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The Adventures of Tintin (also known as The Adventures of Tintin: The Secret of the Unicorn^[5]) is a 2011 3Dmotion capturecomputer-animatedaction-adventure film based on the comic book series of the same name by Belgian cartoonist Hergé. Produced and directed by Steven Spielberg, co-produced by Peter Jackson and Kathleen Kennedy and written by Steven Moffat, Edgar Wright and Joe Cornish, the film is inspired by three of Hergé's albums: The Crab with the Golden Claws (1941), The Secret of the Unicorn (1943) and Red Rackham's Treasure (1944).^[6] Starring the voices of Jamie Bell, Andy Serkis, Daniel Craig, Nick Frost and Simon Pegg, the film is intended to be the first installment in a planned The Adventures of Tintin trilogy.^[7][8][9]

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Spielberg acquired the film rights to The Adventures of Tintin series following Hergé's death in 1983, and re-optioned them in 2002. Filming was due to begin in October 2008 for a 2010 release, but the release was delayed to 2011 after Universal Pictures opted out of producing the film with Paramount Pictures, who provided $30 million on pre-production. Sony Pictures also chose to co-finance the film. The delay resulted in Thomas Brodie-Sangster, who had been originally cast as Tintin, departing from the project. The world première took place on 22 October 2011 in Brussels.^[10] The film was released in the United Kingdom and other European countries on 26 October 2011 and in the United States on 21 December 2011 in Digital 3D and IMAX 3D formats.^[11]

The Adventures of Tintin was a huge commercial success, having grossed over $373 million against a budget of $135 million^[4] and received generally positive reviews from critics,^[12] who favorably compared the film to Spielberg's previous work Raiders of the Lost Ark. It was the first motion-captured animated film (as well as the first non-Pixar animated film) to win the Golden Globe Award for Best Animated Feature Film.^[13] Composer John Williams was also nominated for an Academy Award for Best Original Score and the film was also nominated for six Saturn Awards, including Best Animated Film, Best Director for Spielberg and Best Music for Williams.^[14]

• 3Production
• 5Release
• 6Reception

Plot[edit]

In 1950s Brussels, while browsing in an outdoor market with his pet dog Snowy, young journalist Tintin purchases a miniature model of a ship known as the Unicorn, but is accosted by an Interpol officer named Barnaby and a ship collector named Ivan Ivanovitch Sakharine, who both unsuccessfully attempt to get the model from Tintin. After Tintin takes the model home to his apartment, it gets accidentally broken during a chase between Snowy and a cat; a parchment scroll slips out of the ship and rolls under a piece of Tintin's furniture. Meanwhile, bumbling police detectives Thomson and Thompson are on the trail of pickpocketAristides Silk.

After visiting Maritime Library to uncover the history surrounding the Unicorn, Tintin returns to find the Unicorn has been stolen, suspecting Sakharine. He heads to Marlinspike Hall where he accuses him of the theft, but noticing Sakharine's model is not broken, he realizes there are two Unicorn models. Returning to his apartment (to find it ransacked), Tintin is shown the scroll by Snowy, but they are interrupted by the arrival of Barnaby, who is then assassinated while attempting to recover the Unicorn. Tintin places the scroll in his wallet, but is pickpocketed by Silk the next morning.

Later, Tintin is abducted by accomplices of Sakharine on the SS Karaboudjan. He learns that Sakharine formed an alliance with the ship's staff and led a mutiny to take control. On board, Tintin encounters Archibald Haddock, the ship's captain who is permanently drunk and has forgotten most of his past. Tintin, Haddock and Snowy eventually outrun the crew and escape from the Karaboudjan in a lifeboat. The ship fails to ram their boat because they instead rammed an empty lifeboat the captain accidentally released during his escape. Presuming them to have survived by the number of lifeboats, Sakharine sends a seaplane to find and capture them. Feeling cold and thirsty on the lifeboat ride, Haddock foolishly uses a stowaway bottle of scotch whisky to light a fire in the boat, accidentally causing a massive explosion that flips the boat upside down and leaves the trio stranded on top of it. The trio seizes the plane, and uses it to fly towards the fictitious Moroccan port of Bagghar. However, the seaplane crashes in a desert due to low fuel and a thunderstorm.

While trekking through the desert along with Tintin and Snowy, Haddock hallucinates and remembers his ancestor, Sir Francis Haddock, the 17th-century captain of the Unicorn whose treasure-laden ship was attacked by the crew of a pirate ship led by Red Rackham, who is later revealed to be Sakharine's ancestor. Sir Francis surrendered, but since the pirates kill all of his crew, Sir Francis eventually sank the Unicorn and most of its treasure in order to prevent it from falling into Rackham's hands. The story implies there were three Unicorn models, each containing a scroll; together, the scrolls can reveal coordinates of the location of the sunken Unicorn and its treasure.

The third model is in Bagghar, possessed by Omar ben Salaad. Sakharine causes a distraction in a Bianca Castafioreconcert that results in him stealing the third scroll. A chase through the city ensues, during which he gains all the scrolls. Just as he is ready to give up, Tintin is persuaded by Haddock to continue. With help from Thomson and Thompson, Tintin and Haddock track Sakharine back to Brussels and set up a trap, but Sakharine uses his pistol to resist arrest. When his men fail to save him, Sakharine challenges Haddock to a sword fight with the cranes at the dock. After the fight, Sakharine is pushed overboard by Haddock; he is then rescued and arrested by Thomson and Thompson.

Guided by the three scrolls which indicate the location of Marlinspike Hall, Tintin, Haddock and Snowy find there some of the treasure and a clue to the Unicorn's location; Tintin and Haddock both agree on setting up an expedition to find the shipwreck.

Voice cast[edit]

• Jamie Bell as Tintin.^[15] Bell replaced Thomas Brodie-Sangster, who dropped out when filming was delayed in October 2008.^[16] Jackson suggested Bell to take on the role after previously casting him as Jimmy in his King Kong remake.^[17]
• Andy Serkis as Captain Archibald Haddock and Sir Francis Haddock.^[18] Spielberg suggested Serkis, given he played Gollum in Jackson's The Lord of the Rings trilogy and King Kong in the 2005 remake, which were both roles requiring motion capture, and also because he considers Serkis a 'great and funny actor'.^[19] Serkis joked he was concerned Jackson wanted him to play Tintin's dog, Snowy,^[20] who was animated traditionally, i.e., without motion capture.^[21] Serkis remarked upon reading the comics again for the role that they had a surreal Pythonesque quality.^[22] The actor researched seamen, and gave Haddock a Scottish accent as he felt the character had 'a rawness, an emotional availability, a more Celtic kind of feel'.^[19]
• Daniel Craig as Ivan Ivanovitch Sakharine and Red Rackham, the main antagonist; the descendant of Red Rackham, the pirate who attacked the Unicorn, the ship captained by Sir Francis Haddock.^[15] Spielberg described Sakharine as a 'champagne villain, cruel when he has to be but with a certain elegance to him.' Jackson and Spielberg decided to promote Sakharine from a relatively minor character to the villain, and while considering an 'interesting actor' to portray him, Spielberg came up with Craig, with whom he had worked on Munich. Craig joked he followed 'the English tradition of playing bad guys'.^[19]
• Nick Frost and Simon Pegg as Thomson and Thompson respectively, bumbling police detectives who are almost identical. The duo was invited out of necessity to have a comedy team that could act identical.^[19] Spielberg invited Pegg to the set and offered him the role after he had completed How to Lose Friends & Alienate People.^[23] Pegg had previously starred alongside Serkis in John Landis' Burke & Hare, in 2010.
• Toby Jones as Aristides Silk, a pickpocket and self-proclaimed kleptomaniac.^[18][24]
• Daniel Mays as Allan, Captain Haddock's first mate.^[25]
• Mackenzie Crook as Tom, a thug on the Karaboudjan.
• Gad Elmaleh as Omar ben Salaad, an Arab potentate.^[18] Elmaleh stated his accent was 'the childhood coming back'.^[19]
• Enn Reitel as Nestor, Sakharine's butler; and Mr. Crabtree, a vendor who sells the Unicorn to Tintin.
• Tony Curran as Lieutenant Delcourt, an ally of Tintin.^[26]
• Joe Starr as Barnaby Dawes, an Interpol agent who tries to warn Tintin about purchasing the Unicorn and ends up being shot by Sakharine's thugs on Tintin's doorstep.
• Kim Stengel as Bianca Castafiore, a comical opera singer. While Castafiore was absent from the three stories, Jackson stated she was added for her status as an 'iconic character' and because she would be a fun element of the plot.^[19] Renée Fleming provides the singing voice for Castafiore.
• Rami Malek as Kester Moorhouse
• Sonje Fortag as Mrs. Finch, Tintin's landlady.
• Cary Elwes and Phillip Rhys as seaplane pilots.
• Ron Bottitta as Unicorn Lookout.
• Mark Ivanir as Afgar Outpost Soldier/Secretary.
• Sebastian Roché as Pedro/1st Mate.
• Nathan Meister as a market artist who bears the resemblance of Hergé.
• Sana Etoile as a Press Reporter.

Production[edit]

Development[edit]

Spielberg has been an avid fan of The Adventures of Tintin comic book series since 1981, when a review compared Raiders of the Lost Ark to Tintin.^[21] Meanwhile, the comics' creator, Hergé—who didn't like the previous live-action film versions and the animated series—became a fan of Spielberg. Michael Farr, author of Tintin: The Complete Companion, recalled Hergé 'thought Spielberg was the only person who could ever do Tintin justice'.^[27] Spielberg and his production partner Kathleen Kennedy of Amblin Entertainment were scheduled to meet with Hergé in 1983 while filming Indiana Jones and the Temple of Doom in London. Hergé died that week, but his widow decided to give them the rights.^[21] A three-year-long option to film the comics was finalized in 1984,^[27] with Universal as distributor.^[28]

Spielberg commissioned E.T. the Extra-Terrestrial writer Melissa Mathison to script a film about Tintin battling ivory hunters in Africa.^[27] Spielberg saw Tintin as an 'Indiana Jones for kids' and wanted Jack Nicholson to play Haddock.^[29] Unsatisfied with the script, Spielberg continued production on Indiana Jones and the Last Crusade; the rights returned to the Hergé Foundation. Claude Berri and Roman Polanski became interested in filming the property, while Warner Bros. negotiated for the rights, but they could not guarantee the 'creative integrity' that the Foundation found in Spielberg.^[27] In 2001, Spielberg revealed his interest in depicting Tintin with computer animation.^[30] In November 2002, his studio DreamWorks reestablished the option to film the series.^[31] Spielberg said he would just produce the film.^[32] In 2004, the French magazine Capital reported Spielberg was intending a trilogy based on The Secret of the Unicorn / Red Rackham's Treasure, The Seven Crystal Balls / Prisoners of the Sun and The Blue Lotus / Tintin in Tibet (which are separate stories, but both feature Chang Chong-Chen).^[33] By then, Spielberg had reverted to his idea of a live-action adaptation, and called Peter Jackson to ask if Weta Digital would create a computer-generated Snowy.^[6]

Peter Jackson explains the film's look^[34]

Jackson, a longtime fan of the comics,^[35] had used motion capture in The Lord of the Rings and King Kong. He suggested that a live-action adaptation would not do justice to the comic books to which motion capture was the best way of representing Hergé's world of Tintin.^[6] A week of filming took place in November 2006 in Playa Vista, Los Angeles, California, on the stage where James Cameron shot Avatar.^[36]Andy Serkis had been cast, while Jackson stood in for Tintin.^[22] Cameron and Robert Zemeckis were present during the shoot.^[6] The footage was transmitted to Weta Digital,^[36] who produced a twenty-minute test reel that demonstrated a photorealistic depiction of the characters.^[34] Spielberg said he would not mind filming it digitally because he saw it as an animated film, and reiterated his live-action work would always be filmed traditionally.^[37] Lead designer Chris Guise visited Brussels to see the inspiration for Hergé's sceneries.^[38]

An official announcement about the collaboration was made in May 2007, although both filmmakers had to wait to film it: Spielberg was preparing Indiana Jones and the Kingdom of the Crystal Skull while Jackson was planning The Lovely Bones.^[34] Spielberg had considered two books to become the main story, The Crab with the Golden Claws and The Secret of the Unicorn, with the main plot eventually following the latter and its immediate sequel Red Rackham's Treasure. Jackson felt the former's story 'wasn't really robust enough to sustain a feature film', but the filmmakers still included elements from the comic such as the Karaboujan and the first meeting of Tintin and Haddock. Spielberg invited Edgar Wright to write the script for the film, but Wright was busy and instead recommended other names, including Steven Moffat.^[39] In October 2007, Moffat was announced as the screenwriter for two of the Tintin films.^[40] Moffat said he was 'love bombed' by Spielberg into accepting the offer to write the films, with the director promising to shield him from studio interference with his writing.^[41] Moffat finished a draft,^[42] but was unable to finish another due to the 2007–2008 Writers Guild of America strike. He then became executive producer of Doctor Who, leading Spielberg and Jackson (both of whom are fans of the show) to allow him to leave and fulfill his duty to the series.^[43] Wright then returned and agreed to take over the script while Joe Cornish, a fan of Tintin with whom Wright was working at the time, also worked with him. After two drafts of the script, Wright left in order to begin filming Scott Pilgrim vs the World., with Cornish staying on to finish the script under the Guidance of Spielberg and Jackson.^[39]

