This is part of the World Masterpiece Theater Production History series. You can read the previous entry here
This article was co-written with Toadette
Like its 1977 predecessor Rascal the Raccoon, 1978’s The Story of Perrine is among the least-known World Masterpiece Theater entries in the English-speaking sphere. Such does not seem to be the case in Japan, where a recent popularity poll placed it second, ahead of such popular entries as Anne of Green Gables or A Dog of Flanders. The easiest explanation for this is probably that, as we will see, Perrine is among the most melodramatic in the WMT’s 70s lineup. But, just like Rascal and Flanders, it is a very uneven production – although it may be the best non-Takahata work in the series in some aspects.
Isao Takahata is in fact the best starting point to discuss Perrine. As anyone could notice, there was since 1974 a set rotation of directors: one year it would be Takahata, and the next it would be some other director, like Masaharu Endô or Hiroshi Saitô. Following this, Takahata should theoretically have been the series director of the 1978 entry, Perrine. However, according to character designer Shûichi Seki, it appears that Takahata refused to do so this time. There may have been multiple reasons for this surprising decision.
The first and most obvious one would be the similarity between Hector Malot’s En Famille and Takahata’s previous work, Marco: both stories are about a child traveling alone or almost alone to join a distant family member. Many of the hardships Perrine goes through, Marco had already experienced in one form or another. Another possible reason can be found in the original novel’s narrative and ideological presentation: while it does address such themes as racial prejudice, inequalities of wealth and difficult living conditions of the lower classes under XIXth century capitalism, the answer it offers is ultimately industrial paternalism. Indeed, the story ends with Perrine acting as the conscience and good advisor of her grandfather, the rich factory owner Vulefran, who she convinces of taking many measures in favor of the workers whom he until then heartlessly exploited. After Marco and its painstaking depiction of 19th century Italian immigration, such an ending may have seemed overly optimistic, not to say outright naive, to Takahata.
It seems that Malot’s writing was just not popular with the more ambitious anime directors, or was seen simply as a starting point for something more interesting. Even Osamu Dezaki, who at the same time was directing another adaptation of the French writer, Nobody’s Boy Remi – a passion project that went back to Madhouse’s earliest years or even his final days working for Mushi Pro, according to Manabu Ohashi – had the ending changed so that Remi would go off on a new journey instead of just settling down and adopting a rich, married life.
In any case, and whatever his reasons, Takahata’s refusal to direct Perrine would have major consequences for the production, and also for Nippon Animation as a whole. Indeed, Takahata’s decision brought about similar refusals from Hayao Miyazaki, Yôichi Kotabe, studio Oh! Production and possibly even some members of Nippon’s A team of affiliated freelancers, who all revealed that their allegiance lay with Takahata as an individual rather than to the studio.
This, then, opened new possibilities, especially for Miyazaki: he could now make his debut as a director on Future Boy Conan, with most of the aforementioned artists working on it in Perrine’s stead. “When I was told to direct, I didn’t jump at the chance,” Miyazaki remembered in a text from Starting Point. “I felt scared and troubled, but I didn’t have any other option. I was to direct, do layout, or draw key animation. If I were to stay with key animation at Nippon Animation my salary would remain low. And for layout, I didn’t feel like doing it for The Perrine Story. I thought about quitting, but then I said if Yasuo Ōtsuka can work on it, I’ll do it.” It must be said, of course, that the idea of simply doing layouts no longer interested Miyazaki, and that he was starting to feel frustrated by his position under Takahata – let’s remember that the production of Marco had been conflictual, leading Yôichi Kotabe to take the opportunity of not having to work on Perrine to leave Nippon.
While the studio could somewhat compensate for the loss of staff with Conan, the results on Perrine’s production were disastrous. Indeed, the WMT’s second team, notably director Hiroshi Saitô, art director Masahiro Ioka, and possibly character designer Shûichi Seki, was busy on Araiguma Rascal as this happened. Because they suddenly found themselves having to spearhead the next series as well, they were unable to properly prepare for it, making Perrine the first entry in the WMT that did not rely on overseas location scouting – leading to some blatant inaccuracies in the depiction of European countries and notably France, such as cicadas chirping and people growing watermelons around Paris. The entire staff was probably gathered in a hurry, leading to many members of Nippon’s B or C team being brought on. For many, it was their first time on the WMT.
Besides the top team that was just mentioned, we can count three notable members of this group on Perrine’s team: animation director Takao Ogawa and animators Kazuo Ushikoshi and Katsuo Takasaki. All were ex-Mushi artists who had worked on Andersen Monogatari and/or New Moomin, the two series Mushi produced for what became the WMT timeslot, before joining Zuiyo/Nippon proper at some point in the mid-70s. Then, we find other animators who had been working on Zuiyo/Nippon’s non-WMT series since Vicky the Viking, like Tadashi Shirakawa and Yoshihige Kosako.
