Tex Avery had used this character only three times during his Warner period. The Wolf is the true hero of the M.G.M.'s first years . It intervenes in 12 cartoons until 1949 and as much as Droopy over all the Metro's period of Tex Avery.

It makes its beginnings in Blitz Wolf (1942), the anti-Nazi parody of the Three small pigs. In this masterly transfiguration of Hitler - weak, hypocritical, treacherous, arrogant, violent -, it is the absolute villain. We are not thus surprised to find it escaped of a prison, in Humb Houded (March 1943), where it seeks to flee Droopy. It does not matter the reason of its imprisonment. He is the public enemy n1, that the lymphatic dog must put out of state to harm.

With Red Hot Riding Hood (1943), the personality of the wolf gets rich. In this transposition of the Little Red Riding Hood's topic, the Wolf gains in humanity. It is a seducer, who is completely overflowed by its instincts, particulary the sexual ones. Lit by a Red Hot's assassinates wink, it can only escape the nymphomaniac grandma by killing itself, in front of the object of its desire. And still! Its phantom will take over immediately.

Either together or separately, Tex Avery will use now these two registers. The Shooting of Dan McGoo (1945) and Wild and Wolfy (1945) mark the confusion of the kinds, the wolf being the public enemy n1 made insane by the erotism of the girl. In One Ham's Family (1943) it is the traditionnal tales wolf and in Northwest Houded Police (1946), it piles up again like dangerous escaped prisoner.

We finally find the tempting wolf in Swing Cinderella Shift (1945) and in Little Rural Riding Hood (1949).

Seņor Droopy (1949) marks a turning point. The first four confrontations between the wolf and Droopy turned gradually to the dog advantage. This one is becoming the recurring hero of the second time in the Metro (1949-1955) and it will be necessary to find it a new partner. In Seņor Droopy, the wolf and the dog do not clash directly any more for the eyes of a beauty. It is a test, here a bullfight, which must decide between them. These premises announce the format of the future adventures of Droopy with Spike.

Consequently, the averyian Wolf will pass to the trap door until 1953 when it will re-appear in the form of the Southerner Wolf , metamorphosis of Spike as development of Droopy. Placid pound guard in The Three Little Pups or villain without interest in Drag-A-Length Droopy or Deputy Droopy.

When Avery explicitly places sexuality in the center of his cartoons, the Wolf is almost its unique mediator. It is primarily this aspect of the character who comes in first to our memory. Gangster of Alaska or hollywodian seducer picking up the poor working girl, the sexual behavior of the wolf is treated with all excess that the texan and its team could put in their creations. It should not either be forgotten that the success of Droopy is initially that of the Wolf.