More filming took place in March 2008.^[22] However, in August 2008 (a month before principal photography would have begun), Universal turned down their option to co-produce the film due to the poor box office performances of other performance-captured animated films such as Monster House (2006) and Beowulf (2007) as well as the directors' usual request for 30% of the gross. Paramount Pictures (DreamWorks' distributor) had hoped to partner with Universal on the project, having spent $30 million on pre-production. Spielberg gave a ten-minute presentation of footage, hoping they would approve filming to begin in October. Paramount, along with their subsidiary Nickelodeon Movies, offered to produce as long as the directors found a studio that was willing to co-produce the film: Spielberg and Jackson agreed^[16][28] and negotiated with Sony's Columbia Pictures to co-finance and distribute the first film internationally by the end of October.^[44][45][46] Sony only agreed to finance two films, though Jackson said a third film may still happen.^[6]

Filming and visual effects[edit]

Principal photography began on 26 January 2009 while the release date was pushed from 2010 to 2011.^[15] Spielberg finished his film—after 32 days of shooting—in March 2009. Jackson was present for the first week of filming and supervised the rest of the shoot via a bespokevideoconferencing program.^[35] Simon Pegg said Jackson's voice would 'be coming over the Tannoy like God'.^[47] During filming, various directors including Guillermo del Toro, Stephen Daldry and David Fincher visited. Spielberg would try to treat the film like live-action, moving his camera around.^[6] He revealed, 'Every movie I made, up until Tintin, I always kept one eye closed when I've been framing a shot,' because he wanted to see the movie in 2-D, the way viewers would. 'On Tintin, I have both of my eyes open'.^[48] Jackson took the hands-on approach to directing Weta Digital during post-production, which Spielberg supervised through video conferencing. Jackson will also begin development for the second film, for which he will be officially credited as director.^[17] Spielberg says 'there will be no cell phones, no TV sets, no modern cars. Just timeless Europe'.^[49] His frequent collaborator and cinematographer Janusz Kamiński served as lighting consultant for Weta, and Jackson said the film will look 'film noirish, very atmospheric'. Spielberg finished six weeks of additional motion-capture filming in mid-July 2009.^[6][50] Post production was finished on September 2011.^[51] From the very beginning to the very end, the film took a total of seven years in production.

To improve the quality of the indoor lighting nuances, Weta Digital and NVIDIA developed a ray tracing software called PantaRay, which required 100 to 1,000 times more computation than traditional shadow-map based solutions.^[52] For the performance of 'Snowy', various models served as a reference for actors on-set, manipulated by property master Brad Elliott. According to animators, Snowy was also the hardest character to animate and develop due to the type of coat he has as well as being white. Later, a dog's motion was captured digitally so the animators had inspiration for realistic movements. His vocal effects were taken from various breeds of dogs.^[53]

Music[edit]

John Williams composed the musical score for The Adventures of Tintin. It was the first time Williams composed the score of a film since 2008's Indiana Jones and the Kingdom of the Crystal Skull,^[54] as well as the first time he composed the score for an animated film. Most of the score was written while the film's animation was still in the early stages, with Williams attempting to employ 'the old Disney technique of doing music first and have the animators trying to follow what the music is doing'. Eventually several cues had to be revised when the film was edited. The composer decided to employ various musical styles, with '1920s, 1930s European jazz' for the opening credits, or 'pirate music' for the battle at sea.^[55] It was released on 21 October 2011 by Sony Classical Records.^[56]

Track listing

All music composed by John Williams.

Differences from the source material[edit]

The film mainly draws its story from The Secret of the Unicorn (1943) and The Crab with the Golden Claws (1941) and to a much lesser degree, from Red Rackham's Treasure (1944). There are major differences from the source material, most notably with regard to the antagonists. In the book, Ivan Sakharine is a minor character, neither a villain nor the descendant of Red Rackham. As Sakharine was made the main antagonist in the film, the book's main villains, the Bird brothers, are absent from the adaptation, save for a small 'cameo' in the initial sequence at the market. As a result of this change, many events transpire that bear no relation to events in the books involving Sakharine's character.^[57] As in other adaptations Snowy's 'voice' is not used.^{[citation needed]}

Release[edit]

The film's first press-screening was held in Belgium on 10 October 2011.^[58] The world première was held in Brussels, Belgium on 22 October 2011—attended by Princess Astrid and her younger daughters, Princess Luisa Maria and Princess Laetitia Maria; with the Paris première later the same day.^[59] Sony later released the film during late October and early November 2011 in Europe, Latin America and India. The film was released in Quebec on 9 December 2011.^[60] Paramount distributed the film in Asia, New Zealand, United Kingdom, and all other English-speaking territories. They released the film in the United States on 21 December 2011.^[61][62]

Home media[edit]

On 13 March 2012, Paramount Home Entertainment released The Adventures of Tintin on DVD and Blu-ray.^[63] Both formats of the film were also released in a Blu-ray + DVD + Digital Copy combo pack and a Blu-ray 3D + Blu-ray + DVD + Digital Copy combo pack, with each pack including 11 behind-the-scenes featurettes.^[64]

During its first week available on home video, The Adventures of Tintin Blu-ray was the number-one-selling HD movie after selling 504,000 units and generating $11.09 million in sales.^[65] The film was also the second-highest-selling home media seller during its first week, with 50% of its profits coming from its Blu-ray market.^[66]

Reception[edit]

Critical response[edit]

The Adventures of Tintin received positive reviews from critics. Based on 222 reviews collected by review aggregate site Rotten Tomatoes, the film scored a 73% approval rating with an average rating of 6.97/10. The site's critical consensus is, 'Drawing deep from the classic Raiders of the Lost Ark playbook, Steven Spielberg has crafted another spirited, thrilling adventure in the form of Tintin.'^[12]Metacritic, another review aggregator which assigns a weighted mean rating out of 100 to reviews from mainstream critics, calculated an average score of 68, based on 40 reviews, which indicates 'generally favorable reviews'.^[67] Audiences polled by CinemaScore gave the film an average grade of 'A' on an A+ to F scale.

Colin Covert of Star Tribune gave the film 4 out of 4 stars and said that Spielberg's first venture into animation was his most delightful dose of pure entertainment since Raiders of the Lost Ark.^[68] Amy Biancolli of the San Francisco Chronicle wrote, 'Such are the timeless joys of the books (and now the movie), this sparkling absurdity and knack for buckling swash under the worst of circumstances. The boy may have the world's strangest cowlick, but he sure can roll with the punches.'^[69]Roger Ebert of Chicago Sun-Times gave the film 3.5 stars out of 4, labeling it as 'an ambitious and lively caper, miles smarter than your average 3-D family film'. He praised the setting of the film, stating its similarity to the original Tintin comic strips and was also pleased with the 3-D technology used in the film, saying that 'Spielberg employed it as an enhancement to 2-D instead of an attention-grabbing gimmick'.^[70]Peter Travers of Rolling Stone also gave the film 3.5 out of 4 stars and wrote, 'The movie comes at you in a whoosh, like a volcano of creative ideas in full eruption. Presented as the first part of a trilogy produced by Spielberg and Peter Jackson, The Adventures of Tintin hits home for the kid in all of us who wants to bust out and run free.'^[71]Kenneth Turan of Los Angeles Times said, 'Think of The Adventures of Tintin as a song of innocence and experience, able to combine a sweet sense of childlike wonder and pureness of heart with the most worldly and sophisticated of modern technology. More than anything, it's just a whole lot of fun.'^[72]

Giving the film 3.5 out of 4 stars, Lou Lumenick of New York Post wrote, 'Spielberg and an army of collaborators—deploying motion capture and 3-D more skillfully than in any film since Avatar—turn this unlikely material into one of the year's most pleasurable, family-friendly experiences, a grand thrill ride of a treasure hunt.'^[73]Richard Corliss of Time wrote, 'Motion capture, which transforms actors into cartoon characters in a vividly animated landscape, is the technique Spielberg has been waiting for—the Christmas gift … that he's dreamed of since his movie childhood.'^[74] Jordan Mintzer of The Hollywood Reporter was also very positive about the film, describing it as 'a good ol' fashioned adventure flick that hearkens back to the filmmaker's action-packed, tongue-in-cheek swashbucklers of the 1980s. Steven Spielberg's The Adventures of Tintin: The Secret of the Unicorn is a visually dazzling adaptation'. Comparing it to another film, Mintzer said Tintin has 'an altogether more successful mocap experience than earlier efforts like The Polar Express'.^[75]

Belgian newspaper Le Soir's film critics Daniel Couvreur and Nicolas Crousse called the film 'a great popular adventure movie', stating '[the film's] enthusiasm and childhood spirit are unreservedly infectious'.^[76]Le Figaro praised the film, considering it to be 'crammed with action, humor and suspense'.^[77] Leslie Felperin of Variety wrote, 'Clearly rejuvenated by his collaboration with producer Peter Jackson, and blessed with a smart script and the best craftsmanship money can buy, Spielberg has fashioned a whiz-bang thrill ride that's largely faithful to the wholesome spirit of his source but still appealing to younger, Tintin-challenged auds.'^[78]

La Libre Belgique was, however, a little less enthusiastic; its film critic Alain Lorfèvre called the film 'a technical success, [with] a Tintin vivid as it should be [and] a somewhat excessive Haddock'.^[58]The Guardian's Xan Brooks gave the film two stars out of five, stating: 'While the big set pieces are often exuberantly handled, the human details are sorely wanting. How curious that Hergé achieved more expression with his use of ink-spot eyes and humble line drawings than a bank of computers and an army of animators were able to achieve.'^[79]Blog Critics writer Ross Miller said, 'Author Hergé's wonderfully bold and diverse array of characters are a mixed bag when it comes to how they've been translated to the big-screen' and that while the mystery might be 'perfectly serviceable' for the film, 'the execution of it at times feels languid and stodgy, like it's stumbling along from one eye-catching setpiece to the next'. However, he summed it up as 'an enjoyable watch with some spectacular set-pieces, lavish visuals and some fine motion-capture performances'.^[80]

Tom McCarthy, the author of a study of the Tintin books, described Hollywood's treatment in this film of its characters and stories as 'truly execrable', stating that it ignores the books' key idea of inauthenticity. The themes of fakeness and phoniness and counterfeit that drive many of the original plots are replaced in the film with messages that feel 'as though we have wandered into a seminar on monetisation through self-empowerment … It's like making a biopic of Nietzsche that depicts him as a born-again Christian, or of Gandhi as a trigger-happy Rambo blasting his way through the Raj.'^[81]

Steve Rose from The Guardian wrote about one of the film's major criticisms: that The Adventures of Tintin, much like The Polar Express, crossed into the uncanny valley, thereby rendering Tintin 'too human and not human at all'.^[82]Manohla Dargis, one of the chief critics of The New York Times, called the movie 'a marvel of gee-wizardry and a night's entertainment that can feel like a lifetime'. The simplicity of the comic strip, she wrote, is a crucial part of the success of Tintin, who is 'an avatar for armchair adventurers'. Dargis noted that Tintin's appearance in the film 'resembled Hergé's creation, yet was eerily different as if, like Pinocchio, his transformation into human form had been prematurely interrupted'. Another major fault in the film, Dargis points out, is how it is so wildly overworked; she writes that there is 'hardly a moment of downtime, a chance to catch your breath or contemplate the tension between the animated Expressionism and the photo-realist flourishes'. Nevertheless, she singles out some of the 'interludes of cinematic delight', approving of the visual imagination employed within the movie's numerous exciting scenes.^[83]

The film was named in New York magazine's David Edelstein's Top 10 List for 2011.^[84] It was also included in HitFix's top 10 films of 2011.^[85]

Box office[edit]

The Adventures of Tintin grossed $77,591,831 in North America and $296,402,120 in other territories for a worldwide total of $373,993,951.^[4]

In the United States, it is one of only twelve feature films to be released in over 3,000 theaters and still improve on its box office performance in its second weekend, increasing 17.6% from $9,720,993 to $11,436,160.^[86] On its first day, the film opened in the UK, France and Belgium, earning $8.6 million. In Belgium, Tintin's country of origin, the film made $520,000, while France provided $4.6 million, a number higher than other similar Wednesday debuts.^[87] In France, it was the second-best debut of the year for its first day after Harry Potter and the Deathly Hallows – Part 2.^[88] On its first weekend it topped the overseas box office with $56.2 million from 21 countries.^[89] In Belgium, it earned $1.99 million. It also earned the top spot in many major markets like France and the Maghreb region ($21 million), where it set a record opening weekend for an animated title; the UK, Ireland and Malta ($10.9 million), Germany ($4.71 million) and Spain ($3.75 million).^[90][91][92] It retained first place for a second consecutive and final weekend, earning $39.0 million from 45 territories.^[93] In its native Belgium it was up 20% to $2.39 million, while in France it plummeted 61% to $8.42 million. Its biggest debut was in Russia and the CIS ($4.81 million).^[94][95]

The film grossed ₹7.5 crore (US$1.1 million) on its opening weekend (11–13 November 2011) in India, an all-time record for a Spielberg film and for an animated feature in India. The film was released with 351 prints, the largest-ever release for an animated film.^[96][97][98] In four weeks, it became the highest-grossing animated film of all time in the country with ₹25.4 crore (US$3.7 million).^[99]

Accolades[edit]

The Adventures of Tintin was nominated for Best Original Score at the 84th Academy Awards.^[100] It was the first all-digital motion-captured animated film (as well as the first non-Pixar film) to win a Golden Globe for Best Animated Feature Film.^[101] It also received two nominations at the 65th British Academy Film Awards in the categories of Best Animated Film and Best Special Visual Effects.^[102]

Video game[edit]

A video game entitled The Adventures of Tintin: The Secret of the Unicorn, developed by game developer Ubisoft,^[125] has been released to coincide with the release date of the film. Gameloft released a game for iOS devices to coincide with the film's European launch.^[126]

Possible sequels[edit]

Originally, the second Tintin film was to be based on Hergé's The Seven Crystal Balls and Prisoners of the Sun.^[127] However, screenwriter Anthony Horowitz later stated that those books would be the second sequel and another story would become the first sequel.^[9]

Peter Jackson announced that he would direct the sequel once he had finished The Hobbit trilogy.^[127] Two years before The Secret of the Unicorn, Jackson mentioned that his favorite Tintin stories were The Seven Crystal Balls, Prisoners of the Sun, The Black Island, and The Calculus Affair, but he had not yet decided which stories would form the basis of the second film. He added 'it would be great' to use Destination Moon and Explorers on the Moon for a third or fourth film in the series.

