Category: Tintin

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Tintin and the Picaros


By Hergé and Studios Hergé, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont)
ISBN: 978-1-40520-823-9 (HB) 978-1-405206-35-8 (Album PB)

Win’s Christmas Gift Recommendation: A Great British Tradition of Belgian Origin. Gotta Get ‘Em All… 10/10

Georges Prosper Remi, AKA Hergé, created an eternal masterpiece of graphic literature with his tales of a plucky boy reporter and entourage of iconic associates. Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor, Roger Leloup and other supreme stylists of the Hergé Studio, he created 23 timeless yarns (initially serialised in instalments for a variety of newspaper periodicals) which have since grown beyond their pop culture roots to attain the status of High Art and international cultural icons.

On leaving school in 1925, Remi began working for conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy scout, one year later the artist was producing his first strip series – The Adventures of Totor – for the monthly Boy Scouts of Belgium magazine. By 1928 Remi was also in charge of producing the contents of the Le Vingtiéme Siécle weekly children’s supplement Le Petit Vingtiéme.

While he was illustrating The Adventures of Flup, N̩nesse, Poussette and Cochonette Рwritten by the staff sports reporter РWallez required his compliant creative cash-cow to concoct a new and contemporary adventure series. Perhaps a young reporter who roamed the world, doing good whilst displaying solid Catholic values and virtues?

The rest is history…

Some of that history is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siécle was closed down and Hergé was compelled to move his supremely popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis).

He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even of being a Nazi sympathiser. It took the intervention of Belgian Resistance war hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist through words and deeds.

Leblanc provided cash to create a new magazine – Le Journal de Tintin – which he published and managed. The anthology comic swiftly achieved a huge weekly circulation, allowing Remi and his studio team to remaster past tales: excising material dictated by the Fascist invaders to ideologically shade the wartime adventures. The post-war modernising exercises also improved and updated the great tales, just in time for Tintin to become a global phenomenon, both in books and as an early star of animated TV adventure.

With the war over and his reputation restored, Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure, if not his personal demons and declining health…

The greatest sign of this was not substantially in the comics tales – although Hergé continued to tinker with the form of his efforts – but rather in how long the gaps were between new exploits. The previous romp had finished serialisation in 1967 and was collected as an album in 1968. It was eight years before Tintin et les Picaros was simultaneously serialised in Belgium and France in Tintin-l’Hebdoptmiste magazine (from 16th September 1975 to April 13th 1976) but at least the inevitable book collection came out almost immediately upon completion in 1976.

Tintin and the Picaros is in all ways the concluding adventure, as many old characters and locales from previous tales make one final appearance. A partial sequel to The Broken Ear it finds Bianca Castafiore implausibly arrested for spying in Central American republic San Theodoros with Tintin, Haddock and Calculus eventually lured to her rescue.

Insidious Colonel Sponsz – last seen in The Calculus Affair – is the Bordurian Military Advisor to the Government of usurper General Tapioca, and has used his position to exact revenge on the intrepid band who humiliated him in his own land. When the Tintin and company escape into the jungles during a murder attempt they soon link up with their old comrade Alcazar, who now leads a band of Picaro guerrillas dedicated to restoring him to power.

South American revolutions were all the rage in the 1970s – even Woody Allen made one the subject of a movie – and Hergé’s cast had been involved with this one on and off since 1935. With the welcome return of anthropologist Doctor Ridgewell and the hysterical Arumbayas, and even an improbable action role (of sorts) for obnoxious insurance salesman and comedy foil Jolyon Wagg, the doughty band bring about the final downfall of Tapioca in a thrilling and bloodless coup during Carnival time, thanks to a hilarious comedy maguffin (initially targeting dipsomaniac Haddock) that turns out to be a brilliant piece of narrative misdirection by the author.

Sly, subtle, thrilling and warmly comforting, this tale was generally slated when first released but with the perspective of intervening decades can be seen as a most fitting place to end the Adventures of Tintin… but only until you pick up another volume and read them again – as you indubitably will.
Tintin and the Picaros: artwork © 1976 by Editions Casterman, Paris & Tournai. Text © 1976 Egmont UK Limited. All rights reserved.

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Adventures of Tintin: Flight 714 to Sydney


By Hergé, Bob De Moor, Roger Leloup and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK/Methuen/Little Brown Books)
ISBN: 978-1-40520-821-5 (HB) 978-0-31635-837-8 (Album PB)

Win’s Christmas Gift Recommendation: A Great British Tradition of Belgian Origin. Gotta Get ‘Em All… 10/10

Georges Prosper Remi, AKA Hergé, created an eternal masterpiece of graphic literature with his tales of a plucky boy reporter and entourage of iconic associates. Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor, Roger Leloup and other supreme stylists of the Hergé Studio, he created 23 timeless yarns (initially serialised in instalments for a variety of newspaper periodicals) which have since grown beyond their pop culture roots to attain the status of High Art and international cultural icons.

On leaving school in 1925, Remi began working for conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy scout, one year later the artist was producing his first strip series – The Adventures of Totor – for monthly Boy Scouts of Belgium magazine. By 1928 Remi was in charge of producing the contents of the newspaper’s weekly children’s supplement Le Petit Vingtiéme.

While he was illustrating The Adventures of Flup, N̩nesse, Poussette and Cochonette Рwritten by the staff sports reporter РWallez required his compliant creative cash-cow to concoct a new and contemporary adventure series. Perhaps a young reporter who roamed the world, doing good whilst displaying solid Catholic values and virtues?

The rest is history…

Some of that history is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siécle was closed down and Hergé was compelled to move his supremely popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis).

He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even of being a Nazi sympathiser. It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist through words and deeds.

Leblanc provided cash to create a new magazine – Le Journal de Tintin – which he published and managed. The anthology comic swiftly achieved a huge weekly circulation, allowing Remi and his studio team to remaster past tales: excising material dictated by the Fascist invaders to ideologically shade the wartime adventures. These modernising post-war exercises also generally improved and updated the great tales, just in time for Tintin to become a global phenomenon, both in books and as an early star of animated TV adventure.

With the war over and his reputation restored, Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure, if not his personal demons and declining health…

The greatest sign of this was not substantially in the comics tales Рalthough Herg̩ continued to tinker with the form of his efforts Рbut rather in how long the gaps were between new exploits. The last romp had finished serialisation in September 1962 and been collected as an album in 1963. Vol 714 pour Sydney began its weekly run in Le Journal de Tintin #936 Р27th September 1966 Рand concluded in #997, cover-dated November 28th 1967. The inevitable book collection came in May 1968.

