Daffy Duck steps off a cliff, expecting further pastureland. He loiters in midair, soliloquizing flippantly, until he chances to look down. At this point, the familiar principle of 32 feet per second squared takes over.
Exception: This does not apply to cool characters who've never
Appendum: Any species capable of flight, upon distraction of vertigo, will lose ability of flight. Conversely, any two feathers held in each hand and waved will (temporarily) give flight to any character that does so.
Whether shot from a cannon or in hot pursuit on foot, cartoon characters are so absolute in their momentum that only a telephone pole or an outsize boulder retards their forward motion absolutely. Sir Isaac Newton called this sudden termination of motion the stooge's surcease.
Also called the silhouette of passage, this phenomenon is the speciality of victims of directed-pressure explosions and of reckless cowards who are so eager to escape that they exit directly through the wall of a house, leaving a cookie-cutout-perfect hole. The threat of skunks or matrimony often catalyzes this reaction.
Such an object is inevitably priceless, thus the attempt to capture it will be inevitably ultimately unsuccessful; while the attempt will often be initially successful, an essentially valueless object, such as a feather or anvil falling on the head of the character will indirectly cause the destruction of the priceless one after a short pause in which the character who has caught the object has taken a deep breath.
The feather, anvil, or other object in question is likely to have been dropped by a mouse, IF the character trying to save it is a cat.
Psychic forces are sufficient in most bodies for a shock to propel them directly away from the earth's surface. A spooky noise or an adversary's signature sound will induce motion upward, usually to the cradle of a chandelier, a treetop, or the crest of a flagpole. The feet of a character who is running or the wheels of a speeding auto need never touch the ground, especially when in flight.
This is particularly true of tooth-and-claw fights, in which a character's head may be glimpsed emerging from the cloud of altercation at several places simultaneously. This effect is common as well among bodies that are spinning or being throttled. A 'wacky' character has the option of self-replication only at manic high speeds and may ricochet off walls to achieve the velocity required.
This trompe l'oeil inconsistency has baffled generations, but at least it is known that whoever paints an entrance on a wall's surface to trick an opponent will be unable to pursue him into this theoretical space. The painter is flattened against the wall when he attempts to follow into the painting. This is ultimately a problem of art, not of science.
Corollary: Portable holes work.
Cartoon cats possess even more deaths than the traditional nine lives might comfortably afford. They can be decimated, spliced, splayed, accordion-pleated, spindled, or disassembled, but they cannot be destroyed. After a few moments of blinking self pity, they reinflate, elongate, snap back, or solidify.
Corollary 1: A cat will assume the shape of its container.
Corollary 2: Cartoons cats have the uncanny ability to emit piano sounds when their teeth are transformed into piano keys after having a piano dropped on them.
This is the one law of animated cartoon motion that also applies to the physical world at large. For that reason, we need the relief of watching it happen to a duck instead.
When poked (usually in the buttocks) with a sharp object (usually a pin), a character will defy gravity by shooting straight up, with great velocity.
Corollary: Such upward motion will usually be restricted by an overhang of the nearest cliff wall, even though said cliff wall was never visible at any other point in the cartoon. Cartoon Law Amendment B The laws of object permanence are nullified for "cool" characters.
Characters who are intended to be "cool" can make previously nonexistent objects appear from behind their backs at will. For instance, the Road Runner can materialize signs to express himself without speaking.
Exception 1: Only objects capable of being lifted by the toon can be produced from behind his/her back, unless they are to be used to clobber an opponent.
Exception 2: Only objects needed by the toon to express him/herself (e.g., signs for Road Runner or Calamity Coyote), or props needed for the situation (e.g., Buster's magnifying glass for the Roches), or to humiliate an opponent for a laugh may be produced in this manner. Objects that serve solely to gratify the toon (money, a Porsche, etc.) cannot be produced in this manner.
They merely turn characters temporarily black and smoky.
Their operation can be witnessed by observing the behavior of a canine suspended over a large vertical drop. Its feet will begin to fall first, causing its legs to stretch. As the wave reaches its torso, that part will begin to fall, causing the neck to stretch. As the head begins to fall, tension is released and the canine will resume its regular proportions until such time as it strikes the ground.
The process is analogous to steady-state theories of the universe which postulated that the tensions involved in maintaining a space would cause the creation of hydrogen from nothing. Dynamite quanta are quite large (stick-sized) and unstable (lit). Such quanta are attracted to psychic forces generated by feelings of distress in "cool" characters (see Amendment B), which may be a special case of this law), who are able to use said quanta to their advantage. One may imagine C-spaces where all matter and energy result from primal masses of dynamite exploding. A big bang indeed.
Especially eye blinks, which usually are accompanied by xylophone or or other percussive noise type tinkles with each blink.
Translation into plain English:
As soon as Wile E. Coyote steps into the road, the bus appears to run him down.
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