By the time The Secret of the Unicorn was released, Spielberg said the book that would form the sequel had been chosen and that the Thomson and Thompson detectives would 'have a much bigger role'.^[128] The sequel would be produced by Spielberg and directed by Jackson.^[128] Kathleen Kennedy said the script might be completed by February or March 2012 and motion-captured in summer 2012, so that the film would be on track to be released by Christmas 2014 or mid-2015.^[129]

In the months following the release of The Secret of the Unicorn, Spielberg revealed that a story outline for the sequel had been completed and that it was based on two books.^[130] Horowitz tweeted that Professor Calculus would be introduced in the sequel.^[131][132] During a press tour in Belgium for The Hobbit: An Unexpected Journey, Jackson said he intended to shoot performance-capture in 2013, aiming for a release date in 2015.^[133]

In March 2013, Spielberg said, 'Don't hold me to it, but we're hoping the film will come out around Christmas-time in 2015. We know which books we're making, we can't share that now but we're combining two books which were always intended to be combined by Hergé.' He refused to confirm the names of the books, but said The Blue Lotus would probably be the third Tintin film.^[134] In December 2014, when Jackson was asked if the Tintin sequel would be his next project after The Hobbit trilogy, he said that it would be made 'at some point soon'. However, he added that he wanted to direct two New Zealand films before that.^[135]

In June 2015, Jamie Bell stated that the sequel was titled Tintin and the Temple of the Sun and that he hoped shooting would begin in early 2016 for a possible release by the end of 2017 or early 2018.^[136] In November 2015, Horowitz stated that he was no longer working on the sequel, and did not know if it was still being made,^[137] and in March 2016, he confirmed that the script he had written for the sequel was scrapped.^[138]

On 18 March 2016, Scout.co.nz announced that Jackson would produce the sequel rather than direct. The website also announced that a third Tintin film was in development, with Jackson serving as executive producer. Jamie Bell and Andy Serkis were reported to be reprising their roles in both the films.^[139] Spielberg later announced that Jackson was still attached to directing the sequel, and that it would enter work once Jackson completed another Amblin Partners/DreamWorks production.^[140]

In March 2018, Spielberg reiterated the above in saying 'Peter Jackson has to do the second part. Normally, if all goes well, he will soon start working on the script. As it takes two years of animation work on the film, for you, I would not expect to see it for about three years. But Peter will stick to it. Tintin is not dead!'.^[141][142] In interviews later the same year, Jackson affirmed his intent to make another Tintin film, but said that a script was yet to be written.^{[143][144][145][146]}

See also[edit]

References[edit]

1. ^'Sony Pictures Teams Up with Paramount for Tintin'. MovieWeb. 2 November 2008. Retrieved 7 April 2011.
2. ^'The Adventures of Tintin – The Secret of the Unicorn (PG)'. Steven Spielberg. British Board of Film Classification. Retrieved 13 October 2011.
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4. ^ ^abc'The Adventures of Tintin'. Box Office Mojo. Retrieved 13 April 2012.
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7. ^'Steven Spielberg : 'Peter Jackson va bientôt travailler sur la suite des Aventures de Tintin''. Premiere.fr. 23 March 2018.
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9. ^ ^abMasters, Tim (2 November 2011). 'Tintin 2: Horowitz says story 'still under discussion''. BBC. Retrieved 24 June 2019.
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68. ^Covert, Colin. 'Spielberg's 'Tintin' hugs the child within'. Star Tribune. Retrieved 15 April 2012.
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70. ^Ebert, Roger (20 December 2011). 'The Adventures of Tintin'. RogerEbert.com. Retrieved 14 April 2012.
71. ^Travers, Peter. 'The Adventures of Tintin'. Rolling Stone. Retrieved 20 June 2012.
72. ^Turan, Kenneth (21 December 2011). 'Movie review: 'The Adventures of Tintin'. Los Angeles Times. Retrieved 15 April 2012.
73. ^Lumenick, Lou. 'Thrilling 'Tintin' a win-win'. New York Post. Retrieved 20 June 2012.
74. ^'Spielberg's 3-D Cartoon Adventure: It's Tintinastic!'. Time. 21 December 2011. Retrieved 20 June 2012.
75. ^Mintzer, Jordan (16 October 2011). 'The Adventures of Tintin: The Secret of the Unicorn: Film Review'. The Hollywood Reporter. Retrieved 17 October 2011.
76. ^Daniel Couvreur; Nicolas Crousse (11 October 2011). 'On a vu Tintin : un grand film d'aventures populaire' (in French). Le Soir. Archived from the original on 12 October 2011. Retrieved 11 October 2011.
77. ^Delcroix, Olivier (12 October 2011). 'On a vu Tintin, 'un grand ouf de soulagement'' (in French). Le Figaro. Retrieved 12 October 2011.
78. ^Felperin, Leslie (16 October 2011). 'Film reviews – The Adventures of Tintin: The Secret of the Unicorn'. Variety. Retrieved 17 October 2011.
79. ^Brooks, Xan (16 October 2011). 'The Adventures of Tintin: Review'. London: The Guardian. Retrieved 17 October 2011.
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84. ^Edelstein, David (4 December 2011). 'The Year in Movies'. New York. Retrieved 13 December 2011.
85. ^Tapley, Kristopher (12 December 2011). 'Bottled up: the best films of 2011'. HitFix. Retrieved 17 December 2011.
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87. ^McClintock, Pamela (27 October 2011). 'Steven Spielberg's 'Adventures of Tintin' Soaring in Overseas Debut'. The Hollywood Reporter. Retrieved 27 October 2011.
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89. ^'Overseas Total Box Office October 28–30, 2011'. Box Office Mojo. Retrieved 10 December 2011.
90. ^Subers, Ray (1 November 2011). 'Around-the-World Roundup: 'Tintin' Animates Overseas Box Office'. Box Office Mojo. Retrieved 10 December 2011.
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96. ^Nyay Bhushan (14 November 2011). ''Tintin' Opening is Highest-Ever for Animated Film in India'. The Hollywood Reporter. Retrieved 10 December 2011.
97. ^'Tintin is Spielberg's biggest Indian opening!'. The Times of India. 14 November 2011. Retrieved 26 November 2011.
98. ^'The adventures of Tin Tin was very steady'. 26 November 2011. BoxOfficeIndia.Com. Retrieved 26 November 2011.
99. ^Nyay Bhushan (8 December 2011). ''Tintin' Becomes Highest Grossing Animated Film In India'. The Hollywood Reporter. Retrieved 10 December 2011.
100. ^ ^ab'Nominees for the 84th Academy Awards'. oscars.org. Academy of Motion Picture Arts and Sciences. Retrieved 13 December 2012.
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103. ^'Alliamce of Women Film Journalists Awards 2011'. awfj.org. Alliance of Women Film Journalists.
104. ^''Tintin,' 'Puss in Boots,' 'Cars 2' among nominees for top Annie Award'. latimes.com. 5 December 2011. Retrieved 12 December 2011.
105. ^Kilday, Gregg (3 January 2012). 'Art Directors Nominate Movies as Different as 'Harry Potter' and 'The Girl with the Dragon Tattoo''. The Hollywood Reporter. Retrieved 15 January 2012.
106. ^Gallo, Phil (17 May 2012). 'Backbeat: Rolfe Kent Receives Career Achievement Honor at BMI Film and TV Awards'. Billboard. Prometheus Global Media. Retrieved 9 December 2012.
107. ^'17th Annual Critics' Choice Movie Awards (2012)'. Critics' Choice Awards. 13 December 2011. Retrieved 13 December 2011.
108. ^O'Hara, Helen O'Hara (26 March 2012). 'Jameson Empire Awards 2012 Winners!'. Empire. Retrieved 9 December 2012.
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111. ^Brooks, Brian (6 December 2012). ''The Hunger Games' And 'The Muppets' Top Grammy Awards Movie Nominees'. Movieline. PMC. Retrieved 7 December 2012.
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120. ^''Tintin' and HBO's 'Boardwalk Empire' lead Visual Effects nominations'. Los Angeles Times. 9 January 2012. Retrieved 12 January 2012.
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129. ^Chitwood, Adam (4 December 2011). 'Producer Kathleen Kennedy Talks JURASSIC PARK 4, a 3D Re-Release for JURASSIC PARK, and the TINTIN Sequel'. Collider.com. Retrieved 7 January 2012.
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135. ^''No Regrets': Peter Jackson Says Goodbye to Middle-Earth'. The Daily Beast. 4 December 2014. Retrieved 30 January 2015.
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External links[edit]

• Official website (archived)
• The Adventures of Tintin on IMDb
• The Adventures of Tintin at Rotten Tomatoes
• The Adventures of Tintin at Metacritic
• The Adventures of Tintin at The Big Cartoon DataBase
• The Adventures of Tintin at Box Office Mojo
• Guide to other screen adaptations of Tintin at Tintinologist.org

The Adventures of Tintin (French: Les Aventures de Tintin[lez‿avɑ̃tyʁ də tɛ̃tɛ̃]) is a series of 24 comic albums created by Belgian cartoonist Georges Remi, who wrote under the pen name Hergé. The series was one of the most popular European comics of the 20th century. By 2007, a century after Hergé's birth in 1907,^[1]Tintin had been published in more than 70 languages with sales of more than 200 million copies,^[2] and had been adapted for radio, television, theatre, and film.

The series first appeared in French on 10 January 1929 in Le Petit Vingtième (The Little Twentieth), a youth supplement to the Belgian newspaper Le Vingtième Siècle (The Twentieth Century). The success of the series saw the serialised strips published in Belgium's leading newspaper Le Soir (The Evening) and spun into a successful Tintin magazine. In 1950, Hergé created Studios Hergé, which produced the canonical versions of ten Tintin albums.

The series is set during a largely realistic^[3] 20th century. Its hero is Tintin, a courageous young Belgian reporter and adventurer. He is aided by his faithful dog Snowy (Milou in the original French edition). Other protagonists include the brash and cynical Captain Haddock and the intelligent but hearing-impaired Professor Calculus (French: Professeur Tournesol), as well as the incompetent detectives Thomson and Thompson (French: Dupont et Dupond) and the opera diva Bianca Castafiore.

The series has been admired for its clean, expressive drawings in Hergé's signature ligne claire ('clear line') style.^[4] Its well-researched^[5] plots straddle a variety of genres: swashbuckling adventures with elements of fantasy, action, mysteries, political thrillers, and science fiction. The stories feature slapstick humour, offset by dashes of sophisticated satire and political or cultural commentary.

• 1History
• 2Characters
• 6Translation into English
• 7Reception
• 8Adaptations and memorabilia
• 12References

History[edit]

Le Vingtième Siècle: 1929–1939[edit]

—Hergé, 15 November 1966.^[6]

Georges Prosper Remi, best known under the pen name Hergé, was employed as an illustrator at Le Vingtième Siècle ('The Twentieth Century'), a staunchly Roman Catholic, conservative Belgian newspaper based in Hergé's native Brussels. Run by the AbbéNorbert Wallez, the paper described itself as a 'Catholic Newspaper for Doctrine and Information.'^[7] Wallez appointed Hergé editor of a new Thursday youth supplement, titled Le Petit Vingtième ('The Little Twentieth').^[8] Propagating Wallez's socio-political views to its young readership, it contained explicitly pro-fascist and anti-Semitic sentiment.^[9] In addition to editing the supplement, Hergé illustrated L'extraordinaire aventure de Flup, Nénesse, Poussette et Cochonnet ('The Extraordinary Adventures of Flup, Nénesse, Poussette and Cochonnet'),^[10] a comic strip authored by a member of the newspaper's sport staff. Dissatisfied with this, Hergé wanted to write and draw his own cartoon strip.^[11]

He already had experience creating comic strips. From July 1926 he had written a strip about a Boy Scout patrol leader titled Les Aventures de Totor C.P. des Hannetons ('The Adventures of Totor, Scout Leader of the Cockchafers') for the Scouting newspaper Le Boy Scout Belge ('The Belgian Boy Scout').^[11] Totor was a strong influence on Tintin,^[12] with Hergé describing the latter as being like Totor's younger brother.^[6] Jean-Marc and Randy Lofficier stated that graphically, Totor and Tintin were 'virtually identical' except for the Scout uniform,^[13] also noting many similarities between their respective adventures, particularly in the illustration style, the fast pace of the story, and the use of humour.^[14] He was fascinated by new techniques in the medium such as the systematic use of speech bubbles—found in such American comics as George McManus' Bringing up Father, George Herriman's Krazy Kat and Rudolph Dirks's Katzenjammer Kids, copies of which had been sent to him from Mexico by the paper's reporter Léon Degrelle.^[15]

