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Politeness in Children’s Media: An Analysis of the Main Character’s

Strategies in the Malaysian English-Dubbed Boboiboy

Nor Maisarah Mohamed Ali.,

Nor Shidrah Mat Daud., Nurul Syafieqah Jaafar

Akademi Pengajian Bahasa, Universiti Teknologi MARA Shah Alam

*Corresponding Author

DOI: https://dx.doi.org/10.47772/IJRISS.2025.924ILEIID0065

Received: 23 September 2025; Accepted: 30 September 2025; Published: 31 October 2025

ABSTRACT

Politeness in children’s animated series is often simplified or overlooked, raising concerns about the models of

interaction presented to young audiences. Addressing the limited systematic analysis of politeness in childrens’

animation, this study analyses the use of politeness strategies by the main character, BoBoiBoy, in selected

episodes of the popular Malaysian children’s animated series BoBoiBoy, English-dubbed Season 1. The study

was guided by Brown and Levinson’s (1987) Politeness Theory. The objective of the study was to identify the

types of politeness strategies BoBoiBoy used, the most frequently used strategy, and the factors influencing his

choices during interactions with other characters. This study adopted a qualitative content analysis of 10

transcribed episodes purposively sampled from the BoBoiBoy English Series 1 playlist available on Monsta

Studio Sdn. Bhd. official YouTube channel. The findings revealed that bold on-record strategies were the most

frequently used, reflecting direct communication in urgent or informal contexts. Meanwhile, positive

politeness, negative politeness, and off-record strategies were selectively applied to build rapport, show

deference, or soften face-threatening acts. The study concluded that the BoBoiBoy politeness strategies choices

were influenced by social distance, rank of imposition, and power dynamics. The findings of this study

contribute to a deeper understanding of linguistic politeness and its role in modeling respectful communication

in children’s animated shows. Beyond enriching the scholarly discourse on politeness strategies, the study

offers practical implications for content creators and educators in fostering positive language use in media

targeted at young audiences.

Keywords: Politeness Strategies, Face-Threatening Acts, Bald On Record, Positive Politeness, Negative

Politeness, Off Record

INTRODUCTION

Media content, especially animated shows, may significantly influence children's social development and

behaviour. These shows can be powerful tools for moulding young viewers' understanding of appropriate

social interactions and cultural norms. They typically captivate children’s attention with colourful characters,

imaginative storylines, and age-appropriate themes. Some examples of classic animated series are Looney

Tunes and The Flintstones and the more recent series are SpongeBob SquarePants and Peppa Pig. While in

Malaysia, some distinguished children’s animated shows are BoBoiBoy, Upin & Ipin, Supa Strikas, and Ejen

Ali. These programs have achieved iconic status, made movies, and had lasting cultural impact.

As animated media content is widely consumed among children, it is important to consider the influence of

animated media portrayal of politeness strategies on children's linguistic politeness. Children’s understanding

and use of linguistic politeness can be improved through animated shows that portray politeness strategies.

Poorly designed children's animated shows that portray implore or aggressive character interactions can

negatively influence young viewers (Ebrahimkutty, 2023). Not only that, Matveeva and Mochalova (2023)

highlight that main characters play a significant role in shaping young viewers; perceptions and developing

their social behaviour through the use of politeness strategies. Children’s utterances and linguistic development

can also be influenced by the politeness strategies portrayed in animated media. Studies by Al-Abbas (2023)

and Sitti et al. (2022) have also shown that children learn politeness through their social environment from an

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early age. Children's TV programs are thought to provide children with input comparable to speech directed at

them by their parents or older siblings (Schlesinger et al., 2019). Animated cartoons can enhance children's

language acquisition (Maranzana, 2022) and may also affect their learning of linguistic politeness. Therefore, it

is important for media content creators, especially ones designed for children, to consider these strategies in

their production.

