However, as of last week, I’ve never been more surprised by a kid’s love of a certain cartoon character, one that’s fundamental to my passion for superheroes. I was looking at my phone for the time, and the kid looked over my shoulder at my wallpaper.
“He-Man!” he blurted. “Cool!”
Yes, I have a Masters of the Universe wallpaper on my phone right now, and this 10-year-old kid recognized it immediately.
“You know who He-Man is?” I asked, stunned.
“Who doesn’t know He-Man?” he replied.
Qubo, a station on digital television, airs He-Man and the Masters of the Universe and other Filmation classics every night during their “Night Owl” block. I watch it when I can and stroll down memory lane with the likes of He-Man, She-Ra, and Bravestarr, While this delights my inner child, I never realized real children are now experiencing these characters for the first time.
Furthermore, this particular kid seemed to genuinely like He-Man. He didn’t say anything about the Filmation’s series inherently dated campiness. Through his innocent eyes, Masters of the Universe is just another superhero cartoon with a moral at the end, as befits Qubo’s mission to “entertain, celebrate the fun of learning and feature positive role models” (from their website).
Thankfully, as a primer, MotU boasts the usual superhero tropes: a mild-mannered secret identity, good versus evil, and an outrageous blend of science and magic. From a comparative standpoint, He-Man is a Steve Rogers-type that turns into a Conan the Barbarian-type by evoking magic of a Captain Marvel-type. By combining these various timeless elements, He-Man may have become inadvertently as timeless, too.
Further, I would’ve thought that the production quality of the old Filmation series would’ve dissuaded kids, but the studio’s low budget methods are actually what kids are used to seeing in today’s cartoons, too. Since He-Man aired in daily syndication, Filmation strategically reused many animation cels to produce shows as quickly as possible. (This also explains why every major Filmation series had a necessary transformation sequence that ate up a good 30 seconds every episode!) This economic approach to animation isn’t unlike the Flash-animated cartoons of today, where characters’ mouths are the only elements in motion in any give scene, or where a body stands still despite the flailing of arms or legs. In either case, it’s maximum entertainment at minimal production time, and as long as the characters are endearing, kids really don’t care. They didn’t then, and they don’t now.
And it’s all thanks to Qubo, a network that by day airs educational programming for kids, and that by night rekindles the series their parents loved back in the day. I should know; I’ve been doing my research.