Brisca at Internet superstore’s
(Nuove Edizioni Romane - Roma)

Illustrations by MONICA INCISA

The tale

Brisca at Internet superstore’s is a journey through the imaginary world of informatics and of the life. It is a plot of dreams and experience, a filament which is connected between reality and the virtual scenes. In itself, the tale is the story of a dog crammed full ephemeral and television that takes to become a top model into its head. So, a beautiful day, gives everything up and abandons its basket between the mountains for tracking the glory of limelight.

But the things of life go on their ways and Brisca, without even realizing it, is catapulted to Digitalia, a telematics city embedded inside contrivances of a personal computer. Here it meets characters always on the balance of fantasy and reality: Diskette, the cyber-girl not weeping and not laughing, the Old Woman
of the Vinegar, famous advertising testimonial of consumer products, the Universal Lion, once hero and protagonist of the forest, finds himself miserably relegated between the pages of an encyclopedia in the letter Elle, trailed after earthworms and snails (in Italian words beginning with L).

In Digitalia, Brisca also meets the not-Bassotto, a strange Bassotto (dachshund) with bowler hat and papillon that perhaps does not exist and that, with its unapologetic optimism, is able to acquire friendship. On board an optimist, boat that is particularly suitable for little dogs of small size, leaving toward the discovery of the fascinating and mysterious world of Internet.

The not-Bassotto has the boldness of awareness, its telematics DNA allows access to the virtual world without anxiety, knows that, in the end, any setback can easily be overcome with a smile and a somersault tumbler;

Brisca follows him with confidence but, without showing it, is afraid of uncertainty and the apprehension of trespassing, it is afraid of being diverted by its objectives of life, sometimes it finds itself confused and bruised in the soul, but curiosity gets always the upper hand and pushes it towards further adventures.
They face together magnetic storms, shipwrecks, are caught by a gang of informatics pirates, locked in the cell of a spreadsheet. They succeed escaping thanks to cunning and genial stratagems, than met new  friends: the Guardcat, the Mouse which, ultimately, is always a untrustworthy mouse that escapes any systematic control.

They are tossed in the scenarios of Screen Saver always changing and splendid landscapes: snow covered fields, tropical forests, tundra, incandescent desetrs. But there is no time to enjoy the lovely vision of landscape, the risks of navigation telematics are always in ambush and here on the screen overlook the threats of the terrible, notorious virus: the Greedily virus, the Candid Viretta, the Stingy virus, the Screen Jazz-Band.

It will not be easy escape from their clutches, they will succeed thank to the providential intervention of Don Quixote who, by chance, is strolling through those parts in his dogged and visionary search for justice.

The return to Digitalia may not generate grindings, the subtle filaments linking the reality with the Virtual tiled forming a tangle inextricable; journey has upset the roles and confused the lights: now the not-Bassotto is not so sure that the sky of Digitalia is always clear and sunny, new emotions applying inside his soul and, perhaps, it is no sufficient to invent a somersault to oust the melancholy.

But even Brisca is not so sure that imaginary is only a fiction; sometimes the fantastic embed in the light of day and is not easy detaching from cybernetic spaces because, as the Prince Sigismondo says in “Vida es sueño” by Calderón de la Barca: "All life is a dream".

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