On the early episodes, we also find a group of animators that had been more-or-less involved with Nippon, and were probably brought on to support the production’s rough start. On episode 5’s layouts was Shin’ichi Tsuji, an ex-Tôei artist who had done animation direction on the former Seki-designed shows Vicky the Viking, Arabian Nights, and Little Lulu. This seems to have been his last work for Nippon, as he then left to work for Group TAC’s Manga Nippon Mukashibanashi and Manga Kodomo Bunko. Then, we have ex-Mushi animator Kazuko Hirose on episodes 1, 4 and 6. Her first involvements with the future WMT slot were, of course, on Andersen Monogatari and New Moomin, and then she irregularly worked on Zuiyo/Nippon shows until Bannertail the Squirrel. She would then join fellow ex-Mushi animator Mitsuo Shindô, who had been working for some time as a Sunrise and later Tôei-associated freelancer on the likes of La Seine no Hoshi and Candy Candy, at his new studio Shindô Pro, from which the two of them would contribute to Dr. Slump and Dragon Ball. Last but not least, on episode 1 we find Yûji Yatabe, an early member of Toyô Ashida’s Studio Live (having already worked under Ashida on Space Battleship Yamato) who seems to have gone freelance by 1978.
Finally, there was Yoshiyuki Momose: originally from Studio Neo Media, he had worked on Tokyo Movie series until the end of the summer of 1975, when, possibly at the suggestion of Neo Media’s head Keiichiro Kimura, he started working for Nippon – Neo Media is credited for animation on at least episode 40 of Vicky the Viking, and Kimura himself is credited on episode 73. After a brief start as an animator on episodes 74 and 77 of Vicky (his involvement with the series finale 78 is debatable, as the credits on available prints of that episode appear to have been reused from 77), Momose spent most of his time working as an animation director on the similarly Seki-designed series Arabian Nights and Little Lulu, as well as Nippon’s sports series Dokaben and Ashita E Attack – the latter an Attack N°1 clone that was entirely subcontracted to Korea with supervision by Japanese artists. Most of Momose’s work during this period seems to have been on a level far inferior to that of his Neo Media-era animation, and Perrine was the opportunity for him to finally return to form.
However, Momose’s style on Perrine was very different from what it had been in the early 70s. His extremely energetic style, which used extremely irregular timings and unpredictable movements, now featured a much slower and detailed kind of motion. This kind of animation felt suited to Seki’s character designs, especially those of Perrine and her mother: very slender, with an extremely low amount of lines, they are some of the most original in the WMT – but also completely expressionless. They had none of the inner life of Kotabe’s designs and it may have been hard to put them in motion. As a result, it is sometimes hard to determine whether the animation is trying to be subtle or just struggling to move.
Perrine’s greatest visual strengths were therefore two things: the layouts and background art. The layouts are themselves uneven, just as their precise status seems to have been: the credit appears and disappears irregularly and the artists responsible for it are themselves never quite the same. Yasuji Mori’s presence among the layout artists is surely the most interesting, but his actual contributions were probably low: it seems that at the time, Mori was close to losing his eyesight (to the point of having to be heavily assisted by Yasuo Otsuka for a short contribution to Conan) and was almost always assisted by one or two other layout artists. In any case, when backed by competent storyboarders (notably Takahata who made a few brief contributions and Yoshiyuki Tomino), the way characters are made to move around the screen can be challenging and beautiful.
Then, there is the background art, supervised by Masahiro Ioka. Since Heidi, most of Ioka’s work had been relatively anecdotic; but Perrine was something of a comeback, as if the absence of location scouting had stirred his imagination and challenged him to create some of his most beautiful backgrounds yet. The first half of the show, dedicated to Perrine’s travels in Europe, was the occasion to showcase a great variety of sceneries. On the other hand, the second half which only takes place in a single location, the town of Maraucourt, enabled the backgrounds to focus on this unique place as it changed through time and across seasons – in that sense, this part of Perrine was a sort of preparation for Ioka’s masterpiece, Anne of Green Gables. But weaknesses in the background art are still visible: the first few episodes are by far the weakest, while the interior scenes are far less appealing and often look dull, as if they were not Ioka and the staff’s speciality.
Narratively as well, Perrine is rather uneven – though that is a certain improvement compared to some of the previous lesser WMT series. Entirely written by Akira Miyazaki, a movie and TV screenwriter who had done his first anime scripts on Rascal, Perrine was by far the most melodramatic entry in the WMT thus far. It begins very hard, with the death of Perrine’s father, and then confronts the viewer with multiple kinds of dramatic situations, notably the death of Perrine’s mother, Perrine herself approaching death on multiple instances, and the final, emotional reunion with her grandfather. Perrine may have been too close to Marco in some ways, but its writing and the subsequent adaptation are far more grounded in XIXth century popular literature and its own insistence on drama.
This strategy is a double-edged sword. It surely contributed to Perrine’s success and the fact that it is particularly well-remembered to this day: the most impactful scenes do indeed leave an impression. On the other hand, the plot’s insistence on mistreating Perrine sometimes becomes a bit artificial, if not rather bothersome. Some of the reason for that can be found in the adaptation process: Malot’s novel is largely focused on what constitutes the second half of the anime, set in Maraucourt. But the first half, dedicated to the travels, is much shorter in the original work and it was where Miyazaki inserted many new episodes and characters. As was now classical, the show featured a mascot, the dog Baron – perhaps one of Seki’s least interesting designs and generally one of the most annoying WMT mascots.
All the above remarks may make it sound like Perrine is a rather bad show; this isn’t the case at all, as even its uneven dimension is a step-up compared to some previous entries that are simply uniformly bad. Unlike shows such as A Dog of Flanders or Rascal the Raccoon, Perrine also maintains some consistency in one aspect: its themes and message. Indeed, it is clearly not just a neutral portrayal of “daily life” or “human relationships”, but has an educational and moral dimension – one probably directly inherited from its source material, a didactic side that may have rebuffed Takahata as it already had on Heidi. Perrine therefore repeats its core message multiple times, one transmitted to Perrine by her mother: “If you want to receive the love of others, you must first give them your love”.
