Sugimori is also responsible for the boxart legendary Pokémon and all of the official artwork for the games. According to Yoshida, the number of rejected Pokémon designs is five to ten times more than the number that are finalized in each game. In rare cases, rejected designs are brought back and released in a later generation. Shigeru Ohmori, director of Sun and Moon, admitted that creating new Pokémon has become a difficult task with the sheer number of creatures designed over the franchise's 20-year history. Each iteration of the series has brought about praise and criticism over the numerous creatures. The designs for Pokémon are often highly analogous to real-life creatures but also encompass inanimate objects. Director Junichi Masuda and graphic designer Takao Unno have stated that inspiration for Pokémon designs can come from anything. The variety of animals and culture around the world provide the basis for having countless ideas incorporated into the franchise. The environment that a Pokémon would live in is taken into account when they are designed. The lei-like Comfey fits appropriately in the Hawaii-inspired Alola region of Sun and Moon. Masuda has stated that each element of a design has a functioning reason. In some cases, the design team creates a footprint that a Pokémon could make and designs a creature around that. Some designers look to game mechanics for inspiration and see where particular typing combinations could be interesting. Typing assignment varies during the design process; sometimes a Pokémon receives a type after it is created and other times they are designed around a particular type. Each Pokémon has a specific height and weight. The simpler roots of designs in Generation I prompted greater complexity in later games. Designs in general have become increasingly complex and thematic in newer games. Sneasel, for example, draws inspiration from the Japanese yōkai kamaitachi, mythical creatures with fast, razor-sharp claws that hunt in packs. These elements are all found in Sneasel's design and characteristics. New Pokémon introduced in Generation VI, for example, are heavily influenced by the culture and fauna of Europe (namely France). However, by the release of X and Y in 2013, Sugimori stated that he wishes for Pokémon design to return to the simpler roots of the franchise. Masuda considers the starter Pokémon among the most important in the franchise. Yoshida goes further and calls them "the face of that generation" and says that "they're