In the first notebooks with my drawings (1943)  among many single and unfinished sketches,  you can find cartoons in the form of short episodes stories whose characters are ants, toucans and animals, such as cats, lions, snakes, octopus, etc.
Towards 1946 or 1947 they form  a much more coherent set that kept me busy for several years (until about 1952) with animal characters which formed families of a bizarre constitution. There was in them a hierarchy and a social organization around the Dream Valley, which I placed in Chile’s Southern Region of the Lakes.
The first characters created were the Ant Cecelia y her husband Albert the toucan. Then appeared the family of  Tortoise-Shell Turtle and her husband, Carmine the fish, the Grandpa Fish  and their children Cleíto, Fígaro, Donald and Pinocchio,  Jenny the frog  and Little Blanche the Cow, an unusual offspring to be born from a fish and a turtle.
These characters were created from the tortoise-shell toys that I used to play with in my bath tub.  I still keep, now in 2005, the relic of Tortoise-Shell Turtle.
From this period is also “Cecelia and the Octopus”, which I consider my first short story, written in 1947 with characters from the Dream Valley, Ant Cecelia and her family. The literary approach of this story already has elements of what would later become my narrative style, about fifteen years later, that is, a bizarre vision of the world and a language that parodies a scientific text with an absurd precision.
Some of those stories reveal my desire of filming them as animated cartoons, a project that of course was beyond my possibilities, but it was remarkable anyway. 
Certainly, the most important character in those first cartoons (up to 1950) was General Palotte, of uncertain nationality because if Dream Valley was located in Chile, sometimes the General appears carrying the American flag,  because the leading role of the United States in the recently ended Second World War was something beyond discussion in Chile. Also, the relation of some of my characters with those of Walt Disney appears obvious but mine had their own lives and personalities.
The last notebook’s characters were house grown chickens (roosters and hens) that I considered my pets (roosters Cogoyo and Kiki) and the stories turned more complicated. Ant Cecelia appears having a woman’s shape, revealing her anatomy, announcing my puberty which finally marked the end of that phase of my creativity. Curiously, the last cartoon I draw had the subject of flying saucers and Martians, revealing the impact of science-fiction films of that time, especially The Thing from Another World of 1951.
In this way, I was preparing myself to move on to other worlds of art.

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