As the one who embodies this philosophy throughout most of the show, the protagonist carries most of its appeal on her shoulders. Compared to another redhead protagonist, Anne, she may seem remarkably passive – yet another aspect that might have led Takahata to reject the offer to direct. But that is because the structure and narration of both shows is naturally very different. The way Perrine changes the people around her and is, especially at the beginning, changed by them, is less psychological than moral: the show is essentially about how to become a better person able to take care of others and support them throughout all of their individual journeys. We can now also see how Perrine differs from Marco: despite its title, apparently centered only on the protagonist, The Story of Perrine is about encounters, and the variety of secondary characters plays a great role in this.
Episode highlights
Episode 3
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Isao Takahata (高畑勲)
Animation Direction: Shûichi Seki (関修一), Yoshiyuki Momose (百瀬義行)
Animation: Kôichi Murata (村田耕一), Jôji Manabe (真鍋譲二), 山内登寿郎, Sumie Nishido (西戸スミエ), Kumiko Tsukada (束田久美子), Yôko Tomizawa (富沢洋子), Ayako Sayoshi (三好史子)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: 童工房, Studio Aqua, Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Shôji Koizumi (小泉正二)
This episode is the first to credit Yoshiyuki Momose and to include studio Oh! Production on the animation, represented by studio leader Kôichi Murata and longtime WMT animator Jôji Manabe. It is also one of the two episodes storyboarded by Takahata, who must have agreed to this as a way to compensate for his refusal to handle chief direction, even as he quickly moved on to other projects such as helping out on Conan and perhaps his own Gauche the Cellist. In all, its illustrious staff and its simple but efficient plot – Perrine and her mother help an isolated woman give birth – make it one of the best episodes in the early part of the show. Unsurprisingly, Takahata’s storyboarding is creative, with many close-ups, first person shots and striking compositions that beautifully highlight Ioka’s backgrounds. In terms of animation, the middle part of the episode – end of A part and beginning of B part – is no doubt one of the highlights of early Perrine. Along with the storyboards, the layouts emphasize perspectives and depth, challenging the animators and making the sight of Perrine taking care of daily tasks all the more interesting. The acting is slow and delicate, and sometimes reminiscent of Yasuji Mori’s own style: it is as if his presence, however minimal it may have been, inspired the other animators on the show. If we take this into consideration and look at Anne of Green Gables’ own animation philosophy, it may be that, with Perrine, WMT animators started to take a new turn: away from the lively, dynamic animation inherited from Heidi towards a more refined and soft approach to movement.
Episode 11
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Trans Arts (トランス・アーツ)
Kazuo Tashiro (田代和男), 小湊登, 石之博和, 横川たか子
Kazuo Takematsu (竹松一生), Masao Takeda (武田政夫), Shigeru Ono (小野茂), Megumi Endô (遠藤めぐみ), Sadahiko Sakamaki (坂巻貞彦)
In-between check: Toshiki Yoshida (吉田利喜), Momoko Susui (筒井百々子)
Backgrounds: 童工房 feat. Toshikazu Yamaguchi (山口俊和), 菅原聖二; Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Shôji Koizumi (小泉正二)
With Takahata’s contributions being so scarce, the title of best storyboarder must somewhat naturally be given to Yoshiyuki Tomino. He was in charge of 10 episodes overall, many of which are the best in the show. And yet, at the time, Tomino was starting to become quite busy: he was finally becoming acknowledged as a central director within studio Sunrise, with shows such as Zambot 3, Daitarn 3 and finally Mobile Suit Gundam. Being chief director was enough work as is, but these shows were incredibly troubled productions, pushing Tomino himself to do some uncredited animation on Zambot 3 #17 and #23. In any case, none of that comes through in Perrine, and especially not in this episode: taking place in a beautiful forest setting, it begins in a quiet atmosphere and progressively builds tension. As always on Perrine, the biggest challenge for the storyboarder must have been how to give the most room to the art direction, something that Tomino manages to do perfectly. The true highlight of this episode is then the moment when background art, animation and cinematography perfectly complement each other: that is, the end of A part when Perrine, her mother and traveling companion Marcel encounter a deer and her foal at night. Even though it is simple, the animation of moonlight on the water of a pond is beautiful and a perfect complement for the greenish colors of the backgrounds used to convey the atmosphere of a quiet moonlit night.
Episodes 13-14
#13
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Hiroshi Saitô (斉藤博)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yukiyoshi Hane (羽根章悦)
Yoshihige Kosako (古佐小吉重), Sadahiko Sakamaki (坂巻貞彦), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: 童工房 feat. Toshikazu Yamaguchi (山口俊和), 菅原聖二; Studio SF
Assistant Episode Direction: Yasuo Kageyama (蔭山康生)
Production Assistance: 寺田克弘
#14
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Yasuji Mori (森やすじ)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Trans Arts (トランス・アーツ)
Kazuo Tashiro (田代和男), 小湊登, 石之博和, 横川たか子
Kazuo Takematsu (竹松一生), Masao Takeda (武田政夫), Shigeru Ono (小野茂), Megumi Endô (遠藤めぐみ), Sadahiko Sakamaki (坂巻貞彦)
In-between check: Toshiki Yoshida (吉田利喜), Momoko Susui (筒井百々子)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Kôsei Kano (鹿野公靖)
This couple of episodes is particularly striking for mainly one reason: as Perrine and her mother cross the Alps and enter Switzerland and then France, Masahiro Ioka would have had to produce backgrounds similar to those he had made on Heidi 4 years prior. But there are no obvious repetitions or citations. Rather, those two episodes highlight the progression in Ioka’s art between both shows: Perrine’s color design is slightly darker and overall, the art looks slightly more muddy than Heidi and its vibrant colors. Moreover, the sceneries in Perrine are more varied and far denser. As a result, Perrine’s backgrounds are more detailed and realistic, in the sense that they seem to move away from Heidi’s somewhat idealized depiction of the landscape.
