be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. Kricfalusi did not return for the second season and took some of the crew to work on The New Adventures of Beany and Cecil for ABC. Production style Kricfalusi described Mighty Mouse: The New Adventures as the origin of the "'Creator-Driven' revolution" and that he hired artists "dissatisfied with the formula cartoons they were forced to work on at other studios" and as a "witty, satirical and wildly imaginative" series and "quite a revolution when compared to the cartoons being made everywhere else." Kricfalusi said that he supervised the development of the cartoon in all aspects except the final editing. Kricfalusi said that he restored the "old time-director-unit system" in which three or four directors theoretically supervise all of the creative aspects of each individual cartoon. He said that two of the directors felt "kind of" reluctant to participate as they did not "really approve" of the direction. Kricfalusi intended for the cartoon to be "like a Warner Bros. cartoon", and that the show does not have his personal humor style. He described the team as "slightly cautious" in presenting ideas to CBS's executives. Artists were allowed to use their own style in the episodes that they worked on, and that one can determine which artist drew which cartoon based on the styles present. Kricfalusi described Ken Boyer's scenes as "cute and dynamic", Istvan Majoros's scenes as "extremely crazy-looking", his own scenes as "very specifically acted", Lynne's scenes as "very girly and cartoony at the same time" and Jim Smith's scenes as "manly and well composed". While an article about the series in Amazing Heroes #129 made it appear like Bakshi was the director of the show, Kricfalusi clarified that Bakshi was the producer and that Bakshi's creative involvement was the highest during the first several weeks of the production, after which he stood out of the way and let the team go about its business. Usage of older cartoon footage In order to bring down the budget so that layouts could be