Although Hergé wanted to send Tintin to the United States, Wallez ordered him to set his adventure in the Soviet Union, acting as anti-socialist propaganda for children. The result, Tintin in the Land of the Soviets, was serialised in Le Petit Vingtième from January 1929 to May 1930.^[17] Popular in Francophone Belgium, Wallez organised a publicity stunt at the Gare du Nord station, following which he organised the publication of the story in book form.^[18] The story's popularity led to an increase in sales, so Wallez granted Hergé two assistants.^[19] At Wallez's direction, in June he began serialisation of the second story, Tintin in the Congo, designed to encourage colonial sentiment towards the Belgian Congo. Authored in a paternalistic style that depicted the Congolese as childlike idiots, in later decades it was accused of racism, however at the time was un-controversial and popular, and further publicity stunts were held to increase sales.^[20]

For the third adventure, Tintin in America, serialised from September 1931 to October 1932, Hergé finally got to deal with a scenario of his own choice, and used the work to push an anti-capitalist, anti-consumerist agenda in keeping with the paper's ultra-conservative ideology.^[21]The Adventures of Tintin had been syndicated to French Catholic magazine Cœurs Vaillants ('Brave Hearts') since 1930, and Hergé was soon receiving syndication requests from Swiss and Portuguese newspapers too.^[22]

Hergé went on to pen a string of Adventures of Tintin, sending his character to real locations such as the Belgian Congo, the United States, Egypt, India, Tibet, China, and the United Kingdom. He also sent Tintin to fictional countries of his own devising, such as the Latin American republic of San Theodoros, the East European kingdom of Syldavia, or the fascist state Borduria—whose leader, Müsstler, was a combination of Nazi German leader Adolf Hitler and Italian Fascist leader Benito Mussolini.^[23]

Le Soir: 1940–1945[edit]

In May 1940, Nazi Germany invaded Belgium as World War II broke out across Europe. Although Hergé briefly fled to France and considered a self-imposed exile, he ultimately decided to return to his occupied homeland.^[24] For political reasons, the Nazi authorities closed down Le Vingtième Siècle, leaving Hergé unemployed.^[25] In search of employment, he got a job as an illustrator at Belgium's leading newspaper, Le Soir (The Evening), which was allowed to continue publication under German management.^[26] On 17 October 1940, he was made editor of the children's supplement, Le Soir Jeunesse, in which he set about producing new Tintin adventures.^[27] In this new, more repressive political climate of German-occupied Belgium, Hergé could no longer explore political themes in his Adventures of Tintin lest he be arrested by the Gestapo. As Harry Thompson noted, Tintin's role as a reporter came to an end, to be replaced by his new role as an explorer.^[28]

Le Journal de Tintin: 1946–1983[edit]

At the end of the war, in September 1944, the Allies entered Brussels and Hergé's German employers fled. Le Soir was shut down and The Adventures of Tintin was put on hold.^[29]Then in 1946, Hergé accepted an invitation from Belgian comic publisher Raymond Leblanc and his new publishing company Le Lombard to continue The Adventures of Tintin in the new Le journal de Tintin (Tintin magazine).^[30]While elated to have his work published again, Hergé quickly learned that if Tintin magazine was his deliverer, it was also his demanding employer. He no longer had the independence he preferred; he was required to produce two coloured pages a week for Leblanc's magazine—a tall order.^[31]Despite this, Hergé's dedication to detail continued and his artistic standards escalated,^[32] even as his pressures mounted.

Finally, in 1950, Hergé began to poach the better members of the Tintin magazine staff to work in the large house on Avenue Louise that contained the fledgling Studios Hergé.^[33]Bob De Moor (who imitated Hergé's style and did half the work),^[33] Guy Dessicy (colourist), and Marcel DeHaye (secretary) were the nucleus. To this, Hergé added Jacques Martin (imitated Hergé's style), Roger Leloup (detailed, realistic drawings), Eugène Evany (later chief of the Studios),^[30] Michel Demaret (letterer), and Baudouin Van Den Branden (secretary).^[34]As Harry Thompson observed, the idea was to turn the process of creating The Adventures of Tintin into a 'veritable production line, the artwork passing from person to person, everyone knowing their part, like an artistic orchestra with Hergé conducting.'^[35]The Studios produced eight new Tintin albums for Tintin magazine, and coloured and reformatted two old Tintin albums.Studios Hergé continued to release additional publications until Hergé's death in 1983. In 1986, a twenty-fourth unfinished album was released, the Studios were disbanded, and its assets were transferred to the Hergé Foundation.^[36]Bolstered by recent adaptations, The Adventures of Tintin continue to entertain new generations of Tintin fans today.

Characters[edit]

Tintin and Snowy[edit]

Tintin is a young Belgian reporter and adventurer who becomes involved in dangerous cases in which he takes heroic action to save the day. The Adventures may feature Tintin hard at work in his investigative journalism, but seldom is he seen actually turning in a story.

Readers and critics have described Tintin as a well-rounded yet open-ended, intelligent and creative character, noting that his rather neutral personality—sometimes labelled as bland—permits a balanced reflection of the evil, folly, and foolhardiness, which surrounds him. The character never compromises his Boy Scout ideals, which represent Hergé's own, and his status allows the reader to assume his position within the story, rather than merely following the adventures of a strong protagonist.^[37] Tintin's iconic representation enhances this aspect, with Scott McCloud noting that it 'allows readers to mask themselves in a character and safely enter a sensually stimulating world.'^[38]

Snowy (Milou in Hergé's original version), a white Wire Fox Terrier dog, is Tintin's loyal, four-legged companion. Like Captain Haddock, he is fond of Loch Lomond brand Scotch whisky, and his occasional bouts of drinking tend to get him into trouble, as does his only fear: arachnophobia.

Download The Adventures Of Tintin: The Secret Of The Unicorn Sub Indo Sub

Captain Haddock[edit]

Captain Archibald Haddock (Capitaine Haddock in Hergé's original version) is a Merchant Marinesea captain and Tintin's best friend. Introduced in The Crab with the Golden Claws, Haddock is initially depicted as a weak and alcoholic character, but later evolves to become genuinely heroic and even a socialite after he finds a treasure from his ancestor, Sir Francis Haddock (Chevalier François de Hadoque in the original version). The Captain's coarse humanity and sarcasm act as a counterpoint to Tintin's often-implausible heroism; he is always quick with a dry comment whenever the boy reporter seems too idealistic. After he and Tintin find Red Rackham's treasure, Captain Haddock lives in the luxurious mansion Marlinspike Hall (Le château de Moulinsart in the original French).^{[citation needed]}

The hot-tempered Haddock uses a range of colourful insults and curses to express his feelings, such as 'billions of billious blue blistering barnacles' ( In original version: Mille milliards de mille sabords de tonnerre de Brest ) or 'ten thousand thundering typhoons', 'bashi-bazouk', 'visigoths', 'kleptomaniac', or 'sea gherkin', but nothing actually considered a swear word. He is a hard drinker, particularly fond of rum and of Scotch whisky, especially Loch Lomond; his bouts of drunkenness are often used for comic effect, but sometimes get him into serious trouble.^{[citation needed]}

Professor Calculus[edit]

Professor Cuthbert Calculus (Professeur Tryphon Tournesol in Hergé's original version; tournesol is the French word for 'sunflower') is an absent-minded and partially deafphysicist and a regular character alongside Tintin, Snowy, and Captain Haddock. He was introduced in Red Rackham's Treasure, and based partially on Auguste Piccard, a Swiss physicist.^[39] The leading characters do not initially welcome his presence, but through his generous nature and his scientific ability, he develops a lasting bond with them. Eventually, by the end of Land of Black Gold, he becomes a resident of Marlinspike Hall. Normally mild-mannered and dignified, Calculus occasionally loses his temper and acts in a spectacularly aggressive manner in response to actual or perceived insults, such as when Captain Haddock belittles his work or accuses him of 'acting the goat'. He is a fervent believer in dowsing, and carries a pendulum for that purpose. Calculus's deafness is a frequent source of humour, as he repeats back what he thinks he has heard, usually in the most unlikely words possible. He does not admit to being near-deaf and insists he is only 'a little hard of hearing in one ear.'^{[citation needed]}

Supporting characters[edit]

The Adventures Of Tintin Cast

—Literary critic Tom McCarthy, 2006^[40]

Hergé's supporting characters have been cited as far more developed than the central character, each imbued with strength of character and depth of personality, which has been compared with that of the characters of Charles Dickens.^[41] Hergé used the supporting characters to create a realistic world^[3] in which to set his protagonists' adventures. To further the realism and continuity, characters would recur throughout the series. The occupation of Belgium and the restrictions imposed upon Hergé forced him to focus on characterisation to avoid depicting troublesome political situations. As a result, the colourful supporting cast was developed during this period.^[42]

Thomson and Thompson (Dupont et Dupond in Hergé's original version) are two incompetent detectives who look like identical twins, their only discernible difference being the shape of their moustaches.^[43] First introduced in Cigars of the Pharaoh, they provide much of the comic relief throughout the series, being afflicted with chronic spoonerisms. They are extremely clumsy, thoroughly incompetent, and usually bent on arresting the wrong character. The detectives usually wear bowler hats and carry walking sticks except when sent abroad; during those missions they attempt the national costume of the locality they are visiting, but instead dress in conspicuously stereotypical folkloric attire which makes them stand apart. The detectives were based partly on Hergé's father Alexis and uncle Léon, identical twins who often took walks together, wearing matching bowler hats while carrying matching walking sticks.

Bianca Castafiore is an opera singer of whom Haddock is terrified. She was first introduced in King Ottokar's Sceptre and seems to appear wherever the protagonists travel, along with her maid Irma and pianist Igor Wagner. She is comically foolish, whimsical, absent-minded, and talkative, and seems unaware that her voice is shrill and appallingly loud. Her speciality is the Jewel Song (Ah! Je ris de me voir si belle en ce miroir / Ah! My beauty past compare, these jewels bright I wear) from Gounod's opera, Faust, which she sings at the least provocation, much to Haddock's dismay. She is often maternal toward Haddock, of whose dislike she remains ignorant. She often confuses words, especially names, with other words that rhyme with them or of which they remind her; 'Haddock' is frequently replaced by malapropisms such as 'Paddock', 'Stopcock', or 'Hopscotch', while Nestor, Haddock's butler, is confused with 'Chestor' and 'Hector'. Her own name means 'white and chaste flower': a meaning to which Professor Calculus once refers when he breeds a white rose and names it for the singer. She was based upon opera divas in general (according to Hergé's perception), Hergé's Aunt Ninie (who was known for her 'shrill' singing of opera), and, in the post-war comics, on Maria Callas.^[44]

Other recurring characters include Nestor the butler, Chang the loyal Chinese boy, Rastapopoulos the criminal mastermind, Jolyon Wagg the infuriating (to Haddock) insurance salesman, General Alcazar the South American freedom fighter and President of San Theodoros, Mohammed Ben Kalish Ezab the Arab emir, Abdullah his mischievous son, Dr. Müller the evil German psychiatrist, Oliveira da Figueira the friendly Portuguese salesman, Cutts the butcher whose phone number is repeatedly confused with Haddock's, and Allan the henchman of Rastapopoulos and formerly Haddock's first mate.

Settings[edit]

The settings within Tintin have also added depth to the strips. Hergé mixes real and fictional lands into his stories. In King Ottokar's Sceptre (revisited once more in The Calculus Affair) Hergé creates two fictional countries, Syldavia and Borduria, and invites the reader to tour them in text through the insertion of a travel brochure into the storyline.^[45] Other fictional lands include Khemed on the Arabian Peninsula and San Theodoros, São Rico, and Nuevo Rico in South America, as well as the kingdom of Gaipajama in India.^[46] Apart from these fictitious locations, Tintin also visits real places such as Switzerland, the United Kingdom, the United States, the Soviet Union, Belgian Congo, Peru, India, Egypt, Indonesia, Nepal, Tibet, and China. Other actual locales used were the Sahara Desert, the Atlantic Ocean, and the Moon.