Besides the background art, these two episodes also stand out for the (relative) quality of their animation. As Perrine and her mother struggle to get their carriage across the steep mountains, the physical and psychological effort they have to put in is higher than ever. The movement manages to follow up with this and to convey the difficulty the two women go through, in what is another contrast with Heidi: as beautiful as they may be, the Alps are not just a welcoming paradise.
Episodes 20-21
#20
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一), Yasuji Mori (森やすじ), Michiyo Sakurai (credited as 桜井美智代)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Yoshiyuki Momose (百瀬義行), Megumi Endô (遠藤めぐみ), Yoshihige Kosako (古佐小吉重), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 高砂克己
#21
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshio Kuroda (黒田昌郎)
Layout: Shun’ichi Sakai (坂井俊一), Shûichi Seki (関修一)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Shun’ichi Sakai (坂井俊一), Megumi Endô (遠藤めぐみ), Yoshihige Kosako (古佐小吉重), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
Assistant Episode Direction: 小園井常久
Production Assistance: 寺田克弘
These two episodes are the first real dramatic climax of the show: Perrine and her sick mother are falling into extreme poverty and unable to leave Paris, which is where Perrine’s mother finally dies in her daughter’s hands. But they are also a good example of the difficulty the staff had to maintain a certain consistency in the animation. For example, the scene between Perrine and her mother at the middle of episode 20, when Perrine says farewell to the donkey Palicarl that she had to sell off, is probably one of the strongest scenes in the entire show: the compositions emphasize Perrine’s sadness and isolation, while the detailed drawings and movement of the girl and her mother perfectly conveys the overflowing emotion. Here, the melodrama works because it is carried by the visuals and acting. But such is not the case in the next episode. As both women are about to finally leave, Perrine’s mother is unable to stand up and faints; this unexpected and tragic turnaround completely fails because of awkward animation and poor dramatic timing. But then, this scene is slightly compensated by the end of the episode, which is the death of Perrine’s mother, supported by a strong reliance on close-ups and a detailed work on shading and lighting which makes up for the lack of movement.
Episode 30
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Yukiyoshi Hane (羽根章悦), Megumi Endô (遠藤めぐみ)
Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻), Tadayoshi Nishikawa (西川忠良)
In-between check: Momoko Susui (筒井百々子)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Kôsei Kano (鹿野公靖)
Storyboarded by Yoshiyuki Tomino and featuring some of the show’s best animators (notably Momose on animation direction and veteran Yukiyoshi Hane on animation), this is without any doubt Perrine’s best episode. Telling how Perrine decides to live entirely on her own without trying to depend on anyone else, it is a testament to her strength as a character, and a particularly fitting story for Tomino. Indeed, the representation and inclusion of people having to sustain themselves physically and materially – finding one’s food on one’s own, crafting one’s bedding and clothes without outside help – would remain core themes of his future work. And it must be said that the insertion of such things goes further into detail than it ever had in any other WMT series. This must have been a challenge for the animators, as the scenes where Perrine creates her own shoes may have required a special amount of reference and a close attention to detail to avoid feeling too far off. But the artists beautifully rose up to the challenge. The moment at the beginning of the B part when Perrine finally runs out of her house and shows off her newly-crafted shoes is simply wonderful as the movement slows down and takes on incredible lifelike qualities.
Once again, the art direction must also be mentioned: most of the A part takes place at dusk, leading to incredible backgrounds, but also extra efforts on the side of the coloring staff to portray the warm lights and long shadows of summer evenings.
Episode 46
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Megumi Endô (遠藤めぐみ), Yoshiyuki Momose (百瀬義行), Yoshihige Kosako (古佐小吉重)
Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦), 加藤富恵
Assistant Episode Direction: 小園井常久
Production Assistance: Kôsei Kano (鹿野公靖)
Visually, this episode is perhaps not one of the most remarkable – although it keeps showcasing complex layouts, especially in the scenes inside Vulefranc’s manor as characters are shown walking around large rooms or going up some stairs under complex camera angles. However, it is thematically very important, as it is the first to frontally discuss the issue of workers’ living conditions. Indeed, until now, factory work had been portrayed as hard, but not necessarily that taxing: by that point, Perrine has gone through so many hardships that her having to do intense, physical work in a factory doesn’t seem like much. It therefore takes a dialogue scene between Perrine and engineer Fabry for the subject to be brought on the table: there, Fabry discusses the hardships of factory labor, but that is not all. He also paints a remarkably nuanced picture of industrialization and modernization, one unexpected in such a series: he explains how setting up a factory in a small countryside town irremediably changed the lifestyle and economy of the entire region, and how those that were subjected to this change might resent it. While, as discussed previously, the show ultimately ends up resolving those issues by espousing paternalism, the historical and sociological perspective presented in this episode is already outstanding.
