I think that for most of us, there are things which we loved dearly when we were children which we still love now, often greatly in excess of how much others love these things. And I think we’re used to heard this poo-pooed as mere nostalgia. But I think that for most of us, that’s not accurate.
Nostalgia is, properly speaking, a longing for the familiar. It is not merely a desire for comfort, but also a connection through the passage of time from the present to another time (usually our childhood, but it can be any previous time). As Saint Augustine noted, our lives are shattered across the moments of time, and on our own we have no power to put it back together. Nostalgia is, properly speaking, the hope that someone else’s power will eventually put the shattered moments of time back together into a cohesive whole.
But when we enjoy formative fiction, we’re not particularly thinking of the passage of time, or the connectedness of the present to the past. And the key way that we can see this is that we don’t merely relive the past, like putting on an old sweater or walking into a room we haven’t been in for years. Those are simple connections to the past, and are properly regarded as nostalgia. But when we watch formative fiction which we still enjoy (and no one enjoys all of the fiction they read/watched/etc as a child), we actually engage it as adults. We see new things that we didn’t see at first, and appreciate it in new ways.
What is really going on is not nostalgia, but the fact that everyone has a unique perspective on creation; for each of us there are things we see in ways no one else does. Part of this is our personality, but part of this is also our previous experiences. And the thing about formative fiction is that it helped to form us. The genuine teamwork in Scooby Doo, where the friends were really friends and really tried to help each other, helped me to appreciate genuine teamwork. It’s fairly uncommon on television for teammates to actually like each other—conflict is interesting! every lazy screenwriter in the world will tell you—so when I see it in Scooby Doo now, I appreciate it all the more than I’ve grown up looking for it and appreciating it where I see it. This is one of the things I love about the Cadfael stories, where Cadfael (the benedictine monk who solves murders) is on a genuine team with Hugh Berringar, the undersheriff of Shropshire. This is also one of the things I love about the Lord Peter stories with Harriet Vane—they are genuinely on each other’s side with regard to the mysteries.
And when I mention Scooby Doo, I am of course referring to the show from the 1960s, Scooby Doo! Where are you? I have liked some of the more recent Scooby Doo shows, like Scooby Doo: Mystery Inc., but by and large the more modern stuff tends to add conflict in order to make the show more interesting, and consequently makes it far less interesting for me. Cynics will say that this is merely because none of these were from my childhood, but in fact when Scooby Doo: Mystery Inc. had episodes where the entire team was functioning like a team where everyone liked each other and were on the same side, I genuinely enjoyed those episodes. (Being a father of young children means watching a lot of children’s TV.) The episodes where members of the team were fighting or the episodes where they split up were by far my least favorite episodes.
It is possible to enjoy fiction for ulterior motives, or at least to pretend to enjoy it for ulterior motives. Still, it’s also possible to enjoy fiction because one is uniquely well suited to enjoying it, and few things prepare us for life as much as our childhood did.