One near certainty about raising a young child these days is that you and your offspring will be exposed to a lot of stories about robots. Another is that the robots working their charms most effectively on you will belong to a new kind of archetype: the sympathetic robot. Sitting in darkened theaters with my 5-year-old son, I have watched any number of these characters. They are openhearted and often dazzled by the wonders of everyday life — innocently astounded by, say, the freedom of playing in the surf, the bliss of dancing with a loved one or the thrill of just holding hands. They might be more winningly human than some of the humans you know.

The robots in our fictions used to be more sinister. Our notion of artificial life has included the bioengineered humanoids in “Blade Runner,” the homicidal computer in “2001: A Space Odyssey” and the one that wages war on its makers in the “Terminator” movies. Long before that, we had Frankenstein’s monster in Mary Shelley’s Gothic novel and the golem in some versions of 17th-century Jewish folklore. These were often stories of hubris, of humanity’s inability to think through all that we were setting loose: Synthetic life was constantly breaking away from its creators’ grasp and committing heinous, forbidden acts. Even when the characters were more abstruse, operating beyond the ken of the people they manipulated — like the artificial intelligence Wintermute in William Gibson’s “Neuromancer” — they were, in some sense, gods that we mortals unleashed on the world and then struggled to control.

This hasn’t entirely changed. We still enjoy stories about malevolent machines, like the homicidal A.I. doll in “M3gan.” With other fictional robots, it’s not clear if they’re dangerous or merely hapless: Look to “Sunny,” recently on Apple TV+, in which a human protagonist spends most of the series trying to determine if she can trust the upbeat, bumbling homebot left to her by her roboticist husband. That kind of fear and suspicion, though, has mainly been reserved for adults. Children are offered a far more optimistic view — one that has lately seemed to go well beyond the endearing robots of the past, like R2-D2 and BB-8 in the “Star Wars” films, or the Iron Giant, or Sox in “Lightyear.”

Take Roz, the main character of the animated film “The Wild Robot,” which came out in September. Like the Peter Brown book series on which it is based, the movie focuses on a robot protagonist that gains emotional complexity after she washes ashore on an island unpopulated by humans, learns to communicate with the animals she meets there and becomes the surrogate mother of an orphaned gosling. Roz changes and adapts; she goes from seeing her care for the gosling as a rote task to welcoming it as a real connection. She embraces the wildness of the animals around her and ceases to be the unfeeling machine that her programming intended. Instead, she becomes an unnatural champion for the natural world — one whose touching incomprehension of how to care for a newborn makes her charming.

Or consider “Robot Dreams,” an animated feature by Pablo Berger that came out earlier this year. Based on a graphic novel by Sara Varon, it is set in a version of 1980s New York inhabited by humanlike animals who can, among other things, order build-your-own-robot kits advertised on late-night television. This film, with its theme of loneliness and its surprisingly mature depiction of how relationships change, might be better for slightly older children: It follows a dog and its robot companion as they grow close and then are driven apart, exploring the ways that love can evolve over time. But near the end, it is the robot, not the anthropomorphic dog who built it, that has to make a heartbreakingly human decision.

This is all in spite of the remarkably bleak near future portrayed in many of these children’s films.

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