Credits transcription
Original Work: Hector Malot
Executive Producer: Kôichi Motohashi (本橋浩一)
Music: Takeo Watanabe (渡辺岳夫)
Character Design: Shun’ichi Seki (関修一)
Art Design: Hideo Chiba (千葉秀雄)
Art Direction: Masahiro Ioka (井岡雅宏)
Director of Photography: Keishichi Kuroki (黒木敬七)
Recording Director: Yasuo Urakami (浦上靖夫)
Producers: Junzô Nakajima (中島順三), Takaji Matsudô (松土隆二)
Directors: Hiroshi Saitô (斎藤博), Shigeo Koshi (腰繁男)
Planning: Nippon Animation (日本アニメーション)
Production Desk: Sôjirô Masuko (増子相二郎)
Production: Nippon Animation, Fuji TV
#01
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Hiroshi Saitô (斎藤博)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Kazuko Hirose (広瀬和子), Katsuo Takasaki (高崎勝夫), Kiyomu Fukuda (福田皖), Yûji Yatabe (谷田部雄次)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: 童工房 feat. Toshikazu Yamaguchi (山口俊和), 菅原聖二; Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Manabu Tamura (田村学)
#02
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Layout: Yasuji Mori (森やすじ), Oh! Production (オープロダクション)
Animation Direction: Kôichi Murata (村田耕一)
Animation: Tadashi Shirakawa (白川忠志), Yoshihige Kosako (古佐小吉重)
In-between check: 藤野雄次, Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: 童工房, Studio Aqua, Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 高砂克己, Shûji Uchiyama (内山修二)
#03
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Isao Takahata (高畑勲)
Animation Direction: Shûichi Seki (関修一), Yoshiyuki Momose (百瀬義行)
Animation: Kôichi Murata (村田耕一), Jôji Manabe (真鍋譲二), 山内登寿郎, Sumie Nishido (西戸スミエ), Kumiko Tsukada (束田久美子), Yôko Tomizawa (富沢洋子), Ayako Sayoshi (三好史子)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: 童工房, Studio Aqua, Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Shôji Koizumi (小泉正二)
#04
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Hiroshi Saitô (斎藤博)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yukiyoshi Hane (羽根章悦), Tadashi Shirakawa (白川忠志), Yoshihige Kosako (古佐小吉重), Kazuko Hirose (広瀬和子), Katsuo Takasaki (高崎勝夫)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: Studio Aqua, 童工房, Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Kô Usuda (?) (臼田宏)
#05
Screenwriting: Akira Miyazaki (宮崎晃), Tai Katô (加藤盟)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Layout: Yasuji Mori (森やすじ), Shin’ichi Tsuji (辻伸一)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻), Kenji Tokura (戸倉健二), Tadayoshi Nishikawa (西川忠良)
In-between check: 藤野雄次
Backgrounds: Studio Aqua, 童工房, Studio SF
Assistant Episode Direction: Yasuo Kageyama (蔭山康生)
Production Assistance: Shûji Uchiyama (内山秀二), Kôsei Kano (鹿野公靖)
#06
Screenwriting: Akira Miyazaki (宮崎晃), Tai Katô (加藤盟)
Storyboard: Isao Takahata (高畑勲)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Tadashi Shirakawa (白川忠志), Yoshihige Kosako (古佐小吉重), Nobuo Tomizawa (富沢信雄), Katsuo Takasaki (高崎勝夫), Kazuko Hirose (広瀬和子)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: Studio Aqua, 童工房, Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Kôsei Kano (鹿野公靖), 寺田克弘
#07
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshio Kuroda (黒田昌郎)
Animation Direction: Shûichi Seki (関修一), Yoshiyuki Momose (百瀬義行)
Animation: Kôichi Murata (村田耕一), Jôji Manabe (真鍋譲二), 山内登寿郎, Kumiko Tsukada (束田久美子), Yôko Tomizawa (富沢洋子)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: Studio Aqua, 童工房, Studio SF
Assistant Episode Direction: 小園井常久
Production Assistance: Shôji Koizumi (小泉正二)
Marcel brings a lot of liveliness to the acting
#08
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yukiyoshi Hane (羽根章悦), Masao Takeda (武田政夫), Kazuo Takematsu (竹松一生), Shigeru Ono (小野茂)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: Studio Aqua, 童工房, Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 臼田宏
#09
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Animation Direction: Takao Ogawa (小川隆雄)
Key Animation: Trans Arts (トランス・アーツ)
Kazuo Tashiro (田代和男), 小湊登, 石之博和, 横川たか子
Yoshihige Kosako (古佐小吉重), Sadahiko Sakamaki (坂巻貞彦), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男)
In-between check: Toshiki Yoshida (吉田利喜), Momoko Susui (筒井百々子)
Backgrounds: Studio Aqua, 童工房, Studio SF
Assistant Episode Direction: 小園井常久
Production Assistance: 寺田克弘
#10
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Yoshiyuki Momose (百瀬義行), Takao Ogawa (小川隆雄)
Animation: Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻), Tadayoshi Nishikawa (西川忠良)
In-between check: 藤野雄次, Yoshihige Kosako (古佐小吉重)
Backgrounds: 童工房 feat. Toshikazu Yamaguchi (山口俊和), 菅原聖二; Studio SF
Assistant Episode Direction: Yasuo Kageyama (蔭山康生)
Production Assistance: Shûji Uchiyama (内山秀二), Kôsei Kano (鹿野公靖)
#11
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Trans Arts (トランス・アーツ)
Kazuo Tashiro (田代和男), 小湊登, 石之博和, 横川たか子
Kazuo Takematsu (竹松一生), Masao Takeda (武田政夫), Shigeru Ono (小野茂), Megumi Endô (遠藤めぐみ), Sadahiko Sakamaki (坂巻貞彦)
In-between check: Toshiki Yoshida (吉田利喜), Momoko Susui (筒井百々子)