Research[edit]

Hergé's extensive research began with The Blue Lotus; Hergé stated, 'It was from that time that I undertook research and really interested myself in the people and countries to which I sent Tintin, out of a sense of responsibility to my readers'.^[47]

Hergé's use of research and photographic reference allowed him to build a realised universe for Tintin, going so far as to create fictionalised countries, dressing them with specific political cultures. These were heavily informed by the cultures evident in Hergé's lifetime. Pierre Skilling has asserted that Hergé saw monarchy as 'the legitimate form of government', noting that democratic 'values seem underrepresented in [such] a classic Franco-Belgian strip'.^[48] Syldavia in particular is described in considerable detail, Hergé creating a history, customs, and a language, which is actually a Slavic-looking transcript of Marols, a working-class Brussels dialect. He set the country in the Balkans, and it is, by his own admission, modelled after Albania.^[49] The country finds itself threatened by neighbouring Borduria, with an attempted annexation appearing in King Ottokar's Sceptre. This situation parallels the Italian conquest of Albania, and that of Czechoslovakia and Austria by expansionist Nazi Germany prior to World War II.^[50]

Hergé's use of research would include months of preparation for Tintin's voyage to the moon in the two-part storyline spread across Destination Moon and Explorers on the Moon. His research for the storyline was noted in New Scientist: 'The considerable research undertaken by Hergé enabled him to come very close to the type of space suit that would be used in future Moon exploration, although his portrayal of the type of rocket that was actually used was a long way off the mark'. The moon rocket is based on the German V-2 rockets.^[51]

Influences[edit]

In his youth, Hergé admired Benjamin Rabier and suggested that a number of images within Tintin in the Land of the Soviets reflected this influence, particularly the pictures of animals. René Vincent, the Art Deco designer, also affected early Tintin adventures: 'His influence can be detected at the beginning of the Soviets, where my drawings are designed along a decorative line, like an 'S'.'^[52] Hergé also felt no compunction in admitting that he had stolen the image of round noses from George McManus, feeling they were 'so much fun that I used them, without scruples!'^[53]

During the extensive research Hergé carried out for The Blue Lotus, he became influenced by Chinese and Japanese illustrative styles and woodcuts. This is especially noticeable in the seascapes, which are reminiscent of works by Hokusai and Hiroshige.^[54]

Hergé also declared Mark Twain an influence, although this admiration may have led him astray when depicting Incas as having no knowledge of an upcoming solar eclipse in Prisoners of the Sun, an error T. F. Mills attributed to an attempt to portray 'Incas in awe of a latter-day 'Connecticut Yankee'.^[55]

Translation into English[edit]

British[edit]

Tintin first appeared in English in the weekly British children's comic Eagle in 1951 with the story King Ottokar's Sceptre.^[a][56] It was translated in conjunction with Casterman, Tintin's publishers, and starts by describing Tintin as 'a French boy'. Snowy was called by his French name 'Milou'.^[57]

The process of translating Tintin into British English was then commissioned in 1958 by Methuen, Hergé's British publishers. It was a joint operation, headed by Leslie Lonsdale-Cooper and Michael Turner,^[58] working closely with Hergé to attain an accurate translation as true as possible to the original work.^[59] Due in part to the large amount of language-specific word play (such as punning) in the series, especially the jokes which played on Professor Calculus' partial deafness, it was always the intention not to translate literally, instead striving to sculpt a work whose idioms and jokes would be meritorious in their own right. Despite the free hand Hergé afforded the two, they worked closely with the original text, asking for regular assistance to understand Hergé's intentions.^[59]

The British translations were also Anglicised to appeal to British customs and values. Milou, for example, was renamed Snowy at the translators' discretion. Captain Haddock's Le château de Moulinsart was renamed Marlinspike Hall.^[60]

When it came time to translate The Black Island, which is set in Great Britain, the opportunity was taken to redraw the entire book. Methuen had decided that the book did not portray Great Britain accurately enough, and had compiled a list of 131 errors of detail which should be put right, such as ensuring that the British police were unarmed and ensuring scenes of the British countryside were more accurate for discerning British readers.^[59] The resulting album is the dramatically updated and redrawn 1966 version that is the most commonly available today.^[61] As of the early 21st century, Egmont publishes Tintin books in the United Kingdom and elsewhere.^[62]

American[edit]

The Tintin books have had relatively limited popularity in the United States.^[63]

The works were first adapted for the American English market by Golden Books, a branch of the Western Publishing Company in the 1950s. The albums were translated from French into American English with some artwork panels blanked except for the speech balloons. This was done to remove content considered to be inappropriate for children, such as drunkenness and free mixing of races.^[64] The albums were not popular and only six were published in mixed order.^[65] The edited albums later had their blanked areas redrawn by Hergé to be more acceptable, and they currently appear this way in published editions around the world.^[65]

From 1966 to 1979, Children's Digest included monthly instalments of The Adventures of Tintin. These serialisations served to increase Tintin's popularity, introducing him to many thousands of new readers in the United States.^[b][65]

Atlantic Monthly Press, in cooperation with Little, Brown and Company beginning in the 1970s, republished the albums based on the British translations. Alterations were made to vocabulary not well known to an American audience (such as gaol, tyre, saloon, and spanner). As of the early 21st century, Little, Brown and Company (owned by the Hachette Book Group USA) continues to publish Tintin books in the United States.^[66]

Online versions[edit]

Moulinsart's official Tintin app in Apple's App Store, launched with the release of the online version of Tintin in the Congo on 5 June 2015, features brand new English language translations by journalist, writer and Tintin expert Michael Farr.^[67]

Lettering and typography[edit]

The English-language Adventures of Tintin books were originally published with handwritten lettering created by cartographer Neil Hyslop.^[68] 1958's The Crab with the Golden Claws was the first to be published with Hyslop's lettering. Hyslop was given versions of Hergé's artwork with blank panels.^[68] Hyslop would write his English script on a clear cellophane-like material, aiming to fit within the original speech bubble.^[68] Occasionally the size of the bubbles would need to be adjusted if the translated text would not fit.^[68] In the early 2000s, Tintin's English publishers Egmont discontinued publishing books featuring Hyslop's handwritten lettering, instead publishing books with text created with digital fonts. This change was instigated by publisher Casterman and Hergé's estate managers Moulinsart, who decided to replace localised hand-lettering with a single computerised font for all Tintin titles worldwide.^[69]

Reception[edit]

Awards[edit]

On 1 June 2006, the Dalai Lama bestowed the International Campaign for Tibet's Light of Truth Award upon the Hergé Foundation, along with South African Archbishop Desmond Tutu.^[70] The award was in recognition of Hergé's book Tintin in Tibet, Hergé's most personal adventure,^[71] which the Executive Director of ICT Europe Tsering Jampa noted was 'for many ... their introduction to the awe-inspiring landscape and culture of Tibet'.^[72] In 2001, the Hergé Foundation demanded the recall of the Chinese translation of the work, which had been released with the title Tintin in Chinese Tibet. The work was subsequently published with the correct translation of the title.^[73] Accepting on behalf of the Hergé Foundation, Hergé's widow Fanny Rodwell stated, 'We never thought that this story of friendship would have a resonance more than 40 years later'.^[70]

Literary criticism[edit]

The study of Tintin, sometimes referred to as 'Tintinology', has become the life work of some literary critics in Belgium, France and England.^[74] Belgian author Philippe Goddin has written Hergé et Tintin reporters: Du Petit Vingtième au Journal Tintin (1986, later republished in English as Hergé and Tintin Reporters: From 'Le Petit Vingtième' to 'Tintin' Magazine in 1987) and Hergé et les Bigotudos (1993) amongst other books on the series. In 1983, French author Benoît Peeters released Le Monde d'Hergé, subsequently published in English as Tintin and the World of Hergé in 1988.^[75] English reporter Michael Farr has written works such as Tintin, 60 Years of Adventure (1989), Tintin: The Complete Companion (2001),^[76]Tintin & Co. (2007)^[77] and The Adventures of Hergé (2007),^[78] while English television producer Harry Thompson authored Tintin: Hergé and his Creation (1991).^[79]

Literary critics, primarily in French-speaking Europe, have also examined The Adventures of Tintin. In 1984, Jean-Marie Apostolidès published his study of the Adventures of Tintin from a more 'adult' perspective as Les Métamorphoses de Tintin, published in English as The Metamorphoses of Tintin, or Tintin for Adults in 2010.^[80] In reviewing Apostolidès' book, Nathan Perl-Rosenthal of The New Republic thought that it was 'not for the faint of heart: it is densely-packed with close textual analysis and laden with psychological jargon.'^[81] Following Apostolidès's work, French psychoanalyst Serge Tisseron examined the series in his books Tintin et les Secrets de Famille ('Tintin and the Family Secrets'), which was published in 1990,^[82] and Tintin et le Secret d'Hergé ('Tintin and Hergé's Secret'), published in 1993.^[83]

The first English-language work of literary criticism devoted to the series was Tintin and the Secret of Literature, written by the novelist Tom McCarthy and published in 2006. McCarthy compares Hergé's work with that of Aeschylus, Honoré de Balzac, Joseph Conrad, and Henry James and argues that the series contains the key to understanding literature itself.^[84] McCarthy considered the Adventures of Tintin to be 'stupendously rich',^[85] containing 'a mastery of plot and symbol, theme and sub-text'^[86] which, influenced by Tisseron's psychoanalytical readings of the work, he believed could be deciphered to reveal a series of recurring themes, ranging from bartering^[87] to implicit sexual intercourse^[88] that Hergé had featured throughout the series. Reviewing the book in The Telegraph, Toby Clements argued that McCarthy's work, and literary criticism of Hergé's comic strips in general, cut 'perilously close' to simply feeding 'the appetite of those willing to cross the line between enthusiast and obsessive' in the Tintinological community.^[89]

Controversy[edit]

The earliest stories in The Adventures of Tintin have been criticised^[91] for displaying racial stereotypes, animal cruelty, colonialism, violence, and even fascist leanings, including ethnocentric caricatured portrayals of non-Europeans.^[92] While the Hergé Foundation has presented such criticism as naïveté and scholars of Hergé such as Harry Thompson have said that 'Hergé did what he was told by the Abbé Wallez',^[93] Hergé himself felt that his background made it impossible to avoid prejudice, stating, 'I was fed the prejudices of the bourgeois society that surrounded me.'^[53] In recent years, however, Tintin's politics of peace have also been investigated.^[94]

In Tintin in the Land of the Soviets, the Bolsheviks were presented as villains. Hergé drew on Moscow Unveiled, a work given to him by Wallez and authored by Joseph Douillet, the former Belgian consul in Russia, that is highly critical of the Soviet regime, although Hergé contextualised this by noting that in Belgium, at the time a devout Catholic nation, 'Anything Bolshevik was atheist'.^[53] In the story, Bolshevik leaders are motivated by personal greed and a desire to deceive the world. Tintin discovers, buried, 'the hideout where Lenin, Trotsky, and Stalin have collected together wealth stolen from the people'. By 1999, even while Tintin's politics was the subject of a debate in the French parliament,^[95] part of this presentation was noted as far more reasonable, with British weekly newspaper The Economist declaring, 'In retrospect, however, the land of hunger and tyranny painted by Hergé was uncannily accurate'.^[96]

Tintin in the Congo has been criticised as presenting the Africans as naïve and primitive.^[97] In the original work, Tintin is shown at a blackboard addressing a class of African children. 'My dear friends,' he says, 'I am going to talk to you today about your fatherland: Belgium.'^[c] Hergé redrew this in 1946 to show a lesson in mathematics.^[98] Hergé later admitted the flaws in the original story, excusing it saying, 'I portrayed these Africans according to ... this purely paternalistic spirit of the time.'^[53] Sue Buswell, who was the editor of Tintin at Methuen, summarised the perceived problems with the book in 1988^[99] as 'all to do with rubbery lips and heaps of dead animals',^[d] although Thompson noted her quote may have been 'taken out of context'.^[100]

Drawing on André Maurois' Les Silences du colonel Bramble, Hergé presents Tintin as a big-game hunter, accidentally killing fifteen antelope as opposed to the one needed for the evening meal. However, concerns over the number of dead animals led Tintin's Scandinavian publishers to request changes. A page of Tintin killing a rhinoceros by drilling a hole in its back and inserting a stick of dynamite was deemed excessive; Hergé replaced the page with one in which the rhino accidentally discharges Tintin's rifle while he sleeps under a tree.^[90] In 2007, the UK's Commission for Racial Equality called for the book to be pulled from shelves after a complaint, stating, 'It beggars belief that in this day and age that any shop would think it acceptable to sell and display Tintin in the Congo.'^[101] In August 2007, a Congolese student filed a complaint in Brussels that the book was an insult to the Congolese people. Public prosecutors investigated, and a criminal case was initiated, although the matter was transferred to a civil court.^[102] Belgium's Centre for Equal Opportunities warned against 'over-reaction and hyper political correctness'.^[103]

Hergé altered some of the early albums in subsequent editions, usually at the demand of publishers. For example, at the instigation of his American publishers, many of the African characters in Tintin in America were re-coloured to make their race Caucasian or ambiguous.^[104]The Shooting Star originally had an American villain with the Jewish surname of 'Blumenstein'^[105]. This proved controversial, as the character exhibited exaggerated, stereotypically Jewish characteristics. 'Blumenstein' was changed to an American with a less ethnically specific name, Mr. Bohlwinkel, in later editions and subsequently to a South American of a fictional country—São Rico. Hergé later discovered that 'Bohlwinkel' was also a Jewish name.^[50]

Adaptations and memorabilia[edit]

The Adventures of Tintin has been adapted in a variety of media besides the original comic strip and its collections. Hergé encouraged adaptations and members of his studio working on the animated films. After Hergé's death in 1983, the Hergé Foundation and Moulinsart, the foundation's commercial and copyright wing, became responsible for authorising adaptations and exhibitions.^[106]

Television and radio[edit]

Two animated television adaptations and one radio adaptation have been made.

Hergé's Adventures of Tintin (Les aventures de Tintin d'après Hergé) (1957) was the first production of Belvision Studios.^[107] Ten of Hergé's books were adapted, each serialised into a set of five-minute episodes, with 103 episodes produced.^[e] The series was directed by Ray Goossens and written by Belgian comic artist Greg, later editor-in-chief of Tintin magazine, and produced by Raymond Leblanc.^[f] Most stories in the series varied widely from the original books, often changing whole plots.^[107]

The Adventures of Tintin (Les aventures de Tintin) (1991–92) was the more successful Tintin television series. An adaptation of twenty-one Tintin books,^[g][108] it was directed by Stéphane Bernasconi and was produced by Ellipse (France) and Nelvana (Canada) on behalf of the Hergé Foundation. The series adhered closely to the albums to such an extent that panels from the original were often transposed directly to the screen.^[108] The series aired in over fifty countries and was released on DVD. It aired in the US on HBO.^[109]

The Adventures of Tintin (1992–93) radio series was produced by BBC Radio 4. The dramas starred Richard Pearce as Tintin and Andrew Sachs as Snowy. Captain Haddock was played by Leo McKern in Series One and Lionel Jeffries in Series Two, Professor Calculus was played by Stephen Moore and Thomson and Thompson were played by Charles Kay.^{[citation needed]}

The Adventures of Tintin were also released as radio dramas on LP and compact cassette recordings in French language versions in Belgium, France and Canada, German language versions in West Germany, Swedish language versions in Sweden, Danish language versions in Denmark and Norwegian language versions in Norway.^{[citation needed]}

Cinema[edit]

Five feature-length Tintin films were made before Hergé's death in 1983 and one more in 2011.