While there is an increase in research that examines politeness strategies in various media and communication

contexts, there remains a notable gap in the literature regarding identifying a unified set of politeness strategies

within children’s animated series. This gap is particularly evident in the lack of studies that explore the

possibilities of these strategies serving as an exemplary model for other local animation productions. Existing

studies have primarily focused on politeness in live-action television programs, movies, and other adult-

oriented media (e.g., Febriyani et al., 2023; Syaifuddin, 2022; Wati & Puspani, 2020). Children's animated

shows, especially Malaysian animated series have received limited scholarly attention, compared to several

animated movie analyses of international animations including Turning Red (Septaria & Ambalegin, 2023),

Encanto (Dewi & Ayomi, 2023), and Aladdin (Wahyu et al., 2022). To help fill the gap, the present study chose

BoBoiBoy as the focus for analysis especially for its popularity not only among Malaysian children and adults

but also international viewers from the neighbouring countries in Southeast Asia and other regions around the

globe. The series were produced by Animonsta Studios featuring a natural-born superhero able to manipulate

earth, wind and lightning, and split himself into multiple versions to defend earth from alien threats. Using

Brown and Levinson’s Politeness Theory (1987) as a guiding lens, the study seeks to:

1. identify the types of politeness strategies BoBoiBoy used when interacting with other characters;

2. analyse the most used politeness strategies by BoBoiBoy when interacting with other characters; and

3. investigate which of Brown and Levinson’s factors of politeness strategies influences the politeness

strategies used by BoBoiBoy when interacting with other characters.

It is hoped that the study would help shed light on understanding the application and adaptation of politeness

strategies in the context of local children’s media.

LITERATURE REVIEW

Theoretical Framework

Politeness strategies have been discussed comprehensively in the areas of pragmatics and sociolinguistics. Of

all the theoretical frameworks, Brown and Levinson’s Politeness Theory (1987) is the most distinct. It helps to

explain how people mitigate and balance their actions to preserve positive social relationships. As defined by

Brown and Levinson (1987), Politeness Strategies are the deliberation in communicative behaviour to

encourage social harmony and respect in interactions. There are two components in this concept which are

positive and negative faces. A positive face is the desire to feel liked by others, while a negative face is the

desire to be free and autonomous. In communication, politeness strategies serve as linguistic techniques to

address face needs and minimise potential face-threatening acts (FTAs). Politeness Strategies are applied for

many reasons, including maintaining effective communication, showing respect, achieving communication

goals, and others. All these reasons focus on their effects on the individual "face". Brown and Levinson (1987)

highlight the four types of politeness strategies, arranging them from lesser to more significant risk. The choice

of politeness strategy and its application within the context of face threat is demonstrated in Brown and

Levinson’s (1987) Flow Chart of Politeness Strategy Types.

Figure 1 Brown and Levinson’s (1987) flow chart of politeness strategy types

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As illustrated in Figure 1, the process starts with the speaker considering if an FTA is needed. If the act is

performed with FTA considered, there are two possible paths to choose: on-record or off-record. On-record is

direct and unambiguous form of communication. Once on- record is chosen, it is for the speaker to decide to

act baldly or with redressive action. The former is direct and ensures no misunderstanding to the hearer but

lacks politeness, while the latter involves application of politeness strategies either positive or negative to

alleviate the threat. Positive politeness strategies take care of the hearer's positive face by using positive

expressions such as expressing friendliness, solidarity, and appreciation. Alternatively, a speaker may choose

negative politeness strategies which seek to mitigate imposition by being indirect, and apologetic in order to

protect the hearer’s negative face. Both positive and negative strategies have their own identifying

mechanisms. There are three broad mechanisms for positive politeness strategies which are claiming common

ground, conveying that the speaker and hearer are co-operators, and fulfilling the hearer’s wants. Meanwhile,

for negative politeness strategies the mechanisms are being indirect, not presuming or assuming, not coercing

the hearer, communicating the speaker’s desire not to disturb the hearer, and redressing other wants of the

hearer (as cited in Fathi, 2024).

Off-record acts, on the other hand, are indirect and leave interpretation to the hearer. Off-record strategies are

clues or ambiguous remarks that allow the speaker to evade confrontation and place the burden of

interpretation on the hearer. The strategy helps the speaker avoid confrontation and allows the hearer to

interpret the message according to their understanding. This will indirectly minimise face threat. In children's

media content, Off-record strategies in children's animated shows can create humour or allow characters to

handle sensitive situations delicately.

The selection of these strategies is determined by three social parameters which are, social distance, relative

power, and the severity of the FTA (Brown & Levinson, 1987). The social distance factor refers to the degree

of familiarity and closeness between the speaker and the hearer. The greater the social distance, the more polite

the interaction. For instance, conversations between strangers are usually more formal and polite than those

between close friends. Next, the power differences between the speaker and the hearer are the relative power

factor. The higher the degree of control a hearer has over the speaker, the more polite the latter will be and vice

versa. The third factor, the ranking of imposition, refers to the degree to which an action is considered an

imposition in a particular culture. The more intense the imposition, the more incline the speaker is to use

indirect and elaborated strategies.

