>>115089369Or the stories that the middle-aged men back then wrote were really really just so boring and bad back then, that the modern cartoon creators of nowadays who grew up with said stories made by the middle-aged men from back then wanna do something they consider to be less boring and bad.
Now, there's one thing to consider, though. How do you measure which kind of storytelling is more successful?
For the people back then who sponsored said shows in the first place, that was through increased sales of toys related to those cartoons. That means that ultimately, the purpose of said shows back then was to first exist, and then make people aware that this thing exists, and then have additional commercial in the commercial blocks reminding the kids of back then that they should beg their parents to please buy said related toys.
That means though that the introduction of said toyetic element is more important than a good continuing story that builds up on the story that was set before it, and it playing a more significant role than just the one where it is introduced.
As a little kid, I loved seeing continuity, that things had consequences, that the morale of the story was not reset back. After all, the real world that I lived in also had consequences to all my actions and inactions. And little me always felt it bogus that the fiction that I would normally enjoy would however almost always be consequence-free, have no continuity, every story being in a vacuum.
It was a thing that I had to accept though, because meh, that's just how things are. And since the TV chains wanted to syndicate things, it was important to them that they could air the shows in whatever random order they wanted.
But then came some kind of revolution. Gimmicky nerdy shows like Babylon 5 or Japanese cartoons and comics were available, and they had a story that spanned multiple episode, even seasons. That was liberating. It was a journey. They even had a definite ending.
