Only one cartoon is on the list of Five Best TV -EMISSIES OF ALL TIME, according to IMDB. However, on metacryticism, things are different. Instead of being based on users' results (who are well -known and prone to reviewing bombardment and other forms of bias), the metacrytic based on its assessments mostly on the results of the review - but not just arbitrary/rotten, real result. This means that these are actually cartoons that have the highest review ratings, those considered close to perfect.

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Well, there are still many problems with any kind of list of the review unit, starting from the limited number of views for older titles before the era of film and TV blocks. If there are only a few views, but they are all rated high, does it weigh more than a modern show with a slightly lower result, but exponentially more examinations?

In any case, the Metacrytic List of the highest -ranked animated shows is a fascinating collection of rather unusual suspects, even a few plays that you would not usually think of as traditional cartoons.

The absolute, undisputed, highest-ranked animated TV show of all time, according to Metacritic, is Gendy Tartakovski's "Samurai Jackec". The animating legend has no one, but two shows in the top 5, as the second cartoon with the highest ranking is Tartakovski's "received". In third place is the American Cultural Institution "Simpsons", followed by Rotoscope "Undone" gem and finally one of the best adaptations of video games of all time in "Arcane" as number 5 - iousubopitic, sixth place in the documentary "Prehistoric Planet" Technically animated, but not often considered a cartoon.

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Gendy Tartakovski is an American wealth for animation. He has already made a huge greeting with the "Laboratory of Dexter", the first cartoon cartoon, a show that forever changed the course of American TV animation, and was a wonderful blend of Avery Commission Sensitivity, Anime Pictures, Sam Rayimi's referencesAnd much more. But it was with "Samurai Jackec" (which has an incredible 93 Metacar), Tartakovski made his masterpiece.

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The play was unlike anything else on TV. The story of a trip with a time of samurai to prevent the demon of shaping the world was like Akira Kurosawa to make a cartoon of science. The title Jackec even feels like a character from the Kurosawa movie, stoic and motionless, yet incredibly complex and emotional. The restrictions of network emissions meant the show had to be episodic, and Jackec could not emotion. This allowed the Samurai Jackec to explore a large number of genres, tones and stories. Jackec's unchanging behavior also speaks volume about its determination. However, when we reached the rebirth, that determination and unwavering would turn into despair, and Tartakovski produced some of the best storytelling on television regardless of the media.

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One of the advantages of "Samurai Jackec" was that, besides excellent humor and truly stunning and kinetic action, this was a show that knew when to let things breathe. Tartakovski is a student of all kinds of animation, but he often talked about inspired by Bob Climpt, Tex Avery and Jacques Onesons, who often allow the physical activity of the story to speak and tell stories with little or without dialogue. "There is too much dialogue for animated shows nowadays, and I try to stand out by forcing you to pay attention to silence," the animator said. Rotten tomatoes In 2019. Add the relentless, often brutal action to the "Samurai Jackec" rebirth and you have the ingredients for the second masterpiece - Tartakovski - "Receiving: savage stories".

"Received" is, in many ways, a spiritual successor to the ideas and craft Tartakovski researched in "Samurai Jackec". 91 Metascore reflects how much other than everything else is this show. Tartskovski made his Emotionally fatal, visually furious magnum opus It is completely devoid of dialogue - and when it exists, it is in ancient language that never translates to the audience - which allows both emotional scenes and action scenes to build anticipation. The show also uses a sound design and result in order to give action sequences a sense of rhythm.

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But what makes him "received" to stand out as the evolution of Tartakovski's career is the increased savage of the action and how it goes hand in hand with emotions. Although there have been action scenes and emotional scenes in his cartoons, they have never been mixed, as well as in "Receiving", a play that telegraphs to the audience constantly that every brutal and filthy struggle is born of a necessity to survive in a cruel, savage world. Every struggle, no matter how exciting, comes with a feeling of sadness and sadness for anyone who loses. The show accompanies these fighting scenes with dramatic music instead of exciting, exciting music. It makes the action tragically, as the first encounter between Fang and Spir.

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But it is also a show that, like "Samurai Jackec", such as "Dexter's Laboratory" and "Sim-Biyan Titan", knows when to only show the strangest, craziest things possible. From a cave that drove a dinosaur in a battle, to the zombies, to a massive pyramid float at the top, "primary" never deacascalates, but constantly introducing larger, bolder ideas. This is what Tartakovski makes one of the best he has ever done, and his shows have the highest ranked cartoons ever.