日本動畫
為了維持家計，馬可的母親安娜強忍不捨遠赴千里之遙的阿根廷工作；而馬可也勇敢地接受這個事實，並且努力打工，希望家境快點好轉，好讓母親早日回家團聚；而生活裡最大的鼓舞就是母親寄來的家書。 但是有一天，突然家書中斷，母親音訊杳然，馬可心中忐忑不已；在對母親的孺慕之情驅使下，9歲的馬可毅然決然從義大利出發，踏上尋母的漫長旅途。在旅途中，他遇見善良的人們向他伸出援手，也遇見無恥惡徒將他騙得身無分文；但最可貴的，在友情支持下，馬可懷著對「人」的信任與對母親的愛，他愈挫愈勇、無畏險途，越過海洋、越過大草原、越過重重山崗，終於抵達母親工作的宅邸。原本久臥病榻的安娜已氣息微弱，但恍惚中她聽到有人呼喚著「媽媽！」而睜眼之際，她看到了不知在夢中出現了多少次的馬可的臉龐……。
Group TAC
An omnibus-format TV series consisting of anime adaptations of Japanese folk tales, this is one of Japan's longest-running TV series, and Group Tac's second TV series (the first was The Road to Munich, a documentary anime about the 1972 Olympics). The governing rule of the series was that the creative staff change from episode to episode. While later other anime series like Nippon Animation's Famous Works of Japanese Literature would attempt the same, none would be as long-lived or successful. The rotation idea was that of director Sugii Gisaburo, a visual visionary unequaled in Japanese film history who has revolutionized anime several times in his career, be it in the 1967 TV series Goku's Big Adventure, in which he sought to shake anime free from the dominance of story development by yanking it back to a more cartoonish form, or The Belladonna of Sadness, where he broke the Disney full-animation mold, creating a full-length animated film in a completely new style that was a hybrid of still drawings and animation. The reason for rotating the staff each episode was so that each episode would have a completely different look and feel from its predecessor, and in this it was eminently successful. This is a series that is genuinely rewarding to watch, and is visually one of the richest in anime history. While this system also meant that quality varied, there were also occasionally superb episodes, as on the staff were many veterans like Group Tac founder SUGII Gisaburo himself, SHIBAYAMA Tsutomu, FURUZAWA Hideo, RIN Taro, and HIKONE Norio. Old episodes started being repeated more and more frequently as the years went on, and production of new episodes finally ceased completely in late 1995, but the series is still widely broadcast. (Source: Pelleas)
龍之子製作
木江田博士是科學家，在動畫片開始時成功研製了一台昆蟲形狀的時間機器，就是如片名所稱的「時間飛船」。為了證明它性能的安全與穩定，博士決定親自乘坐它進行一次時間旅行。沒想到，等到救難小英雄好不容易回來的時候，裡面卻空無一人，只有一隻會說話的，自稱「夢夢」的鸚鵡。它的脖子上還戴著一塊碩大的寶石，據說這就是這世界上最無價的礦物「W寶石」...... 現在，木江田博士的兩個小助手：小星和小雲，將要和他們製作的小機器人「小嗶嗶」和鸚鵡夢夢一起出發，乘坐「藍鯨號」穿越時空去把博士找回來。但是另一方面，以大小姐為首的「三惡」卻正在對「W寶石」虎視眈眈......
龍之子製作
両親を飛行機事故で失ってしまい、きょうだい7人で力を合わせて生活していく一週きょうだいの心溫まる物語。アニメでは事故ではなく、過労による病気で既に両親が故人となった所から始まった。きょうだいの名前は、月、火、水、木、金、土、日と、曜日の名前をモチーフにしている。祖父の配慮で豪邸の敷地內に建てさせたバラックに住まわされ、自ら生計を立てることを要求され、この為、上の姉兄は小學生にも関わらずアルバイトで生活費を稼ぎ、下の弟妹の親代わりとなる。 なお、原作では火児と日曜子が単行本第1話（およそ月刊誌3か月分）で、福引で當てた北海道旅行を両親にプレゼントしたものの、第2話（1か月分と少し）で行きの飛行機が墜落。遺體は見つからず、死亡または行方不明と報道される。衝撃的な事件を描く前に、明るい家族模様(第1話などはスラプスティックなギャグの連打である)や、両親の完璧さを充分に描くことで悲劇性を強めるとともに、やがて自分たちだけで行動を起こすきょうだいの目標を明確に示した幕開けである。アニメ版では生前の両親の描寫は抑えられている。
