Watching a character do this is boring, and it definitely doesn't make a good cartoon.

Unless your character is a disembodied ghost, they will usually not be floating through the scene.

The surest way to animate a walk cycle that feels lackluster is to ignore these physical properties. The foot falling behind 'pushes' them onward. The dominant, overtaking leg 'pulls' the ground toward them, dragging the world behind underneath. This effort should be felt by the audience. With each step, the character heaves themselves along. This prevents an awkward treadmill effect when your intention is to draw a character walking forward on normal ground. They should not budge as your character walks along his or her path. When mapping out your scene, each contact point should be drawn out for your character to follow. They're rhythmic, easily identified, and will give the timing of your animation structure. When first getting started, contact points make great key poses. When a character makes contact with the ground as they take a step, the landmark is referred to as a contact point. But what is a contact point in animation? Contact Points These crossovers will usually coincide with each contact point. Alternating in this way adds interest and visual variety to the walk cycle. The left leg and the left arm should never be moving forward and back in sync with one another. The arms swing in tandem, right over left, and left over right. Crossovers are the moment that one leg overtakes the other. A very simple looped walk cycle will usually end up being around 10 frames long, with five frames between each crossover.

Walking stykz animation