現實生活中的元素納入整個達菲鴨，從膠片，以畫筆，橡皮擦去，用來操縱人物的環境和外觀。但這些都巧妙地用來展示創作和創作者之間的互動關系。這樣的元素為故事創造了另一個維度，我們作為觀眾，在一定程度上可以相信我們和動畫師一起做決定。人物像兔八哥和達菲鴨是明智的開裂而不是無辜的利他主義者像Mickey Mouse的人。盡管華納兄弟特點相似這動畫不曾與任何人除了傻乎乎的。他失去控制和羞辱是什么創造了這一塊，他瘋狂的方式，他的自憐無法洽談，或來與更高的力量摧毀傻乎乎的讓他說不出話來，并最終成為一個由Gaga的定義。美國佛蒙特論文代寫:互動關系在華納兄弟嘗試多年來試圖推到極端的動畫師，但也許沒有那么極端的Duck Amuck，雖然這是好萊塢系統內進行，它的意義幾乎感覺更多的實驗電影，與觀眾的要求是在CEL動畫技術的探索的一部分。
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.