Revision date: 6/7/94
Changes since last (4/94) revision:
Added this intro, added credits and revision history section at end, reversed Laws IX and X to reflect original post, and added Corollary 2 to Law VIII. Also modified text for Law VI to match original post.
This post may be freely distributed as long as it is done so in its entirety. Please send corrections, comments, and contributions to email@example.com (Ron Bauerle, aka RDB)
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 per second takes over.
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 unsuccessful.
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.
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.
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.
Trevor Paquette & Lt. Justin D. Baldwin for Laws I through
??? for Law X and Amendments A through E.
Bob Repas for Amendment F
Ron Bauerle for Corollary to Law VII and Amendments G through I (yes, it's self-serving - sue me :^))
Peter J. Tampas for Corollary 2 to Law VIII.
Margaret Gerberi, Charles A. Leone, and others? for posting these to various Usenet newsgroups.
Jon Michaels, Dan Harrington, Mr. Kim Moser, and others? for propagating them via e-mail.