The Crab with the Golden Claws (Le crabe aux pinces d'or) (1947) was the first successful attempt to adapt one of the comics into a feature film. Written and directed by Claude Misonne and João B Michiels, the film was a stop-motion puppet production created by a small Belgian studio.^[110]

Tintin and the Golden Fleece (Tintin et le mystère de la Toison d'Or) (1961), the first live action Tintin film, was adapted not from one of Hergé's Adventures of Tintin but instead from an original script written by André Barret and Rémo Forlani.^[111] Directed by Jean-Jacques Vierne and starring Jean-Pierre Talbot as Tintin and Georges Wilson as Haddock, the plot involves Tintin travelling to Istanbul to collect the Golden Fleece, a ship left to Haddock in the will of his friend, Themistocle Paparanic. Whilst in the city however, Tintin and Haddock discover that a group of villains also want possession of the ship, believing that it would lead them to a hidden treasure.^[111]

Tintin and the Blue Oranges (Tintin et les oranges bleues) (1964), the second live action Tintin film, was released due to the success of the first. Again based upon an original script, once more by André Barret, it was directed by Philippe Condroyer and starred Talbot as Tintin and Jean Bouise as Haddock.^[112] The plot reveals a new invention, the blue orange, that can grow in the desert and solve world famines, devised by Calculus' friend, the Spanish Professor Zalamea. An emir whose interests are threatened by the invention of the blue orange proceeds to kidnap both Zalamea and Calculus, and Tintin and Haddock travel to Spain in order to rescue them.^[112]

Tintin and the Temple of the Sun (Tintin et le temple du soleil) (1969), the first traditional animationTintin film, was adapted from two of Hergé's Adventures of Tintin: The Seven Crystal Balls and Prisoners of the Sun. The first full-length, animated film from Raymond Leblanc's Belvision, which had recently completed its television series based upon the Tintin stories; it was directed by Eddie Lateste and featured a musical score by the critically acclaimed composer François Rauber. The adaptation is mostly faithful, although the Seven Crystal Balls portion of the story was heavily condensed.^[112]

Tintin and the Lake of Sharks (Tintin et le lac aux requins) (1972), the second traditional animation Tintin film and the last Tintin release for nearly 40 years, it was based on an original script by Greg and directed by Raymond Leblanc.^[113] Belvision's second feature takes Tintin to Syldavia to outwit his old foe Rastapopoulos. While the look of the film is richer, the story is less convincing.^[114] The movie was subsequently adapted into a comic album made up of stills from the film.^[115]

The Adventures of Tintin: The Secret of the Unicorn (2011) was Steven Spielberg's motion capture3D film based on three Hergé albums: The Crab with the Golden Claws (1941), The Secret of the Unicorn (1943), and Red Rackham's Treasure (1944).^[116]Peter Jackson's company Weta Digital provided the animation and special effects. The movie received positive reviews and was a box office success.

Documentaries[edit]

I, Tintin (Moi, Tintin) (1976) was produced by Belvision Studios and Pierre Film.^[117]

Tintin and I (Tintin et moi) (2003), a documentary film directed by Anders Høgsbro Østergaard and co-produced by companies from Denmark, Belgium, France, and Switzerland, was based on a taped interview with Hergé by Numa Sadoul from 1971. Although the interview was published as a book, Hergé was allowed to edit the work prior to publishing and much of the interview was excised.^[118] Years after Hergé's death, the filmmaker returned to the original tapes and restored Hergé's often personal, insightful thoughts—and in the process brought viewers closer to the world of Tintin and Hergé.^[117] It was broadcast in the United States on the PBS network on 11 July 2006.^[119]

Sur les traces de Tintin (On the trail of Tintin) (2010) was a five-part documentary television series which recaps several albums of the book series by combining comic panels (motionless or otherwise) with live-action imagery, with commentary provided.

Theatre[edit]

Hergé himself helped to create two stage plays, collaborating with humourist Jacques Van Melkebeke. Tintin in the Indies: The Mystery of the Blue Diamond (1941) covers much of the second half of Cigars of the Pharaoh as Tintin attempts to rescue a stolen blue diamond. Mr. Boullock's Disappearance (1941–1942) has Tintin, Snowy, and Thomson and Thompson travel around the world and back to Brussels again to unmask an impostor trying to lay claim to a missing millionaire's fortune. The plays were performed at the Théâtre Royal des Galeries in Brussels. The scripts of the plays are unfortunately lost.^[121]

In the late 1970s and early 1980s, two Tintin plays were produced at the Arts Theatre in the West End of London, adapted by Geoffrey Case for the Unicorn Theatre Company. These were Tintin's Great American Adventure, based on the comic Tintin in America (1976–1977) and Tintin and the Black Island, based on The Black Island (1980–81); this second play later toured.^[h][120]

A musical based on The Seven Crystal Balls and Prisoners of the Sun premièred on 15 September 2001 at the Stadsschouwburg (City Theatre) in Antwerp, Belgium. It was entitled Kuifje – De Zonnetempel (De Musical) ('Tintin – Temple of the Sun (The Musical)') and was broadcast on Canal Plus, before moving on to Charleroi in 2002 as Tintin – Le Temple du Soleil – Le Spectacle Musical.^[122]

The Young Vic theatre company in London ran Hergé's Adventures of Tintin, a musical version of Tintin in Tibet, at the Barbican Arts Centre (2005–2006); the production was directed by Rufus Norris and was adapted by Norris and David Greig.^[123] The show was successfully revived at the Playhouse Theatre in the West End of London before touring (2006–2007)^[124] to celebrate the centenary of Hergé's birth in 2007.^[1]

Video games[edit]

Tintin began appearing in video games when Infogrames Entertainment, SA, a French game company, released the side scrollerTintin on the Moon in 1989.^[125]The same company released a platformer video game titled Tintin in Tibet in 1995 for the Super NES and Mega Drive/Genesis.^[126]Another platformer from Infogrames titled Prisoners of the Sun was released the following year for the Super NES, PC, and Game Boy Color.^[127]As computer graphics technology improved, video game experiences improved. In 2001, Tintin became 3D in a game called Tintin: Destination Adventure, released by Infogrames for the PC and PlayStation.^[128]Then in 2011, an action-adventure video game called The Adventures of Tintin: The Secret of the Unicorn, a tie-in to the 2011 movie, was released by Ubisoft in October 2011.^[129]

Memorabilia and merchandise[edit]

Images from the series have long been licensed for use on merchandise, the success of Tintin magazine helping to create a market for such items. Tintin's image has been used to sell a wide variety of products, from alarm clocks to underpants. Countless separate items related to the character have been available, with some becoming collectors' items in their own right.^[131]

The Hergé Foundation has maintained control of the licenses, through Moulinsart, the commercial wing of the foundation. Speaking in 2002, Peter Horemans, the then director general at Moulinsart, noted this control: 'We have to be very protective of the property. We don't take lightly any potential partners and we have to be very selective ... for him to continue to be as popular as he is, great care needs to be taken of his use.'^[132] However, the Foundation has been criticised by scholars as 'trivialising the work of Hergé by concentrating on the more lucrative merchandising' in the wake of a move in the late 1990s to charge them for using relevant images to illustrate their papers on the series.^[133]

Tintin memorabilia and merchandise has allowed a chain of stores based solely on the character to become viable. The first shop was launched in 1984 in Covent Garden, London.^[130] Tintin shops have also opened in both Bruges and Brussels in Belgium, and in Montpellier, France. In 2014, a Tintin shop opened in Taguig, the Philippines, only the second of its kind in Southeast Asia. The first Tintin shop in Southeast Asia opened in Singapore in 2010.^[134]The British bookstore chain, Ottakar's, founded in 1987, was named after the character of King Ottokar from the Tintin book King Ottokar's Sceptre, and their shops stocked a large amount of Tintin merchandise until their takeover by Waterstone's in 2006.^[135]

Stamps and coins[edit]

Tintin's image has been used on postage stamps on numerous occasions.The first Tintin postage stamp was an eight-franc stamp issued by Belgian Post for the 50th anniversary of the publication of Tintin's first adventure on 29 September 1979, featuring Tintin and Snowy looking through a magnifying glass at several stamps.^[137]In 1999, a nine-stamp block celebrating ten years of the Belgian Comic Strip Center was issued, with the center stamp a photo of Tintin's famous moon rocket that dominates the Comic Strip Center's entry hall.^[136]To mark the end of the Belgian Franc and to celebrate the seventieth anniversary of the publication of Tintin in the Congo, two more stamps were issued by Belgian Post on 31 December 2001: Tintin in a pith helmet and a souvenir sheet with a single stamp in the center. The stamps were jointly issued in the Democratic Republic of the Congo.^[136]In 2004, Belgian Post celebrated its own seventy-fifth anniversary, as well as the fiftieth anniversary of the publication of Explorers on the Moon, and the thirty-fifth anniversary of the moon landings with a souvenir sheet of five stamps based upon the Explorers on the Moon adventure.^[138]To celebrate the centenary of Hergé's birth in 2007,^[1] Belgian Post issued a sheet of 25 stamps depicting the album covers of all 24 Adventures of Tintin (in 24 languages) plus Hergé's portrait in the center.^[136]A souvenir sheet of ten stamps called 'Tintin on screen', issued 30 August 2011, depicts the Tintin film and television adaptations.^[i][136]

Tintin has also been commemorated by coin several times.In 1995, the Monnaie de Paris (Paris Mint) issued a set of twelve gold medallions, available in a limited edition of 5000.^[139]A silver medallion was minted in 2004 to commemorate the 50th anniversary of the Tintin book Explorers on the Moon, again in a limited run, this time of 10,000. It quickly sold out.^[140]In 2004, Belgium minted a limited edition commemorative euro coin featuring Tintin and Snowy celebrating the 75th anniversary of Tintin's first adventure in January 2004.^[141] Although it has a face value of €10, it is, as with other commemorative euro coins, legal tender only in the country in which it was issued—in this case, Belgium.^[141]In 2006–2012 France issued the Comic Strip Heroes commemorative coin series featuring famous Franco-Belgian comics, beginning in 2006 with Tintin.^[142]It was a set of six different euro coins honouring Hergé: three 1½-euro silver coins featuring Tintin and the Professor, Tintin and Captain Haddock, and Tintin and Chang; a €10 (gold) featuring Tintin; and a €20 (silver) and a €50 (gold) featuring Tintin and Snowy.^[142] In 2007, on Hergé's centenary, Belgium issued its €20 (silver) Hergé/Tintin coin.^[143]

Parody and pastiche[edit]

During Hergé's lifetime, parodies were produced of the Adventures of Tintin, with one of the earliest appearing in Belgian newspaper La Patrie after the liberation of the country from Nazi German occupation in September 1944. Entitled Tintin au pays de nazis ('Tintin in the Land of the Nazis'), the short and crudely drawn strip lampoons Hergé for working for a Nazi-run newspaper during the occupation.^[145]

Following Hergé's death, hundreds more unofficial parodies and pastiches of the Adventures of Tintin were produced, covering a wide variety of different genres.^[144] Tom McCarthy divided such works into three specific groupings: pornographic, political, and artistic.^[146] In a number of cases, the actual name 'Tintin' is replaced by something similar, like Nitnit, Timtim, or Quinquin, within these books.^[144]

McCarthy's first group, pornographic parodies, includes 1976's Tintin en Suisse ('Tintin in Switzerland') and Jan Bucquoy's 1992 work La Vie Sexuelle de Tintin ('Tintin's Sex Life'), featuring Tintin and the other characters engaged in sexual acts.^[147] Another such example was Tintin in Thailand, in which Tintin, Haddock, and Calculus travel to the East Asian country for a sex holiday. The book began circulating in December 1999, but in 2001, Belgian police arrested those responsible and confiscated 650 copies for copyright violation.^[148]

Other parodies have been produced for political reasons: for instance, Tintin in Iraq lampoons the world politics of the early 21st century, with Hergé's character General Alcazar representing President of the United States George W. Bush.^[144] Written by the pseudonymous Jack Daniels, Breaking Free (1989) is a revolutionary socialist comic set in Britain during the 1980s, with Tintin and his uncle (modelled after Captain Haddock) being working class Englishmen who turn to socialism in order to oppose the capitalist policies of the Conservative Party government of Margaret Thatcher. When first published in Britain, it caused an outrage in the mainstream press, with one paper issuing the headline that 'Commie nutters turn Tintin into picket yob!'^[144]

Other comic creators have chosen to create artistic stories that are more like fan fiction than parody. The Swiss artist Exem created the irreverent comic adventures of Zinzin, what The Guardian calls 'the most beautifully produced of the pastiches.'^[144] Similarly, Canadian cartoonist Yves Rodier has produced a number of Tintin works, none of which have been authorised by the Hergé Foundation, including a 1986 'completion' of the unfinished Tintin and Alph-art, which he drew in Hergé's ligne claire style.^[144]