Backgrounds: 童工房 feat. Toshikazu Yamaguchi (山口俊和), 菅原聖二; Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Shôji Koizumi (小泉正二)
#12
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Kôichi Murata (村田耕一)
Animation: Kôichi Murata (村田耕一), Jôji Manabe (真鍋譲二), 山内登寿郎, Kumiko Tsukada (束田久美子), Yôko Tomizawa (富沢洋子)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一
Assistant Episode Direction: 小園井常久
Production Assistance: 臼田宏
#13
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Hiroshi Saitô (斉藤博)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yukiyoshi Hane (羽根章悦)
Yoshihige Kosako (古佐小吉重), Sadahiko Sakamaki (坂巻貞彦), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds: 童工房 feat. Toshikazu Yamaguchi (山口俊和), 菅原聖二; Studio SF
Assistant Episode Direction: Yasuo Kageyama (蔭山康生)
Production Assistance: 寺田克弘
#14
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Yasuji Mori (森やすじ)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Trans Arts (トランス・アーツ)
Kazuo Tashiro (田代和男), 小湊登, 石之博和, 横川たか子
Kazuo Takematsu (竹松一生), Masao Takeda (武田政夫), Shigeru Ono (小野茂), Megumi Endô (遠藤めぐみ), Sadahiko Sakamaki (坂巻貞彦)
In-between check: Toshiki Yoshida (吉田利喜), Momoko Susui (筒井百々子)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Kôsei Kano (鹿野公靖)
#15
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Megumi Endô (遠藤めぐみ), Yoshihige Kosako (古佐小吉重), Sadahiko Sakamaki (坂巻貞彦)
Katsuo Takasaki 高崎勝夫 (spelled as 高崎勝男), Kazuo Takematsu (竹松一生), Masao Takeda (武田政夫)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds: 童工房 feat. Toshikazu Yamaguchi (山口俊和), 菅原聖二; Studio SF
Assistant Episode Direction: 小園井常久
Production Assistance: Shôji Koizumi (小泉正二)
#16
Screenwriting: Akira Miyazaki (宮崎晃), Tai Katô (加藤盟)
Storyboard: Yoshio Kuroda (黒田昌郎)
Layout: Michiyo Sakurai (桜井美知代 credited as 桜井美智代)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Trans Arts (トランス・アーツ)
Kazuo Tashiro (田代和男), 小湊登, 石之博和, 横川たか子
Yoshihige Kosako (古佐小吉重), Sadahiko Sakamaki (坂巻貞彦), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Yasuo Kageyama (蔭山康生)
Production Assistance: 臼田宏
#17
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Ikeno Fumio (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yukiyoshi Hane (羽根章悦), Megumi Endô (遠藤めぐみ), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds: 童工房 feat. Toshikazu Yamaguchi (山口俊和), 菅原聖二; Studio SF
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 寺田克弘
#18
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshio Kuroda (黒田昌郎)
Layout: Shun’ichi Sakai (坂井俊一), Yasuji Mori (森やすじ), Shûichi Seki (関修一)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Trans Arts (トランス・アーツ)
Kazuo Tashiro (田代和男), 小湊登, 石之博和, 横川たか子
Yoshiyuki Momose (百瀬義行), Yoshihige Kosako (古佐小吉重), Katsuo Takasaki (高崎勝)
In-between check: Momoko Susui (筒井百々子), Fumio Kôda (古宇田文男)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: 小園井常久
Production Assistance: Kôsei Kano (鹿野公靖)
#19
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Layout: Shun’ichi Sakai (坂井俊一), Shûichi Seki (関修一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yoshiyuki Momose (百瀬義行), Megumi Endô (遠藤めぐみ), Yoshihige Kosako (古佐小吉重), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
Assistant Episode Direction: Yasuo Kageyama (蔭山康生)
Production Assistance: Shôji Koizumi (小泉正二)
#20
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一), Yasuji Mori (森やすじ), Michiyo Sakurai (credited as 桜井美智代)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Yoshiyuki Momose (百瀬義行), Megumi Endô (遠藤めぐみ), Yoshihige Kosako (古佐小吉重), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 高砂克己
#21
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshio Kuroda (黒田昌郎)
Layout: Shun’ichi Sakai (坂井俊一), Shûichi Seki (関修一)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Shun’ichi Sakai (坂井俊一), Megumi Endô (遠藤めぐみ), Yoshihige Kosako (古佐小吉重), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
Assistant Episode Direction: 小園井常久
Production Assistance: 寺田克弘
#22
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一), Michiyo Sakurai (credited as 桜井美智代)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Yukiyoshi Hane (羽根章悦), Michiyo Sakurai (credited as 桜井美智代), Yoshihige Kosako (古佐小吉重), Sadahiko Sadamaki (坂巻貞彦)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Yasuo Kageyama (蔭山康生)
Production Assistance: Kôsei Kano (鹿野公靖)
#23
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshio Kuroda (黒田昌郎)
Layout: Shun’ichi Sakai (坂井俊一), Yasuji Mori (森やすじ), Shûichi Seki (関修一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Megumi Endô (遠藤めぐみ), Sadahiko Sakamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
Assistant Episode Direction: 小園井常久
Production Assistance: Shôji Koizumi (小泉正二)
#24
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一), Michiyo Sakurai (credited as 桜井美智代)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Michiyo Sakurai (桜井美知代), Yoshiyuki Momose (百瀬義行), Yoshihige Kosako (古佐小吉重), Saburô Takada (高田三郎), 長嶋聖徳
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 高砂克己