Flight 714 To Sydney appears to be a return to classic adventure, but conceals some ironic modernist twists, opening with our heroes hurriedly en route to Australia. During an intrigue-redolent stopover at Djakarta, Tintin, Captain Haddock and Professor Calculus are inveigled (almost duped) into joining unconventional and somewhat unpleasant aviation tycoon Laszlo Carreidas on his personal supersonic prototype. The petty-minded multi-millionaire obviously has some ulterior design but cannot be dissuaded.

However, due to the type of coincidence that plagues our heroes, that plane has been targeted by the villainous outlaw Rastapopoulos whose gang hijack the aircraft and land it on a desolate Pacific island. The former criminal mastermind has a crazy scheme to siphon off Carreidas’ fortune but has lost a lot of his old sinister efficiency…

After many ploys and countermoves between the opposing forces, and with danger a constant companion, the prisoners escape the villain’s clutches only to discover that the Island is volcanic and conceals a fantastic ancient secret that dwarfs the threat of mere death and penury before escalating to a spectacular climax no reader will ever forget…

Although full of Hergé’s trademark slapstick humour, there is also a sly undercurrent of self-examination that highlights the intrinsic futility of the criminals’ acts. As time has passed, the murderous human monsters have all been exposed as foolish, posturing and largely ineffectual.

Nevertheless, the yarn is primarily an extremely effective, suspenseful action thriller with science fiction roots as the author plays with the multifarious strands of international research then in vogue which led to Erich von Däniken’s Chariots of the Gods and other lesser known tracts of cod science.

Once more the supernormal plays a large part in proceedings – but not as a malign force – and this time science and rationality, not the supernatural, are the basis of the wonderment. Flight 714 To Sydney is slick, compelling and astoundingly engaging: a true epic escapade no fan of fun could fail to adore.
Flight 714 To Sydney: artwork © 1968 Casterman, Paris & Tournai. Text © 1968 Egmont UK Limited. All rights reserved.

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Adventures of Tintin: The Castafiore Emerald


By Hergé, Bob De Moor, Roger Leloup and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK)
ISBN: 978-1-40520-820-8(HB) 978-1-40520-632-7(Album PB)

Win’s Christmas Gift Recommendation: A Great British Tradition of Belgian Origin. Get ‘Em All… 10/10

Georges Prosper Remi, known all over the world as Hergé, created a timeless masterpiece of graphic literature with his tales of a plucky boy reporter and entourage of iconic associates.

Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and other supreme stylists of the Hergé Studio, he created 23 timeless yarns (initially serialised in instalments for a variety of newspaper periodicals) which have grown beyond their pop culture roots to attain the status of High Art.

On leaving school in 1925, Remi began working for conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy scout, one year later the artist was producing his first strip series – The Adventures of Totor – for monthly Boy Scouts of Belgium magazine. By 1928 Remi was in charge of producing the contents of the newspaper’s weekly children’s supplement Le Petit Vingtiéme.

While he was illustrating The Adventures of Flup, N̩nesse, Poussette and Cochonette written by the staff sports reporter РWallez required his compliant creative cash-cow to concoct a new and contemporary adventure series. Perhaps a young reporter who roamed the world, doing good whilst displaying solid Catholic values and virtues?

The rest is history…

Some of that history is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siécle was closed down and Hergé was compelled to move his supremely popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis).

He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even of being a Nazi sympathiser. It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist through words and deeds.

Leblanc provided cash to create a new magazine – Le Journal de Tintin – which he published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands, which allowed Remi and his growing studio team to remaster past tales: excising material dictated by the Fascist occupiers and reluctantly added to ideologically shade the wartime adventures. These modernising post-war exercises also generally improved and updated the great tales, just in time for Tintin to become a global phenomenon.

With the war over and his reputation restored, Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure.

Sadly, Hergé’s personal life was less satisfactory, but although plagued by physical and mental health problems, the travails only seemed to enhance his storytelling abilities…

Le Bijoux de la Castafiore was serialised in Le Journal de Tintin from 4th July 1961 to September 4th 1962 with the inevitable book collection released in 1963. For the first time, The English edition was published in the same years as its European original…

The Castafiore Emerald is quite a departure from the eerie bleak thriller that preceded it (Tintin in Tibet) and the general run of globetrotting tales. The resolution of that icy escapade seemed to have purged much of the turmoil and trauma from the artist’s psyche.

His production rate – but not the quality – slowed to a leisurely crawl as he became a world traveller himself, visiting America, Taiwan and many other places he had featured in the exploits of his immortal boy reporter. Fans would wait fifteen years for these last three adventures to be done.

When the blithely unstoppable operatic grand dame Bianca Castafiore imposes herself on Captain Haddock at Marlinspike Hall – complete with fawning entourage and a swarm of reporters in hot pursuit – she turns the place upside down, destroying the irascible mariner’s peace-of-mind.

A flighty force of nature claiming to crave isolation and quiet recuperation, the Diva floods Marlinspike with anxiety, just as Tintin and the Captain are attempting to win fair treatment for a roving band of gipsies (let’s call them Roma now, shall we?).

Much to the chagrin of the irascible mariner, when the pride of Castafiore’s fabulous jewels is stolen, events take a constantly escalating, surreal and particularly embarrassing turn before Tintin finally solves the case through calm, cool deduction.

Unlike the rest of the canon, this tale is restricted – like a drawing room mystery – to one locale: the impressive house and grounds inherited by Haddock as inhabited by a hilarious cast of regulars including acerbic, long-suffering butler Nestor and deranged genius Professor Calculus. It reads very much like an Alfred Hitchcock sparkling thriller from the 1950s: Light, airy, even frothy in places, with the emphasis always on laughs…

There are no real villains but plenty of diabolical happenstance generating slapstick action and wry humour while affording Herg̩ plenty of opportunities to take pot-shots at the media, Society РHigh and low Рand even the then-pervasive and ever-growing phenomenon of television itself.

The tale was published in 1961. It would be five years until the next one.

At least you don’t have to wait: this comics masterpiece can – and should – be yours as soon as possible.
The Castafiore Emerald: artwork © 1963 by Casterman, Paris & Tournai. Text © 1963 Methuen & Co Ltd. All rights reserved.

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Tintin in Tibet


By Hergé, Bob De Moor, Roger Leloup and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK)
ISBN: 978-1-40520-819-2 (HB) 978-1-40520-631-0 (Album PB)

Georges Prosper Remi, known all over the world as Hergé, created a timeless masterpiece of graphic literature with his tales of a plucky boy reporter and entourage of iconic associates.

Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and other supreme stylists of the Hergé Studio, he created 23 timeless yarns (initially serialised in instalments for a variety of newspaper periodicals) which have grown beyond their pop culture roots to attain the status of High Art.

On leaving school in 1925, Remi began working for conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy scout, one year later the artist was producing his first strip series – The Adventures of Totor – for monthly Boy Scouts of Belgium magazine. By 1928 Remi was in charge of producing the contents of the newspaper’s weekly children’s supplement Le Petit Vingtiéme.

While he was illustrating The Adventures of Flup, N̩nesse, Poussette and Cochonette written by the staff sports reporter РWallez asked his compliant cash-cow to create a new adventure series. Perhaps a young reporter who roamed the world, doing good whilst displaying solid Catholic values and virtues?

The rest is history…

Some of that history is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siécle was closed down and Hergé was compelled to move his supremely popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis).

He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even being a Nazi sympathiser. It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist.

Leblanc also provided cash to create a new magazine – Le Journal de Tintin – which he published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands, which allowed the artist and his growing studio team to remaster past tales: excising material dictated by the Fascist occupiers and unwillingly added to ideologically shade the wartime adventures. These modernising exercises generally improved and updated the great tales, just in time for Tintin to become a global phenomenon.

With World War II over and his reputation restored, Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure. Sadly, Hergé’s personal life was less satisfactory, but although plagued by physical and mental health problems, the travails only seemed to enhance his storytelling abilities…
Tintin au Tibet began initial serialisation in Le Journal de Tintin #523, running from 17th September 1958 to #585: the November 25th 1959 issue. The inevitable book collection was released in 1960.

Tintin in Tibet is unlike any other story of the plucky, valiant boy reporter. At this time Hergé’s 25-year marriage was ending, and he was recovering from a series of nervous breakdowns whilst tormented by dreams of “unending white”. Rather than take a break or even retire, he began the most eerie, mystical and personal story of his long career.
This yarn is special in many ways and the Master’s personal favourite…

Tintin and Captain Haddock are vacationing in the mountains of Europe when the boy reporter is seized by a bizarre fit after reading of a plane crash in Nepal. Inexplicably, he screams the name of his old friend Chang (Chang Chong-Chen, left behind in China at the end of The Blue Lotus).

From that moment, his entire consciousness is preoccupied with his old friend. Frenzied inquires reveal that Chang was indeed, on the crashed airliner and is now believed dead. Despite all rational argument, Tintin knows somehow his friend has survived and immediately sets out to rescue him, with a protesting Captain Haddock reluctantly in tow.

Against all odds, the duo travel through India to the mountainous borderlands and into the Himalayas. Nothing can shake Tintin’s obsessive belief that Chang is alive and urgently needs him… Along the way they make another new comrade in the person of Sherpa guide Tharkey…

How the attendant physical and mental hardships are overcome make for a grim and uncharacteristically bleak tale, whilst the examples of mysticism, paranoia and overtly supernatural phenomena are an uncomfortable fit in the fantastic but rational universe that Tintin inhabits. There isn’t even a villain du jour, but for all that, the story does work, and no other adventure so well depicts the heroic qualities of the lad and the deep emotional bond between him and his greatest friends, Chang and Haddock.

Of course, Hergé’s utter professionalism would not allow him to produce anything that was not eminently readable, captivatingly funny (where appropriate) and stirringly thrilling. Although perhaps the oddest tale, this might just be the author’s most revealing.
Tintin in Tibet: artwork © 1960, 1984 Editions Casterman, Paris & Tournai. Text © 1962 Egmont UK Limited. All rights reserved.

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Adventures of Tintin: The Red Sea Sharks


By Hergé, Bob De Moor, Roger Leloup and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK)
ISBN: 978-1-40520-818-5 (HB) 978-140520-630-3 (TPB)

Georges Prosper Remi, known all over the world as Hergé, created a timeless masterpiece of graphic literature with his tales of a plucky boy reporter and entourage of iconic associates.

Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and other supreme stylists of the Hergé Studio, he created 23 splendid volumes (originally serialised in instalments for a variety of newspaper periodicals) which have grown beyond their pop culture roots to attain the status of High Art.

On leaving school in 1925, Remi worked for the conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy scout, a year later the artist produced his first strip series The Adventures of Totor for monthly Boy Scouts of Belgium magazine. By 1928 he was in charge of producing the contents of the newspaper’s weekly children’s supplement Le Petit Vingtiéme.

While illustrating The Adventures of Flup, N̩nesse, Poussette and Cochonette Рwritten by the staff sports reporter РWallez asked Remi to create a new adventure series. Perhaps a young reporter who roamed the world, doing good whilst displaying solid Catholic values and virtues?

The rest is history…

Some of that history is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siécle was closed down and Hergé was compelled to move his supremely popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis).

He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even being a Nazi sympathiser. It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist. Leblanc also provided cash to create a new magazine – Le Journal de Tintin – which he published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands, which allowed the artist and his team to remaster past tales: excising material dictated by the occupiers and unwillingly added to ideologically shade the war time adventures. The modernising exercise generally improved and updated the great tales, just in time for Tintin to become a global phenomenon.

With World War II over and his reputation restored, Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure. Although Hergé’s later life was plagued by personal and health problems, this only seemed to enhance his storytelling abilities.

Coke en stock began initial serialisation in Le Journal de Tintin from 31st October 1956 and on completion (1st January 1958) issue was collected into album form. In 1960 it voyaged across the channel to become The Adventures of Tintin: The Red Sea Sharks: a slick, perfectly polished comedy thriller, rife with intrigue and camaraderie. Even after decades it reads as a fresh and challenging romp ideal for young and old alike.

The Red Sea Sharks has lost none of its original contemporary urgency. Produced during the turbulent times that led to the Middle Eastern Suez Crisis, it remains worryingly relevant with nations and mad millionaires carrying out proxy wars amidst the sand dunes and shipping lanes…

The yarn reintroduces Emir Ben Kalish Ezab (from Land of Black Gold) whose oil-rich country is in the throes of a civil war manufactured by the moneyed powers of the West. Fearful of the consequences, the hard-pressed potentate sends his son Abdullah to stay with Captain Haddock at rural Marlinspike Hall, unaware that the old dipsomaniac and Tintin are currently embroiled in a minor mystery involving former south American dictator General Alcazar (The Broken Ear), cheap war surplus aircraft and a hidden criminal mastermind…

As eager to escape the infernal practical jokes of the incorrigible Prince Abdullah as to solve the case, the heroic pair trace the trail of the sinister arms dealers and soon find themselves back in the Desert Kingdom of Khemed.

