Category Archives: Herge studies

The Graphic Mythology of Tintin

Now available, The Graphic Mythlogy of Tintin from writer Tim Mountford.

According to Mountford, he has “called it a primer because it’s both an overview of the compete canon of Tintin adventures as well as an introduction to the wider field of Tintinology. Most average readers of Tintin are, I’m sure, quite unaware just how much interpretive work has been undertaken (mostly by French boffins) on these seemingly simple children’s adventure stories. Now the books are being transformed into a Spielbergian franchise with all the attendant toys, happy meals, colouring books and so on, it might seem even more natural to dump them in a ‘kids’ category with every other comic book or CGI cartoon. But I think that would be a mistake and in my book I try to outline the case for approaching these works with a little more critical sensitivity.” (via)

Like the cover art? You can get that too, framed and ready to hang at Optic Module.

Just how Dense is Tintin?

No, I don’t mean that kind of dense.

An interesting post from Robot 6 Comic Book Resources about how artists face the challenge of how much to include, or not, in each panel of their work. Using panels from Tintin in Tibet as an example, the piece evaluates how Herge made those decisions and it’s worth reading.

Figuring out the density of a page of comics is one of the most important challenges that a cartoonist faces between idea and finished product, but it’s also one that’s frustratingly tricky to talk or even think about.  How does one measure how much happens on a page other than pointing and saying “this much?”  And how does a cartoonist decide on the optimum amount of story to convey with each canvas?  I’d hazard a guess that most of the time for both reader and creator, these aren’t conscious practices, and the varying densities of different cartoonists’ approaches simply occur rather than being plotted out.

The vast majority of American comics on both sides of the mainstream/alternative divide stick to the rhythm of (roughly) six panels to a (roughly) three-tiered page, sequenced from character action to character action, with maybe three seconds of time depicted in-frame and five or so passing in each gutter.  Japanese comics tend to move a little quicker: a few less panels per page, a bit less time taken up in each individual one.  European comics, on the other hand, typically have much more density than their American counterparts, with more panels per tier, more tiers per page, and more story time taken up in each image.  Some of the difference in density of information can be chalked up to the average size the comics are published at: in Japan, digest-size books are most commonly the final state of comics, so less is crammed onto the page than in American “comic-size” comics, which in turn can fit less than album-size European books.

But density isn’t only a question of how many panels per page: it’s at least as much about how much goes into each panel.  Here it’s more enlightening to look not at trim size, but the most influential cartoonists of the world’s three major cartooning traditions.  In Japan, Osamu Tezuka, with his pure cartooning and borderline ruthless, Disney-inspired simplification of forms is the “God of Manga”.  Here in America, the “King of Comics” is Jack Kirby, whose fully packed panels hint at the illustrative without ever quite bowing to realism or observational drawing.  And in Europe, far and away the most widely read maker of comic art is Georges Remi, pen name Herge, creator of Tintin.

Herge’s comics are about as dense as it gets before you notice: his pages stick to four tiers, usually subdivided like crazy, and his word balloons tend to be plentiful.  Beyond this, his drawing is much more detailed that either Kirby or Tezuka.  Though both of those artists could throw down with spreads of mind-blowingly intricate machinery or painterly landscape shots, in Herge the figures and faces are cartooned, and everything else, from architecture to natural environments to the details of props and the wrinkles of clothes is captured in meticulous, pinpoint linework. But Tintin comics somehow never feel overstuffed, and the sequence above is a perfect example of why.  Though Herge drew with a documentarian’s eye for detail, his eye for open space and flat color was second to none.  Each crisply realistic outline frames a lineless space for the eye to rest in, turning every panel into a flickering alternation between work and pleasure, surely the optimum mode for comics to function in.

And Herge’s understanding of space extends beyond what’s inside the panels.  This sequence takes full advantage of Western readers’ prose-produced instinct to read in straight lines across a page, squashing three panels into the vertical space usually occupied by one.  Of course, even though the lack of verticality in these panels feels natural enough when we do most of our reading across lines as tall as the ones you’re looking at now, it makes the panels proportionally much longer, giving readers a vast expanse of space to read across.  No small amount of story time passes in these panels, and what’s more, that time is felt as the eye scans across Herge’s long, multiple-focus scrolls.  The terrain changes, travelers speed up and slow down, and the eye is forced to register these changes of position while the long, low panels push forward as inexorably as a moving walkway.