#25
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一), Yasuji Mori (森やすじ), Shûichi Seki (関修一)
Animation Direction: Takao Ogawa (小川隆雄)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
Animation: Megumi Endô (遠藤めぐみ), Tadashi Shirakawa (白川忠志), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫)
In-between check: Momoko Susui (筒井百々子), Toshiki Yoshida (吉田利喜)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
Assistant Episode Direction: Yasuo Kageyama (蔭山康生)
Production Assistance: 寺田克弘
#26
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Yoshio Kuroda (黒田昌郎)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Key Animation: Yukiyoshi Hane (羽根章悦), Michiyo Sakurai (桜井美知代)
Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Tadayoshi Nishikawa (西川忠良)
In-between check: Momoko Susui (筒井百々子)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Kôsei Kano (鹿野公靖)
#27
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
Animation: Tadashi Shirakawa (白川忠志), Yoshihige Kosako (古佐小吉重), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男), Toshiki Yoshida (吉田利喜)
In-between check: Momoko Susui (筒井百々子)
Assistant Episode Direction: 小園井常久
Production Assistance: Shôji Koizumi (小泉正二)
#28
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Key Animation: Michiyo Sakurai (桜井美知代), Yoshiyuki Momose (百瀬義行)
Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Tadayoshi Nishikawa (西川忠良)
In-between check: Momoko Susui (筒井百々子)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Yasuo Kageyama (蔭山康生)
Production Assistance: 高砂克己
#29
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Yoshio Kuroda (黒田昌郎)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yoshihige Kosako (古佐小吉重), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Toshiki Yoshida (吉田利喜), Katsuo Takasaki ((高崎勝夫) (spelled as 高崎勝男)
In-between check: Momoko Susui (筒井百々子)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 寺田克弘
#30
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Yukiyoshi Hane (羽根章悦), Megumi Endô (遠藤めぐみ)
Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻), Tadayoshi Nishikawa (西川忠良)
In-between check: Momoko Susui (筒井百々子)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Kôsei Kano (鹿野公靖)
#31
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Tadashi Shirakawa (白川忠志), Yoshihige Kosako (古佐小吉重), Toshiki Yoshida (吉田利喜), Sadahiko Sadamaki (坂巻貞彦), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男)
In-between check: Momoko Susui (筒井百々子)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二, 金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: 小園井常久
Production Assistance: Shôji Koizumi (小泉正二)
#32
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Michiyo Sakurai (桜井美知代)
Noriko Moritomo (森友典子), Takumi Koyama (古山匠), Yûji Hamano (浜野裕治), 金子敏和, Masahiro Kase (加瀬政広), Jun’ichi Hashimoto (橋本淳一), Kazuya Hayashi (林一哉)
In-between check: Momoko Susui (筒井百々子)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: 小園井常久
Production Assistance: 高砂克己
#33
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Megumi Endô (遠藤めぐみ), Tadashi Shirakawa (白川忠志), Toshiki Yoshida (吉田利喜), Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二, 金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 寺田克弘
#34
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Yukiyoshi Hane (羽根章悦), Yoshiyuki Momose (百瀬義行), Yoshihige Kosako (古佐小吉重), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: 小園井常久
Production Assistance: Kôsei Kano (鹿野公靖)
#35
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Key Animation: Tadashi Shirakawa (白川忠志), Yoshihige Kosako (古佐小吉重), Sadahiko Sadamaki (坂巻貞彦), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男), Toshiki Yoshida (吉田利喜)
In-betweens: Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二, 金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Shôji Koizumi (小泉正二)
#36
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Hiroshi Saitô (斎藤博)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Michiyo Sakurai (桜井美知代)
Noriko Moritomo (森友典子), Takumi Koyama (古山匠), Yûji Hamano (浜野裕治), 金子敏和, Masahiro Kase (加瀬政広), Jun’ichi Hashimoto (橋本淳一), Kazuya Hayashi (林一哉)
In-between check: Momoko Susui (筒井百々子)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: 小園井常久
Production Assistance: 高砂克己
#37
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Yoshio Kuroda (黒田昌郎)
Layout: Shun’ichi Sakai (坂井俊一), Shûichi Seki (関修一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Tadashi Shirakawa (白川忠志), Sadahiko Sadamaki (坂巻貞彦), Toshiki Yoshida (吉田利喜), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二, 金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 寺田克弘
#38
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Megumi Endô (遠藤めぐみ), Yoshiyuki Momose (百瀬義行), Yoshihige Kosako (古佐小吉重), Kazuo Takematsu (竹松一生)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦)
Assistant Episode Direction: 小園井常久
Production Assistance: Kôsei Kano (鹿野公靖)
#39