The Europeans are closely monitored and arrive as unwelcome intruders after the rebels defeat the Emir and drive him into hiding, thanks to their illicitly gained fighter planes. When a hidden bomb leaves Tintin’s plane wrecked in the wastelands, the indomitable pair trek overland into enemy territory before finally finding the Emir-in-hiding.

Here they learn the coup has been instigated by the Marquis di Gorgonzola, an enigmatic self-made millionaire whose vast commercial interests are supplemented by selling into slavery pilgrims undertaking the Hajj to Mecca!

Hot on the trail, the pair take ship for that holy city but are strafed by warplanes. Shooting one down they rescue the pilot, but when they and their new-found ally are rescued by Gorgonzola’s yacht, Tintin discovers that one of his oldest foes is behind it all…

This spectacular high-adventure, despite its political and moral underpinnings, is primarily an action yarn with plenty of twists and turns and a terrific feel-good climax.
The Red Sea Sharks: artwork © 1958, 1986 Editions Casterman, Paris & Tournai. Text © 1960 Egmont UK Limited. All Rights Reserved.

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Adventures of Tintin: The Calculus Affair


By Hergé, Bob De Moors and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK)
ISBN: 978-1-40520-817-8 (HB) 978-1-40520-629-7 (TPB)

Georges Prosper Remi, known all over the world as Hergé, created an incontrovertible masterpiece of graphic literature with his tales of a plucky boy reporter and his entourage of iconic associates.

Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and other supreme stylists of the select Hergé Studio, he created 23 splendid volumes (originally produced in brief instalments for a variety of periodicals) that have grown beyond their popular culture roots and attained the status of High Art.

On leaving school in 1925, he worked for the conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy scout, a year later Remi produced his first strip series The Adventures of Totor for monthly Boy Scouts of Belgium magazine, and by 1928 was producing the contents of the newspaper’s weekly children’s supplement Le Petit Vingtiéme.

He was illustrating The Adventures of Flup, Nénesse, Poussette and Cochonette, written by the staff sports reporter when Wallez asked Remi to create a new adventure series. Perhaps a young reporter who roamed the world, doing good whilst displaying solid Catholic values and virtues?

The rest is history…

After a troubled period during the war years, the Boy Reporter and his companions became a staple of the European childhood experience through weekly trans-national magazine Le Journal de Tintin and regular album collections. The anthology comic regularly achieved a circulation in the hundreds of thousands, allowing the artist and his team to remaster past tales and create bold new romps reflecting the tone of the times.

Although Hergé’s later life was troubled by personal problems and health issues, this only seemed to enhance his storytelling abilities. The later adventures are all sleek, polished thrillers, rife with intrigue and camaraderie; perfectly garnished with comedy set-pieces of timeless brilliance. Even after decades of working, the artist/auteur continued fresh and challenging, always seeking new arenas of drama to explore.
Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure. That meant a return to observations of contemporary themes and situations, as in this effective treatise on the burgeoning Cold War…

L’Affaire Tournesol began in the Christmas issue of the Belgian edition of Le Journal de Tintin (dated December 22nd 1954) and ran uninterrupted until February 22nd 1956. The French editions ran it from February 1955, and the completed saga was collected as an album in 1956 and is notable for the introduction of three characters who would become semi-regular cast members: Jolyon Wagg, Cutts the Butcher, and recurring villain Colonel Spoons.

The Calculus Affair once again sees the zany Professor abducted from the palatial home of Captain Haddock, resulting in a dire and desperate chase through espionage-infested Europe. Our heroes are hampered in their efforts to save their friend by the introduction of the infinitely annoying and crushingly dull insurance salesman Jolyon Wagg and, more ominously, rival bands of relentless, ruthless spies.

As they doggedly pursue Calculus to Geneva, Tintin and Haddock encounter not only the insidious agents of Borduria but find that their erstwhile allies of Syldavia are also trying to make the Professor “disappear”. After frantic chases, pitched battles and assassination attempts, diplomatic duplicity defeats them, and Calculus becomes an unwilling guest of the totalitarian Bordurians, who are pleased to accept as a “gift” his new invention, which they intend to use as a weapon of mass destruction.

Temporarily stymied, Tintin and Haddock finagle their way into the country, and with the aid of Opera Diva and human tornado Bianca Castafiore, bamboozle the secret police to rescue the Professor and save the day.

Although all the elements in play are tried and trusted ingredients of the Tintin formula, the level of artistic achievement here is superb and the interplay of tense drama, slapstick comedy and breakneck action make this brooding thriller the most accomplished of Hergé’s tales. The simple fact that the contemporary Cold War fever is absent for modern readers makes no difference at all to the enjoyment of this magnificent graphic masterpiece.

The Calculus Affair: artwork © 1956, 1984 Editions Casterman, Paris & Tournai. Text © 1960 Methuen & Co Ltd/2012 Egmont UK Limited. All Rights Reserved.

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Adventures of Tintin: Destination Moon and Explorers on the Moon



By Hergé, Bob De Moors and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK)
ISBN: 978-1-40520-815-4 (HB Destination) 978-1-40520-627-3 (TPB Destination)
ISBN: 978-1-40520-816-1 (HB Explorers) 978-1-40520-628-0 (TPB Explorers)
As Tintin’s Moon Adventure (Magnet/Methuen) ISBN: 978-0-41696-710-4 (TPB)
Forthcoming – Tintin on the Moon (Egmont) ISBN: 978-1405295901 (HB)

Georges Prosper Remi, known all over the world as Hergé, created an incontrovertible masterpiece of graphic literature with his tales of a plucky boy reporter and his entourage of iconic associates.

Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and other supreme stylists of the select Hergé Studio, he created 23 splendid volumes (originally produced in brief instalments for a variety of periodicals) that have grown beyond their popular culture roots and attained the status of High Art.

On leaving school in 1925, he worked for the conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy-scout, a year later Remi produced his first strip series The Adventures of Totor for monthly Boy Scouts of Belgium magazine, and by 1928 was in charge of producing the contents of the newspaper’s weekly children’s supplement Le Petit Vingtiéme.

He was illustrating The Adventures of Flup, Nénesse, Poussette and Cochonette, written by the staff sports reporter when Wallez asked Remi to create a new adventure series. Perhaps a young reporter who roamed the world, doing good whilst displaying solid Catholic values and virtues?

The rest is history…

Some of that history is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siécle was closed down and Hergé was compelled to move his popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis).

