Northwest Hounded Police

[1] A remake of Droopy's first cartoon Dumb-Hounded (also adopting elements from Avery's 1941 Bugs Bunny cartoon Tortoise Beats Hare), the short revolves around the wolf (an escaped criminal) on the run from Droopy, who is trailing the wolf in order to capture him.

The chief of the Royal Canadian Mounted Police addresses a gathering of Mounties, seeking a volunteer who is willing to hunt the escaped convict.

[2] This sets the pace for most of the short, where the shifting perspective of the camera exposes the presence of Droopy in yet another location.

[2] The Wolf climbs the highest mountain of the area and finds refuge in its summit, within a bird nest.

[2] Following several failed attempts to escape the pursuit, the Wolf ends up in a tiny atoll of the Pacific Ocean.

The Wolf breaks the fourth wall to speak to the movie audience, explaining that he has caught on to the pattern of McPoodle's appearances and fully expects the Mountie to emerge from under the larger rock.

[2] An increasingly desperate Wolf next attempts to commit suicide by feeding himself to a lion in the local zoo.

He then speaks to the audience again: he realizes that McPoodle got him, but now that he has some time to recall the events of the pursuit he wonders whether "there coulda been more than one of them little guys".

He and co-director Michael Lah worked on three films for the Barney Bear series, before Quimby decided to discontinue their production unit.

The main humor of the film derives from Droopy inexplicably appearing wherever the Wolf goes, granting the character omnipresence.

In that film, Cecil Turtle enlists his look-alike relatives to beat Bugs Bunny in a race.

The Wolf finds a way to escape through the power of his drawing pencil, suggesting emancipation through an artist's talent and creativity.

[2] Derek Hayes and Chris Webster cite Northwest Hounded Police as an example of an animated film where the empathy of the audience is reserved for the nominal villain, the Wolf.

[7] They also argue that Droopy himself was never given a developed personality in his films, leaving the role of the real protagonist to whatever character shares the screen with him.

[7] Jean-Marc Limoges cites the scene set in the movie theater as an example of Avery using metalepsis in his films.