extra chocolate chips and Carlos Trillo and Juan Bobillo 
In the comic "
Chocolate and crisps "
[1] Carlos Trillo and Juan Bobillo
describe the devastating family drama touched six siblings who are abandoned by their parents and an overnight stay alone without any help or support from adults. A new life awaits them less entangled in the rules but even more sad, anxious and lonely: on the one side you can choose to skip school and dine at will without any restraint with French fries dipped in hot chocolate, not the other c 'is anyone who tuck or say a word of comfort in the darkest hours.
For a long stretch of history, children are not even remotely touched by the idea of \u200b\u200bbeing left in such despicable (as readers who are not up to the last pages are not made aware of what really happened) and their disarming and childlike innocence gives the absence of the father and mother to an alien abduction, aided by the complicity of the doorman of the building with the Martians.
At first glance, the authors want to strike up a comic book for children "and" child "as a hint of stretch Juan Bobillo, who tries to recapture his plates in a way of drawing and coloring typical child, and Carlos Trillo prose, is careful to characterize her in a convincing way to create little characters and situations and dialogues in which the way of typical children is highlighted.
Kids err small and insignificant details to create castles in the air as consistent as their queer for any adult. To as innocent as a joke " ... Look, if a child tells lies ... Darth Vader comes with his spaceship and takes him away ... Huh?! 'is a porter's collaborationist interplanetary ...
Another example is the pair formed by plates 36 and 37 [2] . The children, some aliens who stormed their house, organize a counter-form investigative teams to sneak in the apartment of the caretaker and in basement. The group that explores the basement (table 36) move up to be fearful and cautious in the final vignette of the table 36 in front of the rusty door of a closet. Opening it (turning the page) kids face a scary alien.
In fact, the green monster is the fruit of their imagination runaway who turned into a Martian who were probably hanging clothes or junk piled up in the shadows.
It can be said that the table 36 represents the views of adults: the reader sees nothing but four pictures that scared roam an anonymous dark cellar, armed with torch for an adult there is no reason to get excited el 'adventure' is seen from the outside and far. The act of turning the page immerses the reader in a subjective shot that makes him feel with lividity thoughts and fantasies of children. Those who adults had an excess of imagination and an exaggerated fear of becoming, through the eyes of the brothers, a tangible reality.
" chocolate and chips" is not just an attempt to recapture the way we live, think and interpret reality typical of children. During the whole cartoon is a thin vein dramatic destined to explode in the closing pages.
incipit little Leandro wakes up at night, facing the door of their parents' room, look at the bed and realizes it is empty. Through the open window came a light that suddenly turns off leaving the child alone in the dark. Leandro for the light belongs unequivocally to the aliens who kidnapped their parents and they went away just when he came in the room. In fact, some pages later, readers discover that the explanation is very simple and rational: that night the bulb of the lamp opposite the window was defective. The little episode, seemingly insignificant, is actually a warning to the reader: portends that, beyond all that can find more imaginative engineer children, in the end the reality inevitably emerge in all its rawness.
The dramatic component of the comic is also underlined by the pair of side by side tables made from Tables 5 and 6 [3] . The sixth table is one splash page in which children are shown on a boat adrift in the stormy seas, clear metaphor of abandonment by parents. It should be noted that in the two tables the graphic and textual levels are interlinked and are opposed: in table 5, the reality is paramount in terms of graphics and textual level is dominated by the imagination of children while in the next table is reversed with the transfiguration metaphor of reality in the design of the ship engulfed by the storm as opposed to short and sharp textual level ( mom and dad are gone ). Only in the last
pages of the comic book the truth comes out in all its overpowering drama. The children discover that the night of the escape has been inadvertently turned on a video camera and filmed a compromising dialogue where parents sciorinare freewheeling all their contempt and lack of love for their children.
" chocolate and chips" so it's a cartoon from the double value that does not only show the unique perspective on the world that can only have children, able to transform the banality of everyday life and the squalor in a sweet fantasy and fictitious, but no less real than that adults consider reality. Trillo Bobillo and go further and send the spell broken by describing the moment when children lose their innocence and are entering early adulthood and traumatic. The issue addressed by the Argentine writer Carlos Trillo in "Chocolate and crisps " can be traced to another of his works, " Spaghetti Bros. " [4] , written four Guillermo Saccomanno hands and designed by Domingo "Cacho" Mandrafina .
This comic is a comedy-hued black that features a wacky family emigrated from Italy U.S. in the days of Prohibition. Antonio policeman, the priest, Francis, Catherine the silent film star under the name of Gipsy Boone, Carmela Amerigo's widow and the gangster are five brothers who are increasingly drifting into a spiral of deceit, mischief and mutual hatred.
The abundance of characters, embodied in situations as diverse and contradictory, and allows authors to create a long sequence of short stories and full of very original ideas, which also draw nourishment from an underworld of "players" and extras that in ' span of a single episode can carve out a space and their importance to emerging or drowned in the worst of human miseries and sins.
Ignorant and Innocent (?) spectator of the theater he sees ugly scene in the five depraved brothers is James, son of Carmela, a woman who, under the clothes of the poor widow hides killer activity fee. The boy
ambitions as a writer asking for help and try to break the aunty who certainly has some coupling between the film writers. James is thus addressed to Mr. Barton, loving aunt (always ready to jump from one bed to another), accepting with little conviction to evaluate the script. Barton does not know that James, in describing the life of a child growing up among people consumed by vices and malice, wrote an autobiographical work. The excesses are so Barton believes that scary guy who has ridden the imagination too much. Dismisses it, saying that "a child who was living that life would be a terrible monster ... a little cruel monster."
James imagines himself looking like Frankenstein's monster [5] but can not understand why Mr. Barton called him monster. For the boy a "monster" is a bad thing to see, that's a bad look. It 's still too innocent to understand that life in a family that infects the soul.
NOTES
[1] Carlos Trillo and Juan Bobillo, "Chocolate and chips, "Lanciostory No 44-47, Eura Editoriale, Roma, 2002.
[2] Published on Lanciostory No 47/2002 on page 87 and 88.
[3] Published on Lanciostory No 44/2002 on page 92 and 93.
[4] Carlos Trillo, Guillermo Saccomanno Mandrafina and Domingo, "Spaghetti Bros. 'No 1-6, in Giants Adventure No 27, 28, 30, 32, 34, 36, Eura Editoriale, Roma, 2001-2002 [1993-1998].
[5] Carlos Trillo, Guillermo Saccomanno Mandrafina and Domingo, "Spaghetti Bros. 'No 3, Giants Adventure, No 30, Eura Editorial, Rome, 2001, pg. 210.
