4 out of 5

Created by: Steve Gerber

covers seasons 1 and 2

There was a time – in kid’s cartoons – when we just didn’t care as much about the Why.  I mean, I have no idea if we do now, exactly, but we’re more apt to insert a Why into things.  The explanation doesn’t have to make complete sense, sure, but it’s an attempt to satisfy the precursory questions that arise, and you can contextualize that however you want – that it’s due to the instant-feedback nature of the connected world, or that it’s because there are infinitely more options so you’ve gotta have those extra tweaks in place to make your offering stand out, or that yesteryears question-asking kids are now the ones making the shows and so answering their own queries – but it happens, even in the post-Ren and Stimpy spawned ridiculousness-tinged CN and Nick stuff to a certain extent, but moreso in Thundarr’s genre: Action-adventure.  I’m not maligning this trend, just pointing out that the very, very isolated one-and-done setup of a show like Thundarr is rare nowadays, where the only status quo you’re given (if you’re granted that) is some opening credits spiel, and then you’re off to Brave New Worlds where the consequences of episode A, with some very minor exceptions, aren’t aware of episode B.

I’m taking the long road to saying: They don’t make ’em like they used to.  Yes, Thundarr the Barbarian was clearly caching in on He-Man / Star Wars mash-up, but if you watch a couple of episodes, something beyond the cash-grab formula might stick out: That it’s pretty funny.  …And is that self-awareness I hear in the cheeky dialogue?  …Spotting creator Steve Gerber’s name in the credits – admittedly the reason I sought it out – along with some other comic notables (Mark Evanier, Buzz Dixon) should indicate that, yes, there’s probably some satire mixed in with my Saturday morning.

Any given Thundarr episode is the same: In our post-apocalyptic world – environmental desolation kicked off by a planet crashing through our moon – humans, a.k.a. the little people in need of help, live amongst noteworthy ruins that, I guess, are all smushed together so we can travel from London to New York to California between episodes and on horseback.  A wizard-type (super-science an obvious effect of apocalypses, as told to us during every episode’s intro sequence) or a group of mutants (also common in the 31st century setting) attack our humans, and Thundarr, Ookla the Wookie-esque Mok, and sorceress Ariel ride in to save the day.  This battle will inevitably just be one front in some larger campaign that requires stealing back a relic or destroying a machine, and thus the rest of our episode.  Thundarr swings his ‘sun sword’ (i.e. light saber), Ookla grunts and throws stuff, Ariel tosses some spells out but unfortunately also gets damsel-kidnapped quite often.  Though to some forward-thinking credit, it seems more in line with the satire, as Thundarr certainly cares enough to rescue her, but shrugs off her distress in pursuit of battle (with his hilarious battle cry) just as often.

This could still all be pretty innocent, but there are other notes that show the show’s slightly subversive humor or commentary.  A lot of it is in the setups: Wizards debunked as charlatans, or people choosing not to outright punish the villain given the opportunity.  Humans also display a range of cultures, which is interesting, and generally mingle with mutants (who aren’t of the blood-thirsty variety).  This isn’t so uncommon for a fantasy show, but the extra details aren’t necessary to the story and so are notable for inclusion.  Ookla and Ariel also amusingly mug in the background, and theres an ongoing gag with people using items from the past as though they were magical, or Ariel treating Thundarr to a history lesson regarding wherever they happen to he, but a history lesson amusingly gnarled through the long term telephone game of time.  These are jokes that I don’t think would necessarily register with the probable targeted demographic, so again, notable.   This is all besides the plotted hijinks and bevy of fun-designed creepos, making the show entertaining in its own right.

…Taken in bits and pieces.  Also noteworthy of this era is pretty sparse production, and Thundarr seems more prone to shot repetition than larger-budgeted shows.  And, frankly, it gets boring if you try to down too many episodes at a time.  It’s hard to say why, as there’s certainly plenty of action, but the show is also rather obtuse in its approach, lacking a central villain, and has those wandering exploration segments.  When you tune in, these segments are clever, but it paints the episodes with lulls of you’re just watching it casually and not with intent.

Still, if you grew up during this era and have a fondness for any of these types of shows (and I’m sure you have at least one), Thundarr is absolutely worth checking out, even if just for a chuckle.  But if you give it some more of your time, i think you’ll find its a cut above most of it’s peers, snarking beneath its silly exterior.