He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even being a Nazi sympathiser. It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist and by providing cash to create a new magazine – Le Journal de Tintin – which Leblanc published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands and allowed the artist and his team to remaster past tales: excising material dictated by and unwillingly added to ideologically shade the war time adventures as well as generally improving and updating great tales that were about to become a global phenomenon.

With World War II over and his reputation restored, Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure.

In 1949 he returned to unfinished yarn Tintin au pays de l’or noir; abandoned when the Nazis invaded Belgium. The story had been commissioned by Le Vingtiéme Siécle, running from 28th September 1939 until 8th May 1940 when the paper was closed down. Set on the eve of a European war, the plot revolved around Tintin hunting seditionists and saboteurs sabotaging oil supplies in the Middle East. Before being convinced to update and complete the tale as Land of Black Gold, Hergé briefly toyed with the notion of taking his cast into space…

Collected albums Objectif Lune and On a march̩ sur la Lune were huge hits after the initial serialisation in Le Journal de Tintin from 30th March 1950 to 7th September 1950 and Рafter what must have been an intolerable wait for readers Рfrom 29th October 1952 to 29th December 1953.

The tale was produced after discussions between Hergé and his friends Bernard Heuvelmans (scientist, author and father of pseudo-science Cryptozoology) and Jacques Van Melkebeke (AKA George Jacquet: strip scripter, painter, journalist and a frequent if unacknowledged contributor to the Tintin canon). The sci fi epic that became a 2-volume masterpiece first made the leap to English in 1959.

On a personal note: I first read Destination Moon in 1964, in a huge hardcover album edition (as they all were in the 1960s) and was blown completely away. I’m happy to say that except for the smaller pages – and there’s never a substitute for “Big-ness” – this taut thriller and its magnificent, mind-boggling sequel are still in a class of their own in the annals of science fiction comic strips…

Moreover, during the 1980s the entire tale was (repeatedly) released in a combined tome as Tintin’s Moon Adventure: an utterly inescapable piece of publishing common sense that is finally being repeated this summer in a new hardback album from Methuen…

Our tale begins with our indomitable boy reporter and Captain Haddock returning to ancestral pile Marlinspike Hall only to discover that brilliant but “difficult” savant Professor Cuthbert Calculus has disappeared. When an enigmatic telegram arrives, the puzzled pair are off once again to Syldavia (as seen in King Ottokar’s Sceptre) and a rendezvous with the missing boffin…

Although suspicious, Tintin soon finds that the secrecy is for sound reasons. In Syldavia, Calculus and an international team of researchers and technologists are completing a grand project to put a man on the Moon! In a turbulent race against time and amidst a huge and all-encompassing security clampdown, the scheme nears completion, but Tintin and Haddock’s arrival coincides with a worrying increase in espionage activity.

An enemy nation or agency is determined to steal the secrets of Calculus’s groundbreaking atomic motor at any cost, and it takes all Tintin’s ingenuity to keep ahead of the villains. The arrival of detectives Thompson and Thomson adds nothing to the aura of anxiety but their bumbling investigations and Calculus’ brief bout of concussion-induced amnesia do provide some of the funniest moments in comics history…

As devious incidents and occurrences of sabotage increase in intensity and frequency, it becomes clear that there may be a traitor inside the project itself, but at last the moment arrives and Tintin, Haddock, Calculus, technologist Dr. Frank Wolff – and Snowy – blast off for the Moon!

Cold, clinical and superbly underplayed, Destination Moon is completely unlike the flash-and-dazzle razzamatazz of British and American tales from that period – or since. It is as if the burgeoning Cold War mentality of the era has infected even Tintin’s bright clean world. Once again, the pressure of work and Hergé’s troubled private life resulted in a breakdown and a hiatus in the strip – but this time some of that darkness transferred to the material – although it only seems to have added to the overall effect of claustrophobia and paranoia. Even the comedy set-pieces are more manic and explosive: This is possibly the most mature of all Tintin’s exploits…

Presumably to offset the pressures of creation to weekly deadlines, the master founded Studio Hergé on 6th April 1950: a public company to produce the adventures of Tintin as well other features, with Bob De Moor enthroned as chief apprentice.

He became a vital component of Tintin’s gradual domination of the book market, frequently despatched on visual fact-finding missions. De Moor revised the backgrounds of The Black Island for a British edition, and repeated the task for the definitive 1971 release of Land of Black Gold. An invaluable and permanent addition to the production team, De Moor supervised while filling in backgrounds and, most notably, rendering the unforgettable eerie and magnificent Lunar landscapes that feature here.

If the first book is an exercise in tension and suspense, Explorers on the Moon is sheer bravura spectacle. En route to Luna the explorers discover that the idiot detectives have accidentally stowed away, and along with Captain Haddock’s illicit whisky and the effects of freefall, provide brilliant comedy routines to balance the eerie isolation and dramatic dangers of the journey.

Against all odds the lunanauts land and make astounding scientific discoveries, but must cut short their adventures due to the imminent threat of suffocation caused by the introduction of the extra passengers on the fantastic atomic moon rocket…

Moreover, lurking in the shadows, there is still the very real threat of a murderous traitor to be dealt with…

This so-modern yarn is a high point in the series, blending heroism and drama with genuine moments of irresistible emotion and side-splitting comedy. The absolute best of the bunch in my humble opinion, and still one of the most realistic and accurately depicted space comics ever produced. If you only ever read one Hergé saga it simply must be this translunar Adventure of Tintin.
Destination Moon: artwork © 1953, 1959, 1981 Editions Casterman, Paris & Tournai. Text © 1959 Egmont UK Limited. All Rights Reserved. Explorers on the Moon: artwork © 1954, 1959, 1982 Editions Casterman, Paris & Tournai. Text © 1959 Egmont UK Limited. All Rights Reserved.

A new combined compilation – Tintin on the Moon – will be released on June 27th 2019 and is available for pre-order now

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Adventures of Tintin: Land of Black Gold


By Hergé, and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK)
ISBN: 978-1-40520-814-7 (HB) 978-1-40520-626-6 (TPB)

Georges Prosper Remi, known all over the world as Hergé, created an incontrovertible masterpiece of graphic literature with his tales of a plucky boy reporter and his entourage of iconic associates.

Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and other supreme stylists of the select Hergé Studio, he created 23 splendid volumes (originally produced in brief instalments for a variety of periodicals) that have grown beyond their popular culture roots and attained the status of High Art.

On leaving school in 1925, he worked for the conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy scout, Remi produced his first strip series The Adventures of Totor for the monthly Boy Scouts of Belgium magazine the following year, and by 1928 was in charge of producing the contents of the newspaper’s weekly children’s supplement Le Petit Vingtiéme.

