/about/last_chance_to_see.shtml [access date: 25 Sep 2018].

BirdLife International. (2016) Strigops habroptila.  The IUCN Red List of Threatened Species 2016. Available from: http://dx.doi.org/10.2305/ IUCN.UK.2016-3.RLTS.T22685245A93065234.en [access date: 25 Sep 2018].

Carwardine, M. (2010) Foreword. In: Ballance, A. Kakapo: Rescued from the Brink of Extinction. Craig Potton, Nelson. Pp. 9–10.

Cockrem, J.F. (2006) The timing of breeding in the kakapo (Strigops habroptilus). Notornis 53(1): 153–159.

Colfer, E. (2009) And Another Thing… Penguin Books, London.

Dawkins, R. (2009) Foreword to new edition of Last Chance to See by Douglas Adams and Mark Carwardine. In: Adams, D. & Carwardine, M. Last Chance to See. Arrow Books, London. Pp. xi–xvi.

Department of Conservation (DOC). (2018a) Kākāpō. Available from: https://www.doc.govt. nz/nature/native-animals/birds/birds-a-z/kaka po/ [access date: 26 Sep 2018].

Department of Conservation (DOC). (2018b) Sirocco the kākāpō conservation superstar. Available from: https://www.doc.govt.nz/ sirocco [access date: 27 Sep 2018].

Eason, D.K.; Elliott, G.P.; Merton, D.V.; Jansen, P.W.; Harper, G.A.; Moorhouse, R.J. (2006) Breeding biology of kakapo (Strigops habroptilus) on offshore island sanctuaries, 1990–2002. Notornis 53(1): 27–36.

Elliott, G.P. (2006) A simulation of the future of kakapo. Notornis 53(1): 164–172.

Elliott, G.P. (2017) Kakapo. In: Miskelly, C.M. (Ed.) New Zealand Birds Online. Available from: http://nzbirdsonline.org.nz/species/kakapo [access date: 26 Sep 2018].

Elliott, G.P.; Jansen, P.W.; Merton, D.M. (2001) Intensive management of a critically endangered species: the kakapo. Biological Conservation 99: 121–133.

Farrimond, M.; Elliott, G.P.; Clout, M.N. (2006) Growth and fledging of kakapo. Notornis 53: 112–115.

Gibbs, G. (2016) Ghosts of Gondwana: The History of Life in New Zealand. Fully Revised Edition. Potton & Burton, Nelson.

Jansen, P.W. (2006) Kakapo recovery: the basis of decision-making. Notornis 53: 184–190.

Higgins, P.J. (1999) Handbook of Australian, New Zealand and Antarctic Birds. Vol. 4: Parrots to Dollarbird. Oxford University Press, Melbourne.

Hill, S. & Hill, J. (1987) Richard Henry of Resolution Island: a Biography. John McIndoe, Dunedin.

Merton, D.V.; Morris, R.D.; Atkinson, I.A.E. (1984) Lek behaviour in a parrot: the Kakapo Strigops habroptilus of New Zealand. Ibis 126: 277–283.

Powlesland, R.G.; Cockrem, J.F.; Merton, D.V. (2006) A parrot apart: the natural history of the kakapo (Strigops habroptilus) and the context of its conservation management. Notornis 53: 3–26.

Tipa, R. (2006) Kakapo in Maori lore. Notornis 53: 193–194.

Williams, G.R. (1956) The kakapo (Strigops habroptilus, Gray): a review and re-appraisal of a near-extinct species. Notornis 7: 29–56.

Wilmshurst, J.M.; Hunt, T.L.; Lipo, C.P.; Anderson, A.J. (2011) High-precision radiocarbon dating shows recent and rapid initial human colonization of East Polynesia. PNAS 108(5): 1815–1820.

Wood, J.R. (2006) Subfossil kakapo (Strigops habroptilus) remains from near Gibraltar Rock, Cromwell Gorge, Central Otago, New Zealand. Notornis 53: 191–193. 


ACKNOWLEDGEMENTS

I am very grateful to Colin Miskelly, Dylan van Winkel, the Department of Conservation, and the Museum of New Zealand Te Papa Tongarewa for allowing the usage of their photographs herein. 


ABOUT THE AUTHOR

Dr. Rodrigo Salvador is a biologist specializing in the classification and evolution of land snails. Yes, you might say, that has nothing to do with kakapos. But it so happens that the universe conspires to keep him entangled with bird work. As a scientist, he learned with Douglas Adams that knowing the right question is sometimes more important than knowing the answer.


[1] Or six, if you count And Another Thing… by Eoin Colfer (2009).

[2] Later, in 1992, a CD-ROM set was published, with photos and audio of Douglas Adams reading the book. In 2009, BBC released a TV series of Last Chance to See, in which British comedian Stephen Fry took the place of the late Adams.

[3] However, he soon changed the tone to blame flying birds instead: “There is something gripping about the idea that this creature has actually given up doing something that virtually every human being has yearned to do since the very first of us looked upwards. I think I find other birds rather irritating for the cocky ease with which they flit through the air as if it was nothing” (LCtS: p. 120).

[4] The Māori name for New Zealand.

[5] Strigops means “owl-faced”, while habroptilus means “soft feather”.


Check other articles from this volume