Politeness Strategies in Children’s Animation

Linguistic politeness is vital in reflecting and reinforcing cultural values. This is especially prominence in its

representation within children’s animation production. Recent reviews note Brown and Levinson’s (1987)

Politeness Strategies framework remains influential yet often adapted to culture and medium. In the context of

children’s animated shows, characters who use Positive Politeness strategies can model positive social

behaviour. It is expected for young viewers to learn empathy, cooperation, and respect for others. Negative

portrayals, in the content, can contribute to the normalisation of disrespectful or aggressive behaviour. This

will potentially influence children’s conduct unfavourably. Additionally, a study by Sitti et al. (2022) has

shown that children’s understanding of politeness evolves when they are exposed to positive social cues. Thus,

animated shows that carefully incorporate politeness strategies can effectively guide children’s social

development. Sitti et al. (2022) add that presenting clear examples of navigating social interactions politely

can help children realise the importance of maintaining social harmony and respecting others’ faces.

The extensive production of children’s animated shows provides an interesting platform for the analysis of

politeness strategies. Dewi and Ayomi (2023) highlight that applying politeness strategies in children’s

animated shows has significant implications for young viewers’ social development. Muhammad and Aziz

(2021) also stress that children’s television shows can serve as a medium for children to learn about social

interactions and cultural norms.

Many studies from various cultures have examined the media for children’s politeness strategies and many

were guided by Brown and Levinson’s Politeness Theory. For instance, findings from a study conducted by

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Fitri (2022) discovered that the main character in Mulan interchangeably used all types of politeness when

speaking

to different characters due to the Chinese politeness culture called Wulun. In another study, the protagonist in

Turning Red was found to frequently employ positive politeness strategies such as offering and promising to

build rapport with other characters. His behaviour demonstrates a culture from the West that values being

approachable and looking after one’s social image. The character’s speech was influenced by cultural norms

that value being expressive and friendly (Septaria & Ambalegin, 2023). The main character in Encanto also

relied on positive politeness strategies (Dewi & Ayomi, 2023). This corresponds to her Colombian cultural

setting in the film where people are bound by strong familial ties and freely communicate as a social

requirement which affects the anthropological aspects of the community.

In a study investigating Saudi children’s television programs, Alaiyed (2023) found that positive politeness

strategies, including in-group identity markers, and seeking agreement were employed by the main characters.

This shows the use of cohesive and performative action strategies that are typical of the Arab culture, which is

more collectivist and thrives on closeness, solidarity, and harmonious relationships. Similarly, the study by

Alsuhaim (2024) looked at the dubbing of an English animated series on Shahid and Netflix and remarked that

the protagonists’ employment of politeness strategies in this scenario shifted and aligned more with the Arabic

norms. In this case, negative strategies like indirect suggestions and softened rejections, which are less

aggressive, were made to show non-imposition which in itself emphasises the courtesy and respect given to

family members in the Arab culture. In a different study, Sari and Kaluge (2021) analysed politeness strategies

in the Japanese anime series Violet Evergarden. This study showed how indirectness and honorifics are often

used in the dialogue because of the Japanese culture’s strong focus on hierarchy and respect which corresponds

to the concept of Keigo. Moreover, a study that pertained to British culture was done by Yolanda and Bram

(2022), where they analysed the politeness strategies employed in the British animated television show, Peppa

Pig. The research found that the characters displayed a distinct feature of the British culture characterized by

sarcasm as well as understatement while talking which is viewed as politeness.

The frequency of the politeness strategies choices found by all the studies is related to the factors proposed by

Brown and Levinson. As stated earlier, the factors are social distance, relative power, and the ranking of

imposition. Social distance was found to be the most influential factor, accounting for 95% of the choices, as

stated in a study by Hutahaean et al. (2021). This means that speakers use more negative and Off-record

politeness with people with higher social distance, such as strangers. Additionally, relative power, a factor that

influences choices suggests that speakers use more politeness strategies when addressing those with higher

power or authority. Considering the probability of lesser encounters of the characters with others of higher

authority, the frequency of Positive Politeness may change. On the other hand, the ranking of imposition

which refers to the degree to which an FTA was seen as an imposition on the hearer, more politeness

strategies are required to save the “face” (Lamb, 2010).