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Key Animation: Yukiyoshi Hane (羽根章悦), Tadashi Shirakawa (白川忠志), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男)
Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二, 金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Shôji Koizumi (小泉正二)
#40
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Michiyo Sakurai (桜井美知代)
Momoko Susui (筒井百々子), Noriko Moritomo (森友典子), Takumi Koyama (古山匠), Yûji Hamano (浜野裕治), 金子敏和, Masahiro Kase (加瀬政広), Jun’ichi Hashimoto (橋本淳一), Kazuya Hayashi (林一哉)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦), 加藤富恵
Assistant Episode Direction: 小園井常久
Production Assistance: 高砂克己
#41
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Megumi Endô (遠藤めぐみ), Tadashi Shirakawa (白川忠志), Shun’ichi Sakai (坂井俊一), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二, 金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 寺田克弘
#42
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Hiroshi Saitô (斉藤博)
Layout: Shun’ichi Sakai (坂井俊一), Shûichi Seki (関修一)
Animation Direction: Yoshiyuki Momose (百瀬義行), Shûichi Seki (関修一)
Animation: Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻), Noriko Moritomo (森友典子)
In-between check: Momoko Susui (筒井百々子)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦), 加藤富恵
Assistant Episode Direction: 小園井常久
Production Assistance: Kôsei Kano (鹿野公靖)
#43
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yukiyoshi Hane (羽根章悦), Yoshihige Kosako (古佐小吉重), Yoshiyuki Momose (百瀬義行), Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Shôji Koizumi (小泉正二)
#44
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Michiyo Sakurai (桜井美知代)
Momoko Susui (筒井百々子), Noriko Moritomo (森友典子), Takumi Koyama (古山匠), Yûji Hamano (浜野裕治), 金子敏和, Masahiro Kase (加瀬政広), Jun’ichi Hashimoto (橋本淳一), Kazuya Hayashi (林一哉)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦), 加藤富恵
Assistant Episode Direction: 小園井常久
Production Assistance: 高砂克己
#45
Screenwriting: Akira Miyazaki (宮崎晃), Kasuke Satô (佐藤嘉助)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Oh! Production
Kôichi Murata (村田耕一), Tsukasa Tannai (丹内司), 山内登寿郎 (credited as 山内登寿郎)
Tadashi Shirakawa (白川忠志), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男), Kazuo Takematsu (竹松一生)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 寺田克弘
#46
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Megumi Endô (遠藤めぐみ), Yoshiyuki Momose (百瀬義行), Yoshihige Kosako (古佐小吉重)
Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦), 加藤富恵
Assistant Episode Direction: 小園井常久
Production Assistance: Kôsei Kano (鹿野公靖)
#47
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yukiyoshi Hane (羽根章悦), Tadashi Shirakawa (白川忠志), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Shôji Koizumi (小泉正二)
#48
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Yoshiyuki Tomino (とみの喜幸)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Michiyo Sakurai (桜井美知代)
Momoko Susui (筒井百々子), Noriko Moritomo (森友典子), Takumi Koyama (古山匠), Yûji Hamano (浜野裕治), 金子敏和, Masahiro Kase (加瀬政広), Jun’ichi Hashimoto (橋本淳一), Kazuya Hayashi (林一哉)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦), 加藤富恵
Assistant Episode Direction: 小園井常久
Production Assistance: 高砂克己
#49
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一), Shûichi Seki (関修一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Tadashi Shirakawa (白川忠志), Yoshihige Kosako (古佐小吉重), Kazuo Takematsu (竹松一生), Katsuo Takasaki (高崎勝夫) (spelled as 高崎勝男)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 寺田克弘
#50
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Yoshiyuki Momose (百瀬義行)
Animation: Yoshiyuki Momose (百瀬義行), Megumi Endô (遠藤めぐみ)
Kazuo Ushikoshi (牛越和夫), Toshiko Nakagawa (中川とし子), Noboru Akiyama (穐山曻)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦), 加藤富恵
Assistant Episode Direction: 小園井常久
Production Assistance: Kôsei Kano (鹿野公靖)
#51
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yukiyoshi Hane (羽根章悦), Yoshihige Kosako (古佐小吉重), Tadashi Shirakawa (白川忠志), Kazuo Takematsu (竹松一生)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: Shôji Koizumi (小泉正二)
#52
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Animation Direction: Michiyo Sakurai (桜井美知代)
Animation: Michiyo Sakurai (桜井美知代)
Momoko Susui (筒井百々子), Noriko Moritomo (森友典子), Takumi Koyama (古山匠), Yûji Hamano (浜野裕治), 金子敏和, Masahiro Kase (加瀬政広), Jun’ichi Hashimoto (橋本淳一), Kazuya Hayashi (林一哉)
Backgrounds by Studio Aqua: Shigeo Nishihara (西原繁男), 石橋健一, Kazuhiko Tamari (玉利和彦), 加藤富恵
Assistant Episode Direction: 小園井常久
Production Assistance: 高砂克己
#53
Screenwriting: Akira Miyazaki (宮崎晃)
Storyboard: Fumio Ikeno (池野文雄)
Layout: Shun’ichi Sakai (坂井俊一)
Animation Direction: Takao Ogawa (小川隆雄)
Animation: Yoshiyuki Momose (百瀬義行), Yoshihige Kosako (古佐小吉重), Tadashi Shirakawa (白川忠志),Shun’ichi Sakai (坂井俊一), Kazuo Takematsu (竹松一生)
Backgrounds by 童工房: Toshikazu Yamaguchi (山口俊和), 菅原聖二
金沢延代, 樋口尚子, Ryôko Konno (今野良子)
Assistant Episode Direction: Kôzô Kusuba (楠葉宏三)
Production Assistance: 寺田克弘
Animétudes 