现实生活中的元素纳入整个达菲鸭，从胶片，以画笔，橡皮擦去，用来操纵人物的环境和外观。但这些都巧妙地用来展示创作和创作者之间的互动关系。这样的元素为故事创造了另一个维度，我们作为观众，在一定程度上可以相信我们和动画师一起做决定。人物像兔八哥和达菲鸭是明智的开裂而不是无辜的利他主义者像Mickey Mouse的人。尽管华纳兄弟特点相似这动画不曾与任何人除了傻乎乎的。他失去控制和羞辱是什么创造了这一块，他疯狂的方式，他的自怜无法洽谈，或来与更高的力量摧毁傻乎乎的让他说不出话来，并最终成为一个由Gaga的定义。美国佛蒙特论文代写:互动关系在华纳兄弟尝试多年来试图推到极端的动画师，但也许没有那么极端的Duck Amuck，虽然这是好莱坞系统内进行，它的意义几乎感觉更多的实验电影，与观众的要求是在CEL动画技术的探索的一部分。
Real life elements are incorporated throughout Duck Amuck, from film strips, to paint brushes, to erasers, used to manipulate the character's environment and appearance. But these are all cleverly used to show the interactivity between the creation and the creator. Elements like these create another dimension to the story, that we as the audience, to an extent can believe we are with the animator as they makes their decisions. Characters like Bugs Bunny and Daffy were wise cracking cynics rather than innocent altruists like Mickey Mouse. But although the Warner Brother characters are similar this animation wouldn't have worked with anyone else except Daffy. His loss of control and humiliation is what creates the piece, his frantic ways, and his self pity of being unable to negotiate, or come to terms with the higher power destroys Daffy leaving him speechless, and in the end becomes more of a subject defined by a gaga. The animators at Warner Brothers experimented over many years trying to push to the extreme, but perhaps none were so extreme as Duck Amuck, although it was made within the Hollywood system, the sense of it almost feels more experimental film, with the request to the audience to be a part of the exploration of techniques in the cel animation.