Tartakovsky, best known prior to “Jack” for “The Powerpuff Girls” and “Dexter’s Laboratory,” had grown used to working within the constraints of a network geared toward children. The show had always maintained a grim, dystopian feel at odds with Jack’s spiritual mentality, and that epic conflict suggested deeper adult circumstances always lingering just outside the frame. The bulk of Jack’s previous foes were robots, a workaround that enabled the animator to avoid gore prohibited by Cartoon Network’s all-ages standards. In fact, once “Samurai Jack” landed at Adult Swim, Tartakovsky found himself more liberated than ever before. “We had to watch how much action there was. “They wanted a lot of story twists, more dialogue, maybe a sidekick or two,” he said. He cited the many ways in which potential studio backers wanted him to update the show’s largely wordless, expressionistic storytelling quality for a new set of expectations.
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