It’s a challenging bit of comics, with both a brisk forward motion and changing compositions to give the reader pause built in.  Indeed, the most noticeable bit of character movement is Captain Haddock’s slow slip backward, which is pitched against the directionality of the rest of the sequence.  These panels pitch and yaw on their slow march forward, which is perfect: Herge takes not only his characters, but the reader’s eye on a journey as well, matching form to content in an inspired sequence that hits just the right point between density and the lack thereof.  Whether that balance was thought out or simply occurred is something only Herge knows for sure, but either way it’s a perfect example of comics that contain just enough.”

Tintin Documentary to Air on BBC

According to the BBC website:

Correspondent Frank Gardner goes in search of the origins of the cartoon character that inspired him to become an adventuring journalist.

Frank grew up reading Tintin, and as soon as he was old enough to explore the world for himself, he set off for Russia on his first adventure – just like Tintin.

Frank investigates the similarities between Tintin’s adventures and those of real-life photojournalist Robert Sexe, on whom Tintin – created by Belgian comic artist Hergé (Georges Remi) – is allegedly based. His quest leads him to Belgium and then on to Russia. With his waspish sense of humour and love of travel, Frank explores the secretive world of the early Soviet Union and an era now seen as a golden age of exploration and travel.

Tintin in Edinburgh

Just found this over at a Tintinologist forum and thought I would spread the word.

As part of the Edinburgh International Book Festival, British author & illustrator John Fardell will present an hour-long talk on Hergé’s work. It will be held on the 20th August, at 3pm, in Charlotte Square Gardens (tickets £4.50). Tickets can be booked online, from the Hub in Edinburgh or on site itself during the festival. For more information see the website.

From the festival website:

Join author, illustrator and cartoonist John Fardell as he explores how Belgian genius Hergé combined artistic and narrative techniques to create masterpieces of comic-strip adventure. He discusses how his lifelong love of the Tintin books influenced his own work, and passes on some of the drawing tips he’s absorbed/pinched from Hergé. An event for young or old, avid Tintinophiles or intrigued newcomers, budding artists and writers or curious readers.

Best Tintin books for children

This is a re-post from a June 2009 article I wrote for an online magazine. Still relevant and maybe even more so with the impending Tintin Movie!

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At my stores, my staff and I are often asked what kinds of Tintin books would be best for a young child (usually 10 and under). This is a trickier questions than many would assume since the subject matter is varied and some of it can be rather sophisticated for a young reader. With the news of the upcoming Tintin movie, questions about how to get a young child started with the books are becoming more common. To help, I have compiled a list of the best Tintin books for children.

The criteria:

  1. Action/humor – the book must be one with a lot of action and physical humor because the stories tend to be heavy on dialogue and young readers sometimes have a difficult time with many of the big words and odd font style used in the Herge books;
  2. Politically and culturally neutral – we steer customers toward books with plots and characters that can be understood out of their historical context. For example, The Blue Lotus was written specifically to criticize British and Japanese colonialism in China, and without being able to understand that message, the book losses much of its impact.
  3. Compelling illustrations – the stories must be supported with action-driven full-color illustrations that transport the reader into the narrative.
  4. Characters – the books, especially for new readers, should have as many of the Tintin characters as possible.

Based on the above, here are my choices for the Best Tintin books for children 10 and under:

Tintin in TibetTintin in Tibet

This is rumored to be Hergé’s favorite book in the Tintin series. While it does have a slower pace, this balances well with the slapstick antics of Captain Haddock. The plot: Tintin, vacationing in the Alps with Haddock and Calculus, has a dream in which his friend Tchang (from The Blue Lotus, an early Tintin album) is in serious danger. As they soon learn, Tchang was a passenger on a plane which has crashed in the Himalayas, apparently without survivors. Tintin is convinced Tchang is alive, and is determined to rescue him. In Tibet, Tintin meets the Yeti,  a central character in the book, and a kid-favorite. Side note: the book shows an independent Tibet, having been written just before the Chinese invasion.