A review of past studies shows recurring patterns and notable gaps. While the stability of politeness strategies

across languages is prominent, how scripted media conveys these strategies to young audiences is still

underexplored. Studies of animated series indicate positive and bald-on-record strategies as the most

dominant, but most of the studies rely on small samples or concentrate on translation rather than full-series

analysis. Moreover, there are mentions of factors to the choice of politeness strategies such as relative power,

social distance, and imposition but their links to narrative roles or urgency are seldom discussed. Besides this,

a comprehensive review of academic databases of scholarly articles including from Emerald Insight, Scopus,

ScienceDirect, JSTOR, Google Scholar, ProQuest, and Elsevier between 2025-2020 publications using these

keywords; politeness strategies, children media content, movie, film, politeness, polite, linguistic politeness,

culture, Brown and Levinson, Malaysian animation, Malay animation revealed that there was a lack of studies

addressing the politeness strategies in Malaysian animation. The lack of research addressing politeness

strategies in Malaysian children's animated shows represents a significant gap in the literature. This gap is

particularly noteworthy given Malaysia's unique cultural and linguistic context, which could influence the

portrayal and interpretation of politeness in local animated content. These gaps underscore the need for

systematic, episode-wide analysis of popular children’s series to explain how politeness strategies function in

context and what social lessons they are conveying.

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METHODOLOGY

A qualitative content analysis approach was employed to examine the politeness strategies used by BoBoiBoy

when interacting with other characters. According to Lindgren et al. (2020), content analysis is one of the

qualitative methods used to extract content of text data. This study used descriptive qualitative content analysis

to help the researchers focused on interpreting data directly from the resources. Hsieh and Shannon (2005)

state that content analysis is applied in research involving communications, sociology, and political science.

This type of analysis interprets data by extracting the meanings from people’s perspectives. Thus, this study

adopted the qualitative content analysis approach to reveal how linguistic choices reflect social norms and

narrative roles, which is essential for understanding their potential influence on children’s communication.

To ensure accuracy and completeness, the conversations between BoBoiBoy with other characters (i.e. Hanna,

Ming, Gopal, Fang, Adu Du, and Probe) extracted from the 10 episodes were first sourced from the official

BoBoiBoy English playlist on Monsta Studios’ official YouTube channel. They were then transcribed using AI

tools such as Microsoft Teams, Evernote, and TurboScribe. After transcription, incomplete or duplicate entries

were removed before analysis. Each transcription was manually checked and polished to eliminate mistakes

which were discovered during the review process. Only BoBoiBoy’s speech was examined. It is essential to

note that this study did not attempt to compare and contrast the English-dubbed episodes with the original

Malay version as this would expand the study into a contrastive analysis which is not in the scope of the

current study.

The coding framework for identifying the use of the politeness strategies was based on Brown and Levinson’s

(1987) Politeness Theory. This theory suggests that there are four main types of strategies: Bald on-record,

Positive Politeness, Negative Politeness, and Off-record. The strategy employed was to observe and analyse

BoBoiBoy’s utterances from a holistic perspective and classify them into the devised strategies and these are

not solely about pinpointing certain language features but rather involve understanding the purpose of the

statement within the context it was made. In this study, the data were confined to BoBoiBoy’s utterances in

scenes involving significant tensions and resolutions as they elucidate various politeness methods and

effectively demonstrate the dynamics of relative power, social distance, and imposition in character

interactions. This allows for a deeper level of interpretation over frequency (Miles et al., 2014).

To ensure the reliability of data interpretation, an intercoder agreement was checked for consistency of the

coding. It is often calculated through percentage agreement or Cohen’s Kappa to confirm that coding decisions

are stable across raters (O’Connor & Joffe, 2020). In the present research, a second coder independently

analyzed 20% of the transcripts using Brown and Levinson’s categories, and discrepancies were discussed until

consensus was reached. This step reinforces the dependability of the coding process. The validity of this study

was measured by the methodology of the study and the alignment of the analysis with theoretical frameworks.

The researchers ensured the data was representative of the research objectives by purposely sampling 10

episodes that contained key conversational moments. The content validity was further supported by

transcription and coding of the types in a tabular form. The theoretical validity, on the other hand, was

strengthened through the application of Brown and Levinson’s model.

After the reliability and trustworthiness of the interpretation were checked, the frequency of the occurrence of

the types was counted and recorded. Lastly, the factors influencing the choices of politeness strategies were

analysed.