He was illustrating The Adventures of Flup, Nénesse, Poussette and Cochonette, written by the staff sports reporter when Wallez asked Remi to create a new adventure series. Perhaps a young reporter who roamed the world, doing good whilst displaying solid Catholic values and virtues?

The rest is history…

Some of that history is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siécle was closed down and Hergé was compelled to move his popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis).

He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even being a Nazi sympathiser. It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist and by providing cash to create a new magazine – Le Journal de Tintin – which Leblanc published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands and allowed the artist and his team to remaster past tales: excising material dictated by and unwillingly added to ideologically shade the war time adventures as well as generally improving and updating great tales that were about to become a global phenomenon.

With World War II over and his reputation restored, Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure. But although these freedoms seemed to guarantee a new beginning the life of the creator was far from trouble-free.

In 1949 he returned to Tintin au pays de l’or noir which had been abandoned when the Nazis invaded Belgium. The story had been commissioned by Le Vingtiéme Siécle, running from 28th September 1939 until 8th May 1940 when the paper was closed down. Set on the eve of a European war, the plot revolved around Tintin hunting seditionists and saboteurs sabotaging oil supplies in the Middle East…

Now safely able to resume the tale – with some necessary updating – the story began afresh on 16th of September 1948 and ran to its conclusion on February 23rd 1950, and was promptly collected into a full-colour album the same year. It remained problematical: and publication was suspended on August 4th 1949 until 27th October. Hergé had suffered a nervous breakdown and could not work for months. As he recuperated in Switzerland, the magazine turned disaster into a publicity stunt: declaring “Shocking News! Hergé has Disappeared!” It is a tribute to his skills and those of his studio team that the finished tale reveals none of his personal problems, but is an almost seamless and riveting yarn of political and criminal gangsterism; exotic, rocket-paced, surreal, hilarious and breathtakingly exciting.

The story concerns a plot to destabilise global peace by sabotaging petrol. All oil is somehow made more flammable, causing engines to explode when refuelled. Tintin traces the sabotage to the freighter Speedol Star, which he joins as Radio Officer. The dim-witted detectives Thomson and Thompson are also aboard, but much less discreetly, and soon all three are the targets of a numbers of attacks and assaults. When the ship reaches the Arabian port of Khemikhal they are all framed as drug smugglers and arrested.

At that moment Tintin is abducted by rebel tribesmen who believe he is a gunrunner and the now-vindicated detectives go in search of their friend in the desert. After many hardships the intrepid boy and Snowy discover villainous spymaster Doctor Müller (last seen in The Black Island) is trying to ingratiate himself with the oil-rich Emir. Mohammed Ben Kalish Ezab is wise and tolerant, but “blessed” with a wilful and spoiled son, Abdullah, who is kidnapped when he rejects the doctor’s offers. Tintin befriends the Ruler and goes undercover to find the Prince.

Tracking down Müller, Tintin attempts to rescue the prince (whose incessant practical jokes have made him a most unpopular but un-chastisable captive), only to be trapped in a brutal fire-fight in the catacombs beneath the spy’s villa. From nowhere, Captain Haddock (a supremely popular mainstay of latter adventures but unknown at the time of the first iteration) effects a rescue and the plot is revealed and thwarted. He bombastically first appeared after the original Land of Black Gold was abandoned, in The Crab with the Golden Claws and would increasingly steal the spotlight from his goody-goody juvenile partner…

Action-packed and visually delightful, this breezy mystery-thriller is full of humour and chases, with only the last-minute arrival of the dipsomaniac sea captain to slightly jar the proceedings. Presumably the original pages were recycled as much as possible with the popular Haddock inserted at a new breakpoint.

Studio Hergé was formed in 1950 to produce the adventures of Tintin as well other features and Bob De Moor became an invaluable and permanent addition to the production team, filling in backgrounds and most notably rendering the unforgettable Lunar landscapes that feature in the next extended adventure. He was also a vital component of Tintin’s gradual domination of the book market. Frequently despatched on visual fact-finding missions, De Moor revised the backgrounds of The Black Island for a British edition, and repeated the task for the definitive 1971 release of Land of Black Gold. The 1950s book was set in British-Occupied Palestine, but history and taste dictated the creation of a fictitious nation and erasure of many dated and contentious background scenes…

Surviving a troubled genesis, this short tale remains a grand adventure romp, full of epic events and hilarious moments once seen can never be forgotten. This so-modern yarn is a high point in the series, blending heroism and drama with genuine moments of irresistible emotion and side-splitting comedy.

Land of Black Gold: artwork © 1950, 1977 Editions Casterman, Paris & Tournai.
Text © 1972 Egmont UK Limited. All Rights Reserved.

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Adventures of Tintin: The Seven Crystal Balls and Prisoners of the Sun


By Hergé & various; translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont)
ISBNs: 978-0-82885-071-1 (HB Crystal Balls)
978-1-40520-624-2 (PB Crystal Balls)
978-1-40520-813-0 (HB Sun)
978-1-40520-625-9 (PB Sun)

Georges Prosper Remi Рknown universally as Herg̩ Рcreated a true masterpiece of graphic literature with his astounding yarns tales of a plucky boy reporter and his entourage of iconic associates.

Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and the Hergé Studio, Remi completed 23 splendid volumes (originally produced in brief instalments for a variety of periodicals) that have grown beyond their popular culture roots and attained the status of High Art.

It’s only fair, though, to ascribe a substantial proportion of credit to the many translators whose diligent contributions have enabled the series to be understood and beloved in 38 languages. The subtle, canny, witty and slyly funny English versions are the work of Leslie Lonsdale-Cooper & Michael Turner.

On leaving school in 1925, Remi worked for Catholic newspaper Le Vingti̩me Si̩cle where he fell under the influence of its Svengali-like editor Abbot Norbert Wallez. The following year, the young artist Рa passionate and dedicated boy scout, produced his first series: The Adventures of Totor for monthly Boy Scouts of Belgium magazine.

By 1928, Remi was in charge of producing the contents of the parent paper’s children’s weekly supplement Le Petit Vingtiéme while discontentedly illustrating The Adventures of Flup, Nénesse, Poussette and Cochonette when Abbot Wallez urged the artist to create an adventure series. Perhaps a young reporter who would travel the world, doing good whilst displaying solid Catholic values and virtues?

And also, perhaps thereby highlighting and exposing some the Faith’s greatest enemies and threats…?

Having recently discovered the word balloon in imported newspaper strips, Remi decided to incorporate this simple yet effective innovation into his own work. He would produce a strip both modernistic and action-packed.