The response to these parodies has been mixed in the Tintinological community. Many despise them, seeing them as an affront to Hergé's work.^[144] Nick Rodwell of the Hergé Foundation took this view, declaring that 'None of these copyists count as true fans of Hergé. If they were, they would respect his wishes that no one but him draw Tintin's adventures.'^[144] Where possible, the foundation has taken legal action against those known to be producing such items. Others have taken a different attitude, considering such parodies and pastiches to be tributes to Hergé, and collecting them has become a 'niche specialty'.^[144]

Exhibitions[edit]

After Hergé's death in 1983, his art began to be honoured at exhibitions around the world, keeping Tintin awareness at a high level.The first major Tintin exhibition in London was Tintin: 60 years of Adventure, held in 1989 at the Town Hall in Chelsea. This early exhibition displayed many of Hergé's original sketches and inks, as well as some original gouaches.^[150]In 2001, an exhibition entitled Mille Sabords! ('Billions of Blistering Barnacles!') was shown at the National Navy Museum (Musée national de la Marine) in Paris.^[151]In 2002, the Bunkamura Museum of Art in Tokyo staged an exhibition of original Hergé drawings as well as of the submarine and rocket ship invented in the strips by Professor Calculus.^[152]The National Maritime Museum in Greenwich, London, hosted the exhibition The Adventures of Tintin at Sea in 2004, focusing on Tintin's sea exploits, and in commemoration of the 75th anniversary of the publication of Tintin's first adventure.^[153]2004 also saw an exhibition in Halles Saint Géry in Brussels titled Tintin et la ville ('Tintin and the City') showcasing all cities in the world Tintin had travelled.^[154]

The Belgian Comic Strip Center in the Brussels business district added exhibits dedicated to Hergé in 2004.^[155]The Brussels' Comic Book Route in the center of Brussels added its first Tintinmural in July 2005.^[156]

The centenary of Hergé's birth in 2007^[1] was commemorated at the largest museum for modern art in Europe, the Centre Georges Pompidou in Paris, with Hergé, an art exhibition honouring his work. The exhibition, which ran from 20 December 2006 until 19 February 2007, featured some 300 of Hergé's boards and original drawings, including all 124 original plates of The Blue Lotus.^[149]Laurent le Bon, organiser of the exhibit said, 'It was important for the Centre to show the work of Hergé next to that of Matisse or Picasso.'^[157] Michael Farr said, 'Hergé has long been seen as a father figure in the comics world. If he's now recognised as a modern artist, that's very important.'^[158]

2009 saw the opening of the Hergé Museum (Musée Hergé), designed in contemporary style, in the town of Louvain-la-Neuve, south of Brussels.^[159] Visitors follow a sequence of eight permanent exhibit rooms covering the entire range of Hergé's work, showcasing the world of Tintin and his other creations.^[160] In addition, the new museum has already seen many temporary exhibits, including Into Tibet With Tintin.^[161]

Legacy[edit]

Hergé is recognised as one of the leading cartoonists of the twentieth century.^[163] Most notably, Hergé's ligne claire style has been influential to creators of other Franco-Belgian comics. Contributors to Tintin magazine have employed ligne claire, and later artists Jacques Tardi, Yves Chaland, Jason Little, Phil Elliott, Martin Handford, Geof Darrow, Eric Heuvel, Garen Ewing, Joost Swarte, and others have produced works using it.^[164]

In the wider art world, both Andy Warhol and Roy Lichtenstein have claimed Hergé as one of their most important influences.^[165] Lichtenstein made paintings based on fragments from Tintin comics, whilst Warhol used ligne claire and even made a series of paintings with Hergé as the subject. Warhol, who admired Tintin's 'great political and satirical dimensions',^[165] said, 'Hergé has influenced my work in the same way as Walt Disney. For me, Hergé was more than a comic strip artist'.^[166]

Hergé has been lauded as 'creating in art a powerful graphic record of the 20th century's tortured history' through his work on Tintin,^[119] whilst Maurice Horn's World Encyclopedia of Comics declares him to have 'spear-headed the post-World War II renaissance of European comic art'.^[167] French philosopher Michel Serres noted that the twenty-three completed Tintin albums constituted a 'chef-d'oeuvre' ('masterpiece') to which 'the work of no French novelist is comparable in importance or greatness'.^[168]

In 1966, Charles de Gaulle said, 'In the end, you know, my only international rival is Tintin! We are the small ones, who do not let themselves be had by the great ones.'^[169][j]

In March 2015, Brussels Airlines painted an Airbus A320-200 with registration OO-SNB in a special Tintin livery.^[170]

Tintin has become a symbol of Belgium and so was used in a variety of visual responses to the 2016 Brussels bombings.^[171]

List of titles[edit]

Following are the twenty-four canonical Tintin comic albums, with their English titles. Publication dates are for the original French-language versions.

The following are double albums with a continuing story arc:

• Cigars of the Pharaoh (no. 4) & The Blue Lotus (no. 5)
• The Secret of the Unicorn (no. 11) & Red Rackham's Treasure (no. 12)
• The Seven Crystal Balls (no. 13) & Prisoners of the Sun (no. 14)
• Destination Moon (no. 16) & Explorers on the Moon (no. 17)

Hergé attempted and then abandoned Le Thermozéro (1958). Outside the Tintin series, a 48-page comic album supervised (but not written) by Hergé, Tintin and the Lake of Sharks, was released in 1972; it was based on the film Tintin et le lac aux requins.

See also[edit]

• The Adventures of Jo, Zette and Jocko, another series by Hergé

References[edit]

Notes[edit]

1. ^Tintin first appeared in Eagle Vol 2:17 (3 August), which ran in weekly parts in the lower half of the centerfold, beneath the cutaway drawings, until Vol 3:4 (2 May 1952).
2. ^At that time, Children's Digest had a circulation of around 700,000 copies monthly.
3. ^'Mes chers amis, je vais vous parler aujourd'hui de votre patrie: La Belgique.'
4. ^'Dead animals' refers to the fashion for big-game hunting at the time of the work's original publication.
5. ^Two series were created. Series 1: Two books, twelve episodes, were adapted in black and white as a test of the studio's abilities; these were actually faithful to the original albums. Series 2: Eight books, 91 episodes, were adapted in colour; these were often unfaithful to the original albums. The animation quality of the series was very limited.^[107]
6. ^Belvision had just been launched by Raymond Leblanc, who had created Tintin magazine a decade earlier.
7. ^The series ran for three seasons, 13 episodes each season; the 21 stories usually presented in two-part segments.
8. ^Geoffrey Case (adapted), Tony Wredden (directed): Tintin's Great American Adventure, Arts Theatre, London, 18 December 1976 to 20 February 1977, Unicorn Theatre Company. Tintin and the Black Island, Arts Theatre, London, 1980–81, Unicorn Theatre Company.
9. ^'Tintin on screen' depicts both Tintin television programs and four of the five Tintin film adaptations (Lake of Sharks was omitted).
10. ^'Au fond, vous savez, mon seul rival international c'est Tintin! Nous sommes les petits qui ne se laissent pas avoir par les grands.' Spoken by Charles de Gaulle, according to his Minister for Cultural Affairs André Malraux. De Gaulle had just banned all NATO aircraft bases from France; 'the great ones' referred to USA and USSR. De Gaulle then added, 'On ne s'en apperçoit pas, à cause de ma taille.' ('Only nobody notices the likeness because of my size.')^[169]

Citations[edit]

1. ^ ^abcdPollard 2007; Bostock & Brennan 2007; The Age 24 May 2006; Junkers 2007.
2. ^Farr 2007a, p. 4.
3. ^ ^abThompson 1991, p. 207–208.
4. ^Screech 2005, p. 27; Miller 2007, p. 18; Clements 2006; Wagner 2006; Lichfield 2006; Macintyre 2006; Gravett 2008.
5. ^Thompson 2003; Gravett 2005; Mills 1983.
6. ^ ^abAssouline 2009, p. 19.
7. ^Thompson 1991, p. 24; Peeters 2012, pp. 20–29.
8. ^Thompson 1991, pp. 24–25; Peeters 2012, pp. 31–32.
9. ^Assouline 2009, p. 38.
10. ^Goddin 2008, p. 44.
11. ^ ^abFarr 2001, p. 12.
12. ^Farr 2001, p. 12; Thompson 1991, p. 25; Assouline 2009.
13. ^Thompson 1991, p. 29.
14. ^Lofficier & Lofficier 2002, p. 19.
15. ^Assouline 2009, p. 17; Farr 2001, p. 18; Lofficier & Lofficier 2002, p. 18.
16. ^Goddin 2008, p. 67.
17. ^Assouline 2009, pp. 22–23; Peeters 2012, pp. 34–37.
18. ^Peeters 2012, pp. 39–41.
19. ^Assouline 2009, pp. 32–34; Peeters 2012, pp. 42–43.
20. ^Assouline 2009, pp. 26–29; Peeters 2012, pp. 45–47.
21. ^Assouline 2009, pp. 30–32.
22. ^Assouline 2009, p. 35.
23. ^Thompson 1991, p. 82.
24. ^Thompson 1991, pp. 91–92.
25. ^Thompson 1991, pp. 90–91.
26. ^Thompson 1991, pp. 92–93.
27. ^Thompson 1991, pp. 98–99.
28. ^Thompson 1991, p. 147.
29. ^Thompson 1991, p. 166.
30. ^ ^abThompson 1991, p. 173.
31. ^Thompson 1991, p. 174.
32. ^Thompson 1991, pp. 176, 174.
33. ^ ^abThompson 1991, p. 194.
34. ^Thompson 1991, pp. 202–203.
35. ^Thompson 1991, p. 203.
36. ^Thompson 1991, p. 289.
37. ^Walker 2005.
38. ^McCloud 1993.
39. ^Horeau 2004.
40. ^McCarthy 2006, pp. 160–161.
41. ^McCarthy 2006, p. 4.
42. ^Yusuf 2005.
43. ^How to tell a Thompson from a Thomson 2006.
44. ^Farr 2004.
45. ^Thompson 2003.
46. ^McLaughlin 2007, p. 187.
47. ^Gravett 2005.
48. ^McLaughlin 2007, pp. 173–234.
49. ^Assouline 2009.
50. ^ ^abEwing 1995.
51. ^Pain 2004.
52. ^Moura 1999.
53. ^ ^abcdSadoul & Didier 2003.
54. ^The Great Wave 2006.
55. ^Mills 1983.
56. ^Thompson 1991, p. 109.
57. ^Corn 1989; The Times 4 August 2009.
58. ^The Daily Telegraph 14 August 2009; The Times 4 August 2009.
59. ^ ^abcOwens 10 July 2004.
60. ^Farr 2001, p. 106.
61. ^Farr 2001, p. 72.
62. ^Egmont Group 2013.
63. ^BBC News 9 January 2009.
64. ^Thompson 1991, p. 103; A personal website (Netherlands) 2006.
65. ^ ^abcOwens 1 October 2004.
66. ^Hachette Book Group 2013.
67. ^The Adventures of Tintin go digital – Tintin in the Congo in English
68. ^ ^abcdChris Owens (10 July 2004). 'Interview with Michael Turner and Leslie Lonsdale-Cooper'. Tintinologist. Retrieved 29 November 2014.
69. ^Kim Adrian (22 October 2012). 'Casterman Makes Tragic Changes to Tintin: Hyslop's Handlettering vs. 'Pretty' Computer Font'. Retrieved 29 November 2014.
70. ^ ^abBBC News 2 June 2006.
71. ^Farr 2001, p. 162.
72. ^Int'l Campaign for Tibet 17 May 2006.
73. ^BBC News 22 May 2002.
74. ^Wagner 2006.
75. ^Peeters 1989.
76. ^Farr 2001.
77. ^Farr 2007.
78. ^Farr 2007a.
79. ^Thompson 1991.
80. ^Apostolidès 2010.
81. ^Perl-Rosenthal 2010.
82. ^Tisseron 1990.
83. ^Tisseron 1993.
84. ^McCarthy 2006, p. 10.
85. ^McCarthy 2006, p. 8.
86. ^McCarthy 2006, p. 32.
87. ^McCarthy 2006, pp. 13–14.
88. ^McCarthy 2006, pp. 106–109.
89. ^Clements 2006.
90. ^ ^abThompson 1991, pp. 38,49; Farr 2001, p. 22.
91. ^BBC News 28 April 2010; Beckford 2007.
92. ^Farr 2001, p. 22.
93. ^Thompson 1991, p. 40.
94. ^Rösch, Felix (2014). ''Hooray! Hooray! the End of the World has been Postponed!' Politics of Peace in the Adventures of Tintin?'. Politics. 34 (3): 225–236. doi:10.1111/1467-9256.12024. ISSN0263-3957.
95. ^BBC News 4 February 1999.
96. ^The Economist 28 January 1999.
97. ^BBC News 17 July 2007.
98. ^Cendrowicz 2010; Farr 2001, p. 25.
99. ^Buswell 1988.
100. ^Thompson 1991, p. 44.
101. ^Beckford 2007; BBC News 12 July 2007.
102. ^Samuel 2011; BBC News 13 February 2012.
103. ^Vrielink 2012.
104. ^Mills 1996.
105. ^'When the Nazis took Belgium, Tintin's Creator Drew Pro-Regime Propaganda'. Smithsonianmag. Retrieved 15 January 2018.
106. ^Thompson 1991, p. 289; Tintin.com Moulinsart 2010.
107. ^ ^abcLofficier & Lofficier 2002, pp. 143–144.
108. ^ ^abLofficier & Lofficier 2002, p. 148.
109. ^Baltimore Sun 16 November 1991.
110. ^Lofficier & Lofficier 2002, p. 143.
111. ^ ^abLofficier & Lofficier 2002, pp. 144–145.
112. ^ ^abcLofficier & Lofficier 2002, pp. 145–146.
113. ^Da. 2003.
114. ^Lofficier & Lofficier 2002, p. 147.
115. ^Da. 2003; Lofficier & Lofficier 2002, p. 147.
116. ^Mulard 2012.
117. ^ ^abLofficier & Lofficier 2002, p. 150.
118. ^Christensen 2003.
119. ^ ^abPBS July 2006.
120. ^ ^abHodgson 2008; RLF: Current Fellows 2008; Cadambi Website: Plays & Musicals 2006.
121. ^Sadoul 1975, p. 143; Thompson 1991, pp. 132–133,142; Lofficier & Lofficier 2002, pp. 148–149.
122. ^Le Devoir 14 December 2007; HLN.be 13 December 2007; Wainman 2006; Cadambi Website: Plays & Musicals 2006.
123. ^Billington 2005; YoungVic.org 2005; Barbican 2005; Cadambi Website: Plays & Musicals 2006.
124. ^Smurthwaite 2007; SoniaFriedman.com 2007.
125. ^MobyGames.com 1989; Sinclair Infoseek 1989.
126. ^MobyGames.com 1995.
127. ^MobyGames.com 1996.
128. ^MobyGames.com 2001.
129. ^MobyGames.com 2011.
130. ^ ^abPignal 2010.
131. ^Conrad 2004.
132. ^DITT 2002.
133. ^Bright 1999.
134. ^'Tintin Shop Singapore'. SGnow. Asia City Online Ltd. Retrieved 18 July 2017.
135. ^Irish Times 9 January 1999.
136. ^ ^abcdeAhl 2011; TintinMilou.free.fr 2011.
137. ^PostBeeld 2010; Ahl 2011; TintinMilou.free.fr 2011; Kenneally 1991.
138. ^White 2007; Ahl 2011; TintinMilou.free.fr 2011.
139. ^Chard 1995; OmniCoin 2009.
140. ^Tintinesque.com 2004.
141. ^ ^abBBC News 8 January 2004.
142. ^ ^abNumista 2006; Coin Database 2006.
143. ^Coin Talk 2007; NumisCollect 2007.
144. ^ ^abcdefghijCoxhead 2007.
145. ^McCarthy 2006, pp. 186–187; Thompson 1991, p. 168.
146. ^McCarthy 2006, p. 186; BBC News 14 February 2001.
147. ^Coxhead 2007; McCarthy 2006, p. 186; Perrotte & Van Gong 2006.
148. ^BBC News 14 February 2001.
149. ^ ^abLe Figaro 20 December 2006; Der Spiegel 20 December 2006; Chiha 2007; Radio Télévision Suisse 28 June 2010; CentrePompidou.fr 2006; Wainman 2007.
150. ^Owens 25 February 2004; Cadambi Website: Exhibitions 2006.
151. ^BDzoom.com 2001; Tintin.com 21 March 2001; Sipa 3 January 2001; Cadambi Website: Exhibitions 2006.
152. ^Tintin.com 16 March 2002.
153. ^BBC News 29 March 2004; Kennedy 2003; RMG.co.uk 13 November 2003; Horeau 2004; Cadambi Website: Exhibitions 2006.
154. ^Soumous 2004; Cadambi Website: Exhibitions 2006.
155. ^The Independent 15 October 2011; Kenneally 1991.
156. ^City of Brussels Comic Book Route; de Koning Gans Website 2005.
157. ^designboom 2006.
158. ^Junkers 2007; TwoCircles 21 May 2007; Highbeam 21 May 2007.
159. ^The Economist 28 May 2009; Contimporist 3 June 2009; Tintin.com Musée Hergé 2009.
160. ^Tintin.com Musée Hergé 2009.
161. ^Musée Hergé May 2012.
162. ^The Economist 28 May 2009; Contimporist 3 June 2009.
163. ^Radio Télévision Suisse 28 June 2010.
164. ^Armitstead & Sprenger 2011.
165. ^ ^abThompson 1991, p. 280.
166. ^BBC News10 January 1999.
167. ^Horn 1983.
168. ^Adair 1993.
169. ^ ^abCharles-de-Gaulle.org 1958; The New York Times 5 March 1983; Lofficier & Lofficier 2002, p. 9.
170. ^'TINTIN / A Brussels Airlines aircraft in Tintin colours'.
171. ^Butter, Susannah (24 March 2016), 'Brussels attacks: how Tintin became a symbol of solidarity on Twitter', London Evening Standard

