can be cutting edge, revolutionary, and mature. It's a testament to the fact that animation in the U.S. More than anything else, Samurai Jack truly feels like a work of art, like something that is crafted rather than produced. 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. 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. Every background, set piece, character, and detail are all strikingly imagined, almost shocking in their originality. 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. Indeed, calling this show itself a cartoon seems somehow disrespectful and stereotypical. 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.
SAMURAI JACK SEASON 4 ENDING TV
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.
Samurai Jack has something sorely lacking in American animated entertainment - greatness.