RESULTS

RQ1. What are the types of politeness strategies used by BoBoiBoy?

Table 1 shows a few excerpts of BoBoiBoy’s utterances by strategy type and their specific context, sourced

from the 10 selected episodes. Overall, Boboiboy uses all four politeness strategy types: bald on record,

positive politeness, off record, and negative politeness. Directness mostly appeared in urgent fights or chase

scenes. Positive politeness and apologies are most used in family repair with Tok Abah; hedging and rhetorical

questions softened blame during capture scenes with Adu Du. In short, BoBoiBoy displays a balanced

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repertoire of action driven directness with relational repair. This helps expose children to mixed norms which

are firm directives in danger and reconciling conversation in family contexts.

Table 1 Qualitative examples by strategy type

Strategy type

Excerpt (Boboiboy→hearer)

Function/Context

Bald on-record

“Where do you think you’re going?” → Adu

Unmitigated challenge during pursuit

Bald on-record

“OK, enough enough.” → Adu Du

Urgent stop command under stress

Positive politeness

“I promise to always listen to you after this.”

→ Tok Abah

Relationship repair after neglect

Positive politeness

“Relax, man. I just sat down.” → Gopal

Reassurance to ease tension with peer

Off-record

“Maybe you don’t have spider senses…

maybe you have muscles of steel.” → Gopal

Playful hedging to protect face

Off-record

“Why? Why are you doing this to me?” →

Adu Du

Rhetorical appeal that softens

accusation

Negative politeness

“I’m sorry, Tok… Just go ahead and punish

me.” → Tok Abah

Admission of fault and deference

RQ2. Which politeness strategy is most used by Boboiboy?

Only 12 acts were coded for the politeness strategy they reveal. The small number resulted from focusing on

acts that highlighted significant tensions and resolutions. These limitations are typically due to the

characteristics of animated children’s shows like BoBoiBoy, which is known for being short, fast-paced, and

plot-driven. Table 2 displays the distribution of types of politeness strategies across the 12 coded acts from the

reviewed episodes in both frequency and percentage counts. A sample line for each strategy type is also

provided to anchor interpretation. Based on the results, it is evident that Bald on record accounted for 58% of

instances (7/12), followed by positive politeness 17% (2/12), off record 17% (2/12), and negative politeness

8% (1/12). The prominence of direct commands and unmitigated questions aligns with high stakes scenes and

peer familiarity, whereas affiliative or indirect moves appear around mentoring and emotional moments. Thus,

the English dub frames problem solving through clear directives, yet it still models empathy and tact at key

relational junctures. Practically, viewers may see that directness is legitimised by urgency while mitigation is

called for by closeness and authority. It is noteworthy that this finding is context-dependent (i.e., dominant in

conflicts and negotiation), hence not an exact representation of BoBoiBoy's overall politeness profile.

Table 2 Frequency and illustrative lines

Strategy type

Frequency (n)

Percentage (%)

Representative line

Bald on-record

“Hey, stop it. It’s too big. It’s going to explode.”

Positive politeness

“I promise to always listen to you after this.”

Off-record

“Maybe you have muscles of steel.”

Negative politeness

“I’m sorry, Tok… punish me.”

Total

100

—

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RQ3. Brown and Levinson’s influencing factors

Table 3 maps Brown and Levinson’s factors which are relative power, social distance, and degree of imposition

onto the instances of utterances that prompted a given strategy. Table 3 also summarises how each factor

influenced BoBoiBoy’s choice of politeness strategies. When power favoured Tok Abah, BoBoiBoy used

apology or promise; when social distance was low with peers, direct questions were common; when

imposition/urgency spiked, straightforward demands surfaced. Together, these factors jointly predicted strategy

selection and explained the patterning seen in RQ1 and RQ2. Accordingly, the series portrays flexible

politeness anchored to respect for authority and rapid action in conflict, which may scaffold children’s sense of

when to be direct and when to soften talk.

Table 3 Factors shaping strategy choice

Factor

Example excerpt

Resulting strategy

Interpreta-tion

Relative Power (Tok

Abah > BoBoiBoy)

“I’m sorry, Tok… Just

go ahead and punish

me.”

Negative politeness

(apology)

Respect to authority prompts

mitigation

Social Distance (close

peers)

“What do we do,

Gopal?”