Bibliography[edit]

Books

• Apostolidès, Jean-Marie (2010) [2006]. The Metamorphoses of Tintin, or Tintin for Adults. Jocelyn Hoy (translator). Stanford: Stanford University Press. ISBN978-0-8047-6031-7.
• Assouline, Pierre (2009) [1996]. Hergé: The Man Who Created Tintin. Charles Ruas (translator). Oxford and New York: Oxford University Press. ISBN978-0-19-539759-8.
• Farr, Michael (2001). Tintin: The Complete Companion. London: John Murray. ISBN978-0-7195-5522-0.
• Farr, Michael (2007). Tintin & Co. London: John Murray Publishers Ltd. ISBN978-1-4052-3264-7.
• Farr, Michael (2007a). The Adventures of Hergé: Creator of Tintin (Re-release ed.). San Francisco: Last Gasp (first published in 2007 by John Murray Publishers Ltd.). ISBN978-0-86719-679-5.
• Goddin, Philippe (2008). The Art of Hergé, Inventor of Tintin, Volume 1, 1907–1937. Michael Farr (translator). San Francisco: Last Gasp. ISBN978-0-86719-706-8.
• Gravett, Paul (2005). Graphic Novels: Stories to Change Your Life. London: Aurum Press. ISBN978-1-84513-068-8.
• Horeau, Yves (2004). The Adventures of Tintin at Sea. Michael Farr (translator). London: Hodder & Stoughton (First published 1999 by John Murray Publishers Ltd.). ISBN978-0-7195-6119-1.
• Horn, Maurice (1983). World Encyclopedia of Comics (2nd Revised ed.). New York City: Chelsea House. ISBN978-0-87754-323-7.
• Lofficier, Jean-Marc; Lofficier, Randy (2002). The Pocket Essential Tintin. Harpenden, Hertfordshire: Pocket Essentials. ISBN978-1-904048-17-6.
• McCarthy, Tom (2006). Tintin and the Secret of Literature. London: Granta. ISBN978-1-86207-831-4.
• McCloud, Scott (1993). Understanding Comics: The Invisible Art. Princeton, Wisconsin: Kitchen Sink Press. ISBN978-0-87816-243-7.
• McLaughlin, Jeff (2007). Comics as Philosophy. Jackson, Mississippi: University Press of Mississippi (First published December 2005). ISBN978-1-60473-000-5.
• Miller, Ann (2007). Reading Bande Dessinée: Critical Approaches to French-language Comic Strip. Bristol: Intellect Books. ISBN978-1-84150-177-2.
• Peeters, Benoît (1989). Tintin and the World of Hergé. London: Methuen Children's Books. ISBN978-0-416-14882-4.
• Peeters, Benoît (2012) [2002]. Hergé: Son of Tintin. Tina A. Kover (translator). Baltimore, Maryland: Johns Hopkins University Press. ISBN978-1-4214-0454-7.
• Sadoul, Numa (1975). Tintin et moi: entretiens avec Hergé [Tintin and I: Interviews with Hergé] (in French). Tournai: Casterman. ISBN978-2-08-080052-7.
• Screech, Matthew (2005). Masters of the Ninth Art: Bandes Dessinées and Franco-Belgian Identity. Liverpool University Press. ISBN978-0-85323-938-3.
• Thompson, Harry (1991). Tintin: Hergé and his Creation. London: Hodder and Stoughton. ISBN978-0-340-52393-3.
• Tisseron, Serge (1990). Tintin et les Secrets de Famille. Paris: Editions Aubier-Montaigne. ISBN978-2-7007-2168-3.
• Tisseron, Serge (1993). Tintin et les Secrets d'Hergé. Paris: Editions Hors collection. ISBN978-2-258-03753-3.

News articles

• Adair, Gilbert (10 October 1993). 'A quiff history of time'. The Sunday Times. London.
• Armitstead, Claire; Sprenger, Richard (25 October 2011). 'Anybody who is constructing a comic strip would be crazy not to learn from Hergé'. The Guardian. London. Archived from the original(video) on 24 December 2013. Retrieved 14 June 2013. John Fardell talks about the influence of Hergé's drawing style on his own work.
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Journal Articles

• Corn, Howard (December 1989). 'Tintin comic'. Eagle Times. 2 (4).
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• Pain, Stephanie (April 2004). 'Welcome to the moon, Mr Armstrong'. New Scientist. 182 (2441): 48–49. Retrieved 4 May 2013.
• Rösch, Felix (October 2014). ''Hooray! Hooray! the End of the World has been Postponed!' Politics of Peace in the Adventures of Tintin?'. Politics. 34 (3): 225–236. Retrieved 27 June 2019.
• Sadoul, Numa; Didier, Michel (February 2003). 'The Hergé Interview: Extracts from Entretiens avec Hergé'. The Comics Journal. 1 (250): 180–205. Archived from the original on 10 April 2014. Retrieved 17 May 2013. English translation: 2003, copyediting: Kim Thompson.
• Thompson, Kim (February 2003). 'Hergé: His Life and Work'. The Comics Journal. 1 (250): 176–179. Archived from the original on 10 April 2014. Retrieved 17 May 2013.

Websites

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• 'Hergè exhibition at the Pompidou Centre, Paris'. designboom. 20 December 2006. Archived from the original on 14 November 2013. Retrieved 22 June 2013.
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• 'Moulinsart'. Tintin.com. 2010. Archived from the original on 30 April 2014. Retrieved 14 June 2013.
• 'New 20 euro coin from Belgium'. Coin Talk. 13 June 2007. Archived from the original on 25 December 2013. Retrieved 22 June 2013.
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• 'Rufus Norris to direct World Premiere of Tintin'. YoungVic.org. November 2005. Archived from the original on 9 November 2006. Retrieved 9 September 2006.
• 'Search for a coin – Tintin'. Numista. 2006. Archived from the original on 24 December 2013. Retrieved 22 June 2013.
• 'The Twelve Adventures of Tintin Gold Medallion Set'. Chard (UK coin and bullion). 1995. Archived from the original on 24 December 2013. Retrieved 22 June 2013.
• 'Tintin—Egmont Group'. Egmont Group. 2013. Archived from the original on 27 March 2014. Retrieved 14 June 2013.
• 'Tintin'. A personal website (Netherlands). 2006. Archived from the original on 7 December 2006. Retrieved 5 January 2007.
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• 'Tintin: Prisoners of the Sun (1996)'. MobyGames.com. 1996. Archived from the original on 29 March 2014. Retrieved 24 February 2013.
• 'Tintin: Destination Adventure (2001)'. MobyGames.com. 2001. Archived from the original on 4 October 2013. Retrieved 30 September 2013.
• 'Tintin in America: One of a set of 12 gold medals featuring the most famous Belgian'. OmniCoin.com. 20 April 2009. Archived from the original on 24 December 2013. Retrieved 22 June 2013.
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• 'Visitez l'Expo 'Tintin au Musee de la Marine' 48 H Avant son Ouverture!' [Visit the Museum Expo 'Tintin in the Navy' 48 H Before Opening!] (in French). BDzoom.com. 19 March 2001. Archived from the original on 24 December 2013. Retrieved 14 June 2013.
• 'Youth philately, Tintin 1v'. PostBeeld.com (Netherlands). 2010. Archived from the original on 24 December 2013. Retrieved 22 June 2013.

Further reading[edit]

Books

• Goddin, Philippe (2010). The Art of Hergé, Inventor of Tintin, Volume 2, 1937–1949. Michael Farr (translator). San Francisco: Last Gasp. ISBN978-0-86719-724-2.
• Goddin, Philippe (2011). The Art of Hergé, Inventor of Tintin, Volume 3: 1950–1983. Michael Farr (translator). San Francisco: Last Gasp. ISBN978-0-86719-763-1.
• Taylor, Raphaël (8 November 2012). Hergé: The Genius of Tintin: A Biography. London: Icon Books. ISBN978-1-84831-275-3.

News Articles

• Dowling, Stephen (9 January 2004). 'Boy reporter still a global hero'. BBC News. London. Archived from the original on 10 November 2013. Retrieved 22 December 2012.
• Jessel, Stephen (29 November 1998). 'Crazy for Tintin'. BBC News. London. Archived from the original on 24 December 2013. Retrieved 22 December 2012.
• Pandey, Geeta (28 September 2005). 'Tintin ventures into India's rural markets'. BBC News. London. Archived from the original on 24 December 2013. Retrieved 22 December 2012.
• 'Tintin conquers China'. BBC News. London. 23 May 2001. Archived from the original on 24 December 2013. Retrieved 22 December 2012.

Websites

• Østergaard, Anders (2003). 'Tintin et Moi (Entire documentary)'. Vimeo.com. Archived from the original on 24 December 2013. Retrieved 9 May 2013.
• Curran, James (17 October 2011). 'Unofficial title sequence for The Adventures of Tintin, featuring elements from each of the 24 books'. Vimeo.com. Archived from the original on 10 April 2014. Retrieved 22 June 2013.

External links[edit]

• Official website
• Tintinologist.org, the oldest and largest English-language Tintin fan site