eventually admits an unconditional surrender. In the end, Fritz is shot for the crime he did not commit. In his final life, Fritz finds himself living in the sewers of New York, where he meets an Indian guru and the devil. However, Fritz is given a rude awakening from his drug-induced reality by his wife, who finally throws him out of the apartment. After a quick look at all of his lives, Fritz sighs and says "This is about the worst life I've ever had." Cast Main Skip Hinnant as Fritz Reva Rose as Stella Bob Holt as God / NASA Assistant / American Chairman / Additional Voices Peter Leeds as Juan / Additional Voices Louisa Moritz as Chita Charles Spidar as Duke the Crow 1970s Robert Ridgely as The Devil / Additional Voices Fred Smoot Dick Whittington Luke Walker Hitler Larry Moss Joan Gerber as Han's wife Jim Johnson Jay Lawrence Stanley Adams Pat Harrington Jr. Carole Androsky as Han's daughter Peter Hobbs as American General Astronaut Lynn Roman as Reporter Ralph James as Golf Oil President New Africa Eric Monte Glynn Turman Ron Knight Gloria Jones Renny Roker Peter Hobbs Buddy Arett John Hancock Chris Graham Felton Perry Anthony Mason Sarina C. Grant Production The only two people involved in the first film to work on the sequel were Skip Hinnant, who reprises his role as the eponymous protagonist, and producer Steve Krantz. Ralph Bakshi had written and directed Fritz the Cat in 1972, but did not want to direct a sequel, and had absolutely no involvement with the film. However, Bakshi sometimes incorrectly has been credited as having worked on the film, such as in Jeff Lenburg's Who's Who in Animated Cartoons, which claims that Bakshi had been a producer on the film. The concept of a sequel to Fritz the Cat was a point of contention between Bakshi and Krantz, as Bakshi wanted to end his film with Fritz's death, and Krantz wanted Fritz to live at the end, to leave room for sequels. For the sequel, Krantz hired animator Robert Taylor to direct. Taylor had worked on The Mighty Heroes, a superhero spoof Bakshi created in the 1960s. Stylistically, Taylor attempted to recreate only some of the elements and themes of the original film. The setting of the film's period is similar to that of the first film, with the speaker addressing the audience with