Bald on-record (brief

query)

Familiarity allows concise,

unhedged talk

Imposition/Urgency

(threat)

“OK, enough

enough.”

Bald on-record (urgent

stop)

Serious situations justify

direct commands

Mixed (support + play)

“Maybe you have

muscles of steel.”

Off-record

(hedging/humour)

Face-saving during

supportive teasing

DISCUSSION

The study focused on analysing politeness strategies used by the main character in the BoBoiBoy’s English

series. The analysis on types of politeness strategies used by BoBoiBoy indicates that BoBoiBoy applies all

four strategies—bald on record, positive politeness, off record, and negative politeness. These strategies shift

form according to scene demands. Direct challenges and urgent stops are preferred in action and chase

sequences; promises and apologies are applied in family repair; while hedging and rhetorical questions are

prominent in supportive peer talk. This pattern aligns with cartoon research in which positive politeness and

direct forms co-occur to keep plots moving yet maintain affiliation (e.g., Fitri (2022)). Among the four

politeness strategies, bald on record was the most popular. Positive politeness and off record strategies were

used moderately and negative politeness appeared the least. In practice, this means commands, warnings, and

direct questions carry much of the heroic problem solving, whereas affiliative reassurance and playful hedging

appear at emotional peaks. This pattern resonates with previous studies on cartoons that also found directness

alongside warmth, though the present study finding leans more toward direct forms, likely due to the action

centric scenes sampled (e.g.. Alaiyed, 2023; Fiaz et al., 2024). Besides this, the finding on contexts influencing

the choices of politeness strategies corresponds to other studies demonstrating that choices between off record

and bald strategies were determined by relative power, social distance, and cultural expectation (e.g., Dewi &

Ayomi, 2023; Kaluge, 2021; Septaria & Ambalegin, 2023).

The mapping of factors to utterances shows that power (e.g., Tok Abah’s authority) invites apologies or

promises, low social distance with peers permits brisk, unmitigated queries, and high imposition/urgency

legitimises direct commands. Such dynamics parallel translation analysis by Alsuhaim (2024) where platform

and culture shape the calibration of negative face scenarios, emphasising respect for elders and pragmatic fit.

The findings also echo a systematic review of apology/request study by Kulsawang and Ambele (2024) that

identified power and distance as stable predictors of strategy choice across EFL contexts. Taken together, the

influencing factors consistently predicted BoBoiBoy’s selection in ways theory would anticipate.

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Consequently, the English dub presents a clear rule of thumb for viewers: speak directly when danger is high

or ties are close, but soften when authority is salient. This serves as guidance that children can readily apply.

Implications

The study explores ways linguistic politeness in children's animated shows is maintained through the

application of politeness strategies that draw on the Brown and Levinson’s (1987) Politeness Theory. It

provides a foundation for researchers to further examine the representation of politeness in media and its

potential impact on children’s social and linguistic development. The findings have both theoretical and

practical implications. Theoretically, the study amplifies Brown and Levinson’s framework by confirming that

power, distance, and imposition remain strong predictors of politeness strategy selection in scripted media,

even in a dubbed context. Practically, the findings of the study suggest that animation productions and content

creators can model respectful communication among the young viewers by balancing directional and relational

strategies. These sets of strategies can be applied to produce dialogues that stimulate positive interpersonal

communication skills. The findings of the study can also be used by educators to filter shows that align with

the pre-set educational goals. Furthermore, the research highlights the importance of modelling respectful

communication from positive media content. During co-viewing, for example, teachers and parents can use the

insights from the study to guide discussions about the language use in the series. This is especially prevalent in

the context where the children’s series are dubbed in a language not native to the young viewers. Ultimately,

the study underscores that animated series actively shape pragmatic norms, thus children’s programs should be

carefully designed.

CONCLUSION

This study aims to see how politeness strategies in children’s animated shows shape positive linguistic

politeness using a Malaysian popular cartoon series, BoBoiBoy. The concepts of relative power, social

distance, and rank of imposition presented by Brown and Levinson (1987) offer an insightful approach to

studying the elements of politeness in children's animated shows. These elements are not just fundamental with

regards to how the characters interact but also assist the young audience in understanding the complexity of

social relations. With such considerations in mind, animated shows can help children learn how to operate in

social situations in a respectful manner that builds positive relations and encourages appropriate behaviour in

different settings. From this study, it is evident that children can learn how to communicate respectfully in

different contexts if they could learn it from observing characters' interactions.

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