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| Shayne Poindexter | .... | property designer (26 episodes, 2001-2004) |
| Roger Webb | .... | color stylist (20 episodes, 2001-2004) |
| Chris Battle | .... | property designer (20 episodes, 2001-2002) |
| Bryan Andrews | .... | storyboard artist (16 episodes, 2001-2004) |
| Chris Reccardi | .... | storyboard artist (13 episodes, 2001) |
| Paul Rudish | .... | storyboard artist / property designer (12 episodes, 2001-2004) |
| Brian Larsen | .... | storyboard artist (12 episodes, 2002-2003) |
| Genndy Tartakovsky | .... | storyboard artist (11 episodes, 2001-2004) |
| Erik Wiese | .... | storyboard artist / additional storyboard (8 episodes, 2002-2004) |
| Charlie Bean | .... | storyboard artist (7 episodes, 2001-2003) |
| Aaron Springer | .... | storyboard artist (7 episodes, 2002-2003) |
| Jairo Lizarrzu | .... | property designer / prop designer (7 episodes, 2003-2004) |
| Chris Mitchell | .... | storyboard artist (6 episodes, 2001-2002) |
| Michael Manley | .... | storyboard artist / additional storyboards (5 episodes, 2001-2002) |
| Andy Bialk | .... | property designer (5 episodes, 2001) |
| Jim Smith | .... | property designer / storyboard artist / ... (5 episodes, 2002-2004) |
| Frederick J. Gardner III | .... | property designer (3 episodes, 2001) |
| Carey Yost | .... | storyboard artist (3 episodes, 2001) |
| Don Shank | .... | storyboard artist (3 episodes, 2003) |
| Dan Krall | .... | property designer (2 episodes, 2001-2004) |
| Justin Thompson | .... | background designer (2 episodes, 2003-2004) |
| |
|
| Timothy J. Borquez | .... | supervising rerecording mixer / supervising re-recording mixer (52 episodes, 2001-2004) |
| Eric Freeman | .... | sound re-recording mixer (52 episodes, 2001-2004) |
| James Garifi | .... | track reader (52 episodes, 2001-2004) |
| Jim Hearn | .... | dialogue editor (52 episodes, 2001-2004) |
| Morten Folmer Nielsen | .... | adr editor / adr recordist (26 episodes, 2002-2004) |
| Robert Serda | .... | recording engineer / sound recording engineer (4 episodes, 2001-2004) |
| Bob Harman | .... | sound re-recording mixer (3 episodes, 2001) |
| Kerry Iverson | .... | dialogue editor (3 episodes, 2003) |
|
| Roy Braverman | .... | sound re-recording mixer (unknown episodes) |
| |
|
| Sandy Benenati | .... | animation checker (52 episodes, 2001-2004) |
| Robert Lacko | .... | clean-up artist (52 episodes, 2001-2004) |
| Jeff Albrecht | .... | clean-up artist (40 episodes, 2001-2004) |
| Lynne Naylor | .... | character designer (29 episodes, 2001-2004) |
| Robert Alvarez | .... | sheet timer (27 episodes, 2001-2004) |
| Andy Suriano | .... | character designer (27 episodes, 2001-2004) |
| Pat Agnasin | .... | layout keys (27 episodes, 2001-2003) |
| Todd Frederiksen | .... | layout keys (27 episodes, 2001-2003) |
| Jennifer C. Baker | .... | background artist (20 episodes, 2001-2003) |
| Nelda Ridley | .... | ink and paint coordinator (19 episodes, 2001-2002) |
| Leticia Lacy | .... | color stylist (18 episodes, 2001-2004) |
| Hueng-soon Park | .... | animation director (17 episodes, 2001-2004) |
| James T. Walker | .... | sheet timer (17 episodes, 2002-2004) |
| Karen Greslie | .... | color stylist (16 episodes, 2001-2003) |
| Ellen Suh | .... | background artist (15 episodes, 2001-2003) |
| Yu Mun Jeong | .... | animation director (12 episodes, 2001-2003) |
| Shakeh Haghnazarian | .... | character designer (12 episodes, 2002-2003) |
| Seong Chan Lee | .... | animation director (11 episodes, 2001-2003) |
| Randy Myers | .... | sheet timer (11 episodes, 2001-2003) |
| Bong Koh Jae | .... | animation director (10 episodes, 2001-2004) |
