Before The Floating Opera (1957) and Gravity's Rainbow (1973) the metanarrative was already quite popular. True, the profound truths of postmodernism were not yet encased within bulky manuscripts, instead they were animated shorts, each less than ten minutes long.

"Who is Daffy Duck anyway? Would you recognize him if I did this to him? What if he didn't live in the woods? Didn't live anywhere? What if he had no voice? No face? What if he wasn't even a duck anymore?" These are the words of Chuck Jones describing the following cartoon. Considered to be one of, if not the greatest cartoon short of all time, Duck Amuck was very much ahead of it's time. More than a collection of gags, wisecracks, and pratfalls, the six and a half minute short was a look at cultural identification within media and a symbol of the struggling psyche in the throws of an absurd and meaningless world of irrationality.

Duck Amuck (February 28, 1953):


In the sequel that was to come two years later, the former antagonist would become the victim of the foul play he was responsible for in the previous offering.

Rabbit Rampage (June 11, 1955):