The Secret of the Unicorn / Red Rackham’s Treasure

We never let someone leave one of our stores with only one of a two-part story so I am combining the books in this list. The Secret of the Unicorn combines a puzzling mystery with a ripping pirate yarn. When Tintin finds a magnificent model ship in the street market, his attempt to buy it for Captain Haddock leads him on a trail of pickpockets, burglars, and secret treasure, and Captain Haddock’s family history. Haddock enthralls him with a tale of his seafaring ancestor, Sir Francis Haddock (who was exclaiming  ”Thundering typhoons!” generations before the Captain ever did), and his fateful encounter with the fearsome pirate Red Rackham. The story is also notable for Hergé’s fantastic eye for ship detail as well as the first appearances of Nestor and Marlinspike Hall.

The story continues with Red Rackham’s Treasure where we follow Tintin and friends as they search for the pirate booty procured by Captain Haddock’s ancestor, Sir Francis Haddock, in the West Indies. They receive some unexpected help in the form of a hard-of-hearing inventor named Professor Calculus, who would go on to become one of the most endearing characters of the series. (Hergé admitted that the character was one “whom I never suspected would take on such importance.”) It’s a lot of fun, with some submarine and diving adventures, humor from Thompson and Thomson, and an unexpected (but satisfying) ending.

Destination Moon / Explorers on the Moon

These two books are heavy on dialogue, but they also introduce the reader to some of the most iconic illustrations in the world, and simply must not be excluded from any child’s Tintin library. In Destination Moon, Tintin begins his greatest adventure when he and Captain Haddock are rather cryptically summoned to join Professor Calculus in the foreign (and fictional) land, Klow. Written in 1953, well before Neil Armstrong, Tintin and Captain Haddock learn Professor has joined a consortium in order to build a rocket designed to land a person on the moon. Unfortunately, the project has also attracted some unwanted attention from those who will resort to sabotage to steal the technology. Is the project successful? Well, it’s probably not that great of a spoiler to reveal that the story is continued in Explorers on the Moon. In Explorers, Tintin and his friends find themselves mixed up in misadventures and mystery soon after the launch of the celebrated rocket. Joining Tintin in space are the ubiquitous “certified detectives,” Thomson and Thompson, who are discovered on board–inadvertent stowaways who threaten to monopolize the ship’s precious oxygen supply. All’s well that lands well and Tintin and his colleagues return to Earth safely.

The Black IslandThe Black Island

The Black Island is an exciting and very funny tale of intrigue set in the Scottish town of Kiltoch, headquarters of a gang of international forgers and possibly, a dreaded beast. During his travels, Tintin is framed and must dodge pursuit by his old detective friends, Thompson and Thomson. He also meets Dr. Müller, who would return in Land of Black Gold. The Black Island is one of the earlier Tintin adventures, first appearing in Le Petit Vingtieme in 1937 and 1938, but it was revised and redrawn in 1966, which is why it has the more mature look of Hergé’s later work. This book has some of the more compelling locomotive illustrations and has good pacing for a young reader.

King Ottokar’s SceptreKing Ottokar's Sceptre

Sceptre rounds out the list based on plot alone. What it might lack in fantastical illustrations, it more than makes up for with intrigue, quick escapes, caper, and rescue. Tintin is at his heroic best. In the tale, Hergé takes Tintin through a sequence of strange events to the mythical Kingdom of Syldavia, the history of which is revealed throughtout the book. The drawings and information which bring this country to life: a combination between Zenda and Albania, are amazing. More than just a “history” lesson, the book details a plot by Fascists based in neighboring Borduria, to unseat Syldavian King Muskar, by seizing the symbol of the Syldavian monarchy, the mediaeval King Ottokar’s Scepter. Tintin is called to the rescue. Side note: this book is considered Herge’s most daring fight against fascism. It was first published in French in 1939, and written at the time Europe was under the thumb of totalitarianism: Hitler, Mussolini, and Stalin.

The Shooting StarThe Shooting Star

Hergé takes Tintin on a fantastical journey to investigate a fallen meteorite which has some surprizing effects on vegetation. Fantastic maritime and aviation illustrations are to be found throughout this book, and Hergé does a particularly great job with Tintin’s dog, Snowy in this story.

Buy your Tintin books at Wundertime.com.