Fred Avery: His first animation (and directing) experience was on Lantz's Oswald shorts.
Norm Blackburn: Another early Oswald animator. Later worked for Harman-Ising at Warners.
Les Clark: The most experienced of Disney's Nine Old Men, His first animation stint was on the Disney Oswalds, and would later leave along with Disney when he left Winkler and formed his own studio.
Ben Clopton: Animator on the Disney and Mintz Oswalds.
Friz Freleng: Got his start as an animator on the Disney Oswalds, and his first directing experience was on a Charles Mintz Oswald, "Fiery Fireman". A notable piece of his early animation is a scene from "Oh, Teacher!" where Oswald rides on the words "HELP!" sent to him as a horse to save his girl.
Pinto Colvig: Besides being an artist and animator on the Lantz Oswalds, he even provided the voice of Oswald himself and other incidental characters on occasion, years before he provided the voice for Disney's Goofy!
Rollin "Ham" Hamilton: An esoteric but important animator in the Ub Iwerks, Disney and Harman-Ising studios later on, Ham did much work on the Disney Oswalds. One scene that has been identified as his work is the scenes from "The Ocean Hop" where the wiener dog is running to help Oswald.
Hugh Harman: Prolific animator on the Disney Oswalds, and even did work on the Mintz Oswalds before getting fired.
Ub Iwerks: The top animator on Disney's Oswald, drawing out the key poses and handling the overall animation direction.
Walter Lantz: Besides directing, Lantz himself would often do animation on his early Oswald shorts.
Bert Fiske: The first composer on the series, who started working on the shorts during the Mintz era, and was "inherited" by Lantz when he took over. His music had a very slow, ponderous style. Composed for 23 shorts in all.
James Dietrich: The series' most prolific composer by some distance, who worked for the Lantz studio from 1930 to 1937. He drew heavily from contemporary music styles, predating Carl Stalling's similar approach at Warner Bros. by five years.
Irving Actman: Credited on just one short, 1937's "Duck Hunt", though in actuality the short just used stock music he had composed elsewhere, since James Dietrich was unavailable for some reason.
George Lessner: Worked on at least 4 shorts in 1937, and possibly a fifth, "Football Fever," the credits for which are missing.
Nathaniel Shilkre: Composed for 7 cartoons in 1937-38; possibly 8, since he would likely have composed for "Football Fever" if Lessner didn't.
Frank Marsales: Better known for being the first-ever cartoon composer at Warner Bros., and also providing the music for Woody Woodpecker's first short, but he also worked on a single Oswald carton, 1938's "Man Hunt."
Frank Churchill: Again, better known for his work elsewhere (at Disney, in particular), but he did the music for the last regular Oswald short, "Feed the Kitty" in 1938.
Darrell Calker: Way better known for his work on Woody Woodpecker, but also composed the music for Oswald's final short, 1943's "The Egg Cracker Suite."
Digital Destruction: The Walt Disney Treasures DVD set has fine restorations for the most part, but DVNR issues pop up in "Oh, What A Knight!", and "Bright Lights" had a missing part of its transfer found and spliced into the collection at the 11th hour (and the print had considerable issues like sprocket damage, with no time to properly fix or restore it), which resulted in a shaky, jumpy picture with interlacing during part of it. The pencil test for the lost film "Sagebrush Sadie" that was included as an extra was also shot at the wrong framerate (30 FPS as opposed to 24 FPS) which resulted in the tests being at played way too fast of a speed, and whole drawings were revealed to have been dropped from the video when the pencil tests are still framed, all due to this framerate blunder.
The Lantz Oswald cartoons included on the Woody Woodpecker DVD sets got hit with bad DVNR problems too; while the Oswald Rabbit shorts "Hells Heels" and "Spooks" only has it in only minor form, "Grandma's Pet" has some really bad line and art erasing issues.
Hostage For Macguffin: In Real Life. Oswald, even after 80 years, was still owned by NBC/Universal, not Disney. To get him back into their intellectual property, Disney gave Universal one of their sportscasters, Al Michaels. To understand how crazy this was: Disney traded the contract of a LIVING PERSON for the rights to an old cartoon character.
Lost Him in a Card Game: In a meta-example, this was how Lantz gained the rights to Oswald from Universal founder Carl Laemmle.
Marth Debuted in "Smash Bros.": You can bet your left foot that most people who are aware of Oswald's existence owe it to the series Epic Mickey (which was intentionally made as a comeback vehicle for both him and his brother, and the games at least acknowledge Oswald's original cartoons). Adding to the issue is that while half of his cartoons are available on DVD, said set only got a limited release, and wasn't released in other countries.
8 of the 26 Disney-made Oswald cartoons are possibly lost forever, and even some footage of the Oswald cartoons that were found for the DVD collection had to be taken from reissued versions which arranged and/or chopped out footage from the original negatives (i.e. A bit of footage near the end of Ocean Hopwhere the dog Oswald was flying on to win the race falls into the pen hood of a car while flying over France, gets cranked through the engine and comes out of the exhaust pipe transformed into a string of wienies). Five of the other surviving Disney Oswalds, "Poor Poppa", "Hungry Hoboes" "Africa Before Dark", "Empty Socks" and "Sleigh Bells" still exist, but three of those haven't and are unlikely to see a home video release any time soon (while "Papa" and "Hoboes" are being rereleased as extras on the Snow White and Pinocchio signature blu-rays).
Several of the '30s Lantz Oswald shorts have been lost, too many to list as is. Some of the Charles Mintz shorts still exist, but likewise several of them have been lost as well.
Short-Lived Big Impact: The Disney Oswalds only ran for 26 shorts before falling into the ownership of Charles Mintz and later Walter Lantz (whose shorts are rarely talked about now), but in the long run, due to laying the foundation of Disney's future work and prompting the creation of Mickey Mouse, had a huge impact on changing the History of Animation forever.
The Other Marty: Oswald's voice actor would occasionally change in the middle of the cartoons. In "Confidence" for example, Oswald starts off with a fairly deep male voice, then suddenly changes to a high-pitched female voice halfway through, and then reverts back to the male voice near the end of the cartoon.
Take That: Some believed that name of the villain of Pixar's Up, Charles Muntz, was a jab at Charles Mintz. However, this was Jossed by Pixar staff, who claimed that it was just a coincidence.
What Could Have Been: Can you imagine how things would be if Mintz had given Disney the budget bump he asked for instead of trying to screw him over?
Walt would never have started his own company and eighty years of animation history would have been entirely different?
In the 1980s, Fred Ladd was going to colorize the Lantz shorts like he did with the early Looney Tunes in the 1960s, and they colorized 1934's The Toy Shoppe as a test, but the plan was abandoned when Universal was disatisfied with the results.
A cameo by Oswald as a racer in Sugar Rush was considered for ''Wreck-It Ralph' at some point in development.
Wolverine Publicity: Reissues of pre-1940's Lantz cartoons would often feature Oswald in the title, even if he never appeared in the cartoon to begin with.