to attract a wide range of audience , if you have A 132 years old man protagonist with an animation stranded’s scripts and stories it will be always suitable for children .

it just a market choice !

: Figures.

Hiro is technically a child or adolescent, but even though Big Hero 6 is not about his coming of age as an adult per se, note how the movie makes sure to point out, if it wasn’t obvious from his voice having changed, that he’s going through puberty. It might have been just a throwaway gag, but I suspect that it is indicative of the general draw of periods of change for filmmakers, and as pointed out earlier, strict childhood is comparatively stable–you have to learn a lot of basic things and everything is new, to be sure, but you don’t really start to become an adult until later, and adults are a large segment of the population that mass-market animated movies like this need to appeal to and be relatable for. Additionally, to a rather significant degree filmmakers tend to make movies that they themselves would want to see, and of course filmmakers at this level generally are adults.

Along this train of thought, think about what Walt Disney wanted to accomplish not just with his animated features but with Disneyland. Some say that they’re for children, while others say they’re for one’s “inner child,” but Walt definitely made them for adults, too. In fact, I would argue that they were, if anything, expressly made for adults. After all, the original reason for dreaming up Disneyland was for there to be a place where Walt could have fun playing along with his children instead of merely watching them while sitting on a bench. The very bench he was sitting on when he thought of creating such a park actually sits on display in Disneyland today (in the Main Street opera house) as a testament to this–that’s right, Disneyland was made for adults…and children, but it wouldn’t exist if it weren’t for Walt considering the plight of bored, inadequately engaged adults at amusement parks and playgrounds.

Factoring into all of this are Walt’s apparent views on childhood. He had always associated childhood with imagination, but the thing is that for him there was never an end to imagining, and therefore in this way there was never an end to childhood. No, he wasn’t some weird man-child who never grew up–he became an adult but never stopped imagining. Moreover, childhood was about dreams (as in hopes and aspirations) that came out of imagination, and for him growing into adulthood must have represented the ability to actually achieve one’s dreams. The latter is ultimately what Disney is all about, and it applies to everybody at any age, but truth be told one really important transition in this regard for most people is when they come of age. Nothing from Disney in recent times encapsulates and directly addresses this in a purer sense than Tangled, and sure enough Rapunzel gets this intense desire to pursue her long-held dreams around the time that she becomes an adult (turning 18 to reinforce this message). So in a strange way that I think many people would not expect, Disney is in large part about growing up…yet never losing certain qualities that are normally associated with childhood.

Obviously I’ve written a bunch about Disney, particularly Walt himself, but all of this has had a major influence on the industry, and even society at large to some extent.

Too old to be a kid, and too young to be an adult. I think by “kid”, people always mean anyone who isn’t an adult yet.

Christopher Robin, Penny (from both The Rescuers and Bolt), Jenny, and Veanellope are more supporting characters.