Beginning in early January 1929, Tintin in the Land of the Soviets appeared in weekly instalments, running until May 8th 1930. Accompanied by his garrulous dog Milou (Snowy to us Anglophones), the clean-cut, no-nonsense boy-hero – a combination of Ideal Good Scout and Remi’s own brother Paul (a soldier in Belgium’s army) – would report back all the inequities of the world, since the strip’s prime conceit was that Tintin was an actual foreign correspondent for Le Petit Vingtiéme…

The odyssey was a huge success, assuring further – less politically-charged and controversial – exploits to follow. At least that was the plan…

During the Nazi Occupation of Belgium, Le Petit Vingtiéme was closed down. Hergé was compelled to move his popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, appropriated and controlled by the Nazis). He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even being a Nazi sympathiser.

It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Herg̩, which he did by simply vouching for the cartoonist and by providing the cash to create a new magazine РLe Journal de Tintin Рwhich Leblanc published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands.

Begun in conquered Belgium and running in daily instalments, Les Sept Boules de Cristal began in December 1943 but was abruptly shelved when the Allies arrived in September 1944. Hergé, tarred as a collaborator, was unable to work for two years. When he was cleared the story resumed, serialised in Le Journal de Tintin from September 26th 1946 to April 22nd 1948

In 1943 the artist had met Edgar P. Jacobs, who became his assistant. They began with this extended adventure-tale which is now divided into eerie thriller The Seven Crystal Balls and grandiose epic Prisoners of the Sun. These dates seem odd but once again the Nazi conquest holds the answers.

For Belgium. Liberation day was September 3rd 1944. When the occupiers fled, workers on Le Soir were arrested as potential collaborators or Nazi sympathizers and the newspaper was closed down. For the two years they were under suspicion, Hergé, Jacobs and Alice Devos spent their time adapting old Tintin adventures for release as colour albums. The Seven Crystal Balls remained unfinished and unpublished until Raymond Leblanc stepped in.

Anthological Le Journal de Tintin continued the tale before completing the saga with Le Temple du Soleil. During this period, Jacobs left Hergé when the artist supposedly refused him a by-line for his work. At that time, Jacobs was also producing his own science-adventure masterpiece Blake and Mortimer which also featured in the weekly Tintin.

The Seven Crystal Balls sees affable old soak Captain Haddock returned to family manse Marlinspike Hall where he is adjusting (poorly) to his new-found wealth, and the prospect of exasperating Professor Cuthbert Calculus as his house-guest.

When Tintin and Snowy visit, a trip to the theatre embroils them all in a baffling enigma wherein the survivors of the South American Sanders-Hardiman Expedition all successively fall into comas due to an Incan curse and some rather suspect strangers. Tintin soon determines someone more solid than ethereal is causing the tragedies, but even he can’t stop the attacks, and soon he and his friends are also on the mysterious malefactor’s “to-do” list…

When Calculus is abducted from under their very noses, Haddock gives up his life of luxury and resumes adventuring once more, determined to help Tintin rescue their friend and solve the mystery.

Giving chase. they narrowly miss the villains at a seaport but still have a chance to beat the ship carrying Calculus if they board a sea-plane for Peru…

This is classic hairsbreadth storytelling. The pace is spellbinding and the ever-present slapstick actually serves to heighten the tension of the chase. The tale ends on a cliff-hanger, which is only right and proper. Still, imagine how you’d have felt all those decades ago when the conclusion was months away…

 

The helter-skelter drama continues in as, in the Port of Callao, Tintin and Haddock anxiously await the arrival of the freighter Pachacamac. However, when it arrives, suspected of carrying their kidnapped friend Cuthbert Calculus, the vessel flies a plague-pennant. There is Yellow Fever aboard and nobody can approach her!

And so begins Prisoners of the Sun, epic conclusion of the maddening mystery of Inca curses and the doomed Sanders-Hardiman Expedition to South America…

Suspecting a trick, Tintin sneaks aboard and finds the Professor, only to be driven away by gunfire. After telephoning Haddock, he chases the abductors, leaving the Captain and inept detectives Thompson and Thomson to catch up if they can. The chase takes them deep into the beautiful, rugged country where they finally reunite, only to become the target of many murder attempts, and other methods of dissuasion.

Undaunted, Tintin and Haddock continue their trek towards the mountains, and are befriended by Zorrino, a young lad who risks his own life to help them cross valleys, mountain-ranges and jungles, dodging death from both beasts and men, until they are all finally captured by the last remnants of a lost, wondrous and deeply cautious civilisation…

This is an epic staggering in scope and breathtaking in execution. Whether drawing a battle, choreographing a pratfall or delineating a golden temple, the clean precise line of the art and the simplified colour palette makes every panel “realer-than real”, whilst the captivating imagination of the storytelling makes this a truly graphic narrative.

These are two of the best comic adventures of all time and they demand a place on every fan’s bookshelves.

The Seven Crystal Balls: artwork © 1948, 1975 Editions Casterman, Paris & Tournai.

Text © 1962 Egmont UK Limited. All Rights Reserved.

Prisoners of the Sun: artwork © 1949, 1977 Editions Casterman, Paris & Tournai.
Text © 1962 Egmont UK Limited. All Rights Reserved.

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Adventures of Tintin: The Secret of the Unicorn and Red Rackham’s Treasure


By Hergé & various; translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont)
ISBN: 978-1-40520-810-9 (HB Unicorn) 978-1-40520-622-8 (PB Unicorn)
ISBN: 978-1-40520-811-6 (HB Rackham) 978-1-40520-623-5 (PB Rackham)

Georges Prosper Remi РAKA Herg̩ Рcreated a true masterpiece of graphic literature with his astounding yarns tales of a plucky boy reporter and his entourage of iconic associates. Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and the Herg̩ Studio, Remi completed 23 splendid volumes (originally produced in brief instalments for a variety of periodicals) that have grown beyond their popular culture roots and attained the status of High Art.

It’s only fair, though, to ascribe a substantial proportion of credit to the many translators whose diligent contributions have enabled the series to be understood and beloved in 38 languages. The subtle, canny, witty and slyly funny English versions are the work of Leslie Lonsdale-Cooper & Michael Turner.

On leaving school in 1925, Remi worked for Catholic newspaper Le Vingti̩me Si̩cle where he fell under the influence of its Svengali-like editor Abbot Norbert Wallez. The following year, the young artist Рa passionate and dedicated boy scout produced his first series: The Adventures of Totor for monthly Boy Scouts of Belgium magazine.