| Craig Kellman | .... | character designer (9 episodes, 2001-2004) |
| Barbara Krueger | .... | clean-up artist (9 episodes, 2001-2002) |
| Jim Smith | .... | character designer (9 episodes, 2002) |
| Paul Rudish | .... | character designer (7 episodes, 2001-2004) |
| Chris Mitchell | .... | character designer (7 episodes, 2001-2003) |
| Dexter Smith | .... | character designer / clean-up artist (7 episodes, 2001) |
| Bill Wray | .... | background artist / layout keys / ... (6 episodes, 2001-2004) |
| Nadia Vurbenova | .... | background artist (6 episodes, 2001-2003) |
| Roger Webb | .... | color stylist (6 episodes, 2001-2003) |
| Sae Hyon Park | .... | animation director (6 episodes, 2003) |
| Yeol Jung Chang | .... | animation director (5 episodes, 2001-2002) |
| Rob Renzetti | .... | sheet timer (5 episodes, 2001-2002) |
| Dan Krall | .... | layout keys (4 episodes, 2003-2004) |
| Christopher Brock | .... | background artist (3 episodes, 2001-2004) |
| Richard Daskas | .... | background artist (3 episodes, 2001-2004) |
| Scott Wills | .... | background artist (3 episodes, 2003) |
| Paul Stec | .... | layout keys (2 episodes, 2001) |
| Justin Thompson | .... | layout artist / layout keys (2 episodes, 2003-2004) |
| Ted Blackman | .... | layout keys (2 episodes, 2003) |
| Kwang-bae Park | .... | animation director (2 episodes, 2004) |
| |
Quotes:
Aku:Oh, put that thing away, Samurai. We all know what's going to happen. You'll swing your sword, I'll fly away, and probably say something like, "I'll be back, Samurai!" And then I'll flutter over the horizon and we probably won't see each for... about a week. And then we'll do the same thing again.
Jack:Your word play will not trick me, villain!
[
he attacks Aku]
Aku:I'll be back, Samurai - you'll see! Bwah-ha-ha-ha.
[
flutters over the horizon then reappears]
Aku:See what I mean?
See more »
Samurai Jack has something sorely lacking in American animated entertainment - greatness. Not since the Batman series, or perhaps ever, has a American cartoon flaunted such daring visual bravado, intelligent cinematic storytelling, intense action, and a revolutionary spirit so confidently - it's a warmly welcomed shake-up to the monotonous humdrum continuum of TV animation in this country. Genndy Tartakovsky (creator of Dexter's Laboratory) has captured lightning in a bottle with his latest brainchild, and in doing so has demolished the mold for cartoons both present and future. Indeed, calling this show itself a cartoon seems somehow disrespectful and stereotypical. Here, the freedom allowed by the medium brings the story of Jack and his vendetta against a millenial nemesis named Aku in the far future feverishly to life. Every background, set piece, character, and detail are all strikingly imagined, almost shocking in their originality. The minimalist nature of the animation itself gives the program a unique and powerful vitality, and the abstract and sometimes surreal stylization is unlike anything ever seen in cartoons. Tartakovsky avoids the clunky and often lifeless quagmire of more detailed and lifelike approaches to action animation and instead opts for he intensity and impact of a comic book in motion, and the results are both awesome and beautiful.
More than anything else, Samurai Jack truly feels like a work of art, like something that is crafted rather than produced. It's a testament to the fact that animation in the U.S. can be cutting edge, revolutionary, and mature. Truth be told, I haven't been excited about a new television program in quite a while. Time will tell, but Samurai Jack seems destined for masterpiece status - not only here in America, but quite possibly worldwide.