By 1928 Remi was in charge of producing the contents of the parent paper’s children’s weekly supplement Le Petit Vingtiéme and unhappily illustrating The Adventures of Flup, Nénesse, Poussette and Cochonette when Abbot Wallez urged the artist to create an adventure series. Perhaps a young reporter who would travel the world, doing good whilst displaying solid Catholic values and virtues?

And also, perhaps, highlight and expose some the Faith’s greatest enemies and threats…?

Having recently discovered the word balloon in imported newspaper strips, Remi decided to incorporate this simple yet effective innovation into his own work. He would produce a strip both modernistic and action-packed.

Beginning in early January 1929, Tintin in the Land of the Soviets appeared in weekly instalments, running until May 8th 1930. Accompanied by his garrulous dog Milou (Snowy to us Brits), the clean-cut, no-nonsense boy-hero – a combination of Ideal Good Scout and Remi’s own brother Paul (a soldier in the Belgian Army) – would report back all the inequities of the world, since the strip’s prime conceit was that Tintin was an actual foreign correspondent for Le Petit Vingtiéme…

The odyssey was a huge success, assuring further – albeit less politically-charged and controversial – exploits to follow. At least that was the plan…

During the Nazi Occupation of Belgium, Le Petit Vingtiéme was closed down and Hergé was compelled to move the popular strip to the occupiers’ preferred daily newspaper Le Soir. He diligently continued producing stories for the duration, but in the period following Belgium’s liberation was accused of being a collaborator and even a Nazi sympathiser.

It took the intervention of Resistance hero Raymond Leblanc to dispel the cloud over Herg̩, which he did by simply vouching for the cartoonist and by providing the cash to create a new magazine РLe Journal de Tintin Рwhich Leblanc published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands.

These adventures come from the Golden Age of an iconic creator’s work. Despite being produced whilst Belgium was under the control of Nazi Occupation Forces during World War II, the qualitative leap in all aspects of Hergé’s creativity is potent and remarkable.

After his homeland fell to the invaders in 1940, Georges Remi’s brief military career was over. He was a reserve Lieutenant, working on The Land of Black Gold when called up, but the collapse of Belgium meant that he was back at his drawing board before year’s end, albeit working for a new paper on a brand-new adventure. He would not return to Black Gold, with its highly anti-fascistic subtext, until 1949.

Le Secret de La Licorne ran from June 11th 1942 to January 14th 1943: a rip-roaring adventure mystery of light-hearted, escapist thrills, to create a haven of delight from the daily horrors of everyday life. It and its continuation remain a legacy of joyous adventure to this day. It’s also the first co-created with cartoonist, journalist and full-time ghost writer Jacques Van Melkebeke (AKA George Jacquet) who silently collaborated on Blake & Mortimer, Hassan et Kaddour, Corentin, Les Farces de l’Empereur and many others.

On completion it was collected as a full-colour book in 1943, re-mastered in 1946 and serialised in French newspaper Coeurs Vaillants from Mach 19th 1944.

After the dramatic and fanciful far-fetched exploits of The Shooting Star, Hergé returned to less fantastical fare with The Secret of the Unicorn which begins as Tintin buys an antique model galleon at a street market. He intends presenting it to Captain Haddock, but even before he can pay for it an increasingly desperate number of people try to buy, and even steal it from him.

Resisting all efforts and entreaties, he tells his effulgent friend of the purchase, ‘though not that a minor accident has broken one of the masts. The Captain is flabbergasted to hear of the model! He has a portrait of his ancestor Sir Francis Haddock, painted in the reign of King Charles II, in which the exact same ship features!

On returning home Tintin finds the model has been stolen, but on visiting the first and most strident of the collectors who tried to buy it from him finds that the man already has an exact duplicate of the missing model.

After much hurly-burly Tintin and Haddock discover that Sir Francis was once a prisoner of infamous pirate Red Rackham, but escaped with the location of the villain’s treasure horde. Subsequently making three models of his vessel “The Unicorn”, the sea dog placed part of a map in each and gave them to his three sons…

Someone else obviously has divined the secret of the ships and that mysterious mastermind becomes ever more devious and ruthless in his attempts to obtain the complete map. Events come to a head when Tintin is kidnapped, which is a big mistake, as the intrepid lad brilliantly turns the tables on his abductors and solves the mystery. With the adventure suitably concluded, the volume ends with our heroes ready to embark on the no-doubt perilous voyage to recover Red Rackham’s Treasure…

For which we must turn to the next volume in this glorious repackaging of one of the World’s greatest comic strip treasures… Hergé’s Adventures of Tintin!
The Secret of the Unicorn: artwork © 1946, 1974 Editions Casterman, Paris & Tournai.
Text © 1959 Egmont UK Limited. All Rights Reserved.

The concluding tome of an epic saga, Le Trésor de Rackham le Rouge ran in Le Soir from February 9th to September 23rd 1943 and topped that thrilling mystery chase to secure three sections of a pirate map with a glorious all-out, all-action romp in search of the loot itself. During that period the artist met Edgar P. Jacobs, who became his assistant on the daily strip…

Tintin and Haddock are quietly assembling the requirements for their proposed treasure hunt. However, when a loose-lipped sailor is overheard by an enterprising reporter, the endeavour becomes a cause celebré with a horde of opportunists claiming descent from Red Rackham.

A more persistent but innocently intentioned distraction is a deaf and daffy Professor named Cuthbert Calculus who wants to use the expedition to test his new invention. He continually accosts Tintin and Haddock. Although his offer is rejected the Professor is not a man to be easily dissuaded. Mostly because he can’t hear the word “no” – or any others…

With the detectives Thompson and Thomson aboard (in case of criminal activity) the small team sets sail on their grand adventure…

This is a rich and absorbing yarn in the classic manner, full of exotic islands, nautical drama, mystery and travail, brilliantly timed comedy pieces and even a surprise ending. The restrictions of Belgium’s occupation necessitated Hergé’s curtailment of political commentary and satire in his work, but it apparently freed his Sense of Wonder to explore classic adventure themes with spectacular and memorable results. Although not the greatest of stand-alone Tintin tales, in conjunction with The Secret of the Unicorn this story becomes one of the best action sagas in the entire Hergé canon.

These ripping yarns for all ages are an unparalleled highpoint in the history of graphic narrative. Their unflagging popularity proves them to be a worthy addition to the list of world classics of literature, and stories you and your entire clan should know.
Red Rackham’s Treasure: artwork © 1945, 1973 Editions Casterman, Paris & Tournai.
Text © 1975 Egmont UK Limited. All Rights Reserved.