Found a superb article on Tintin in a back issue of the New Yorker, by Anthony Lane. The highlights:
- General de Gaulle declared that Tintin was his only international rival. He was envious, perhaps, of not just of Tintin's fame but of his defiantly positive attitude. Both figures can be recognized by silhouette alone
- Stimulation in Herge's solid, Catholic, bourgeois youth in Belgium came from his exploits as a scout. There remain in Tintin traces of the try-anything, do-gooding spirit of the scout troop
- Tintin was first serialized in 1925 in a daily newspaper which was described in it's masthead as a "Catholic and National Newspaper of Doctrine and Information". The editor had a framed picture of Mussolini on his desk
- Tintin in Congo (1931) is an unmitigated parade of racial prejudice, with bug-eyed natives swaying between ignorance and laziness. Herge later redrew the comic...and claimed that his concept of the Congo was no different from that of his compatriots at the time
- A crucial happening was Herge's encounter with Chang Chong-chen, a student at the Brussels Academy of Fine Arts. Chang suggested using real events as the inspiration for his adventures...the ouevre would have a historical value...The Blue Lotus (1936) was born
- Chang returned to China and lost touch with Herge. Tintin in Tibet (1960) showed Tintin searching for a lost friend called Chang. In 1981, two years before Herge died, the real Chang came to Belgium for a tearful reunion. Chang had shown Herge how to beat back prejudice: just tell the truth
- Herge's principle: the further your reach, the more compelling your duty to get it right. Herge knew he would not be able to emabrk on Tintin in Tibet without amassing photographs of monastries, lamas and chortens, all of which would be copied in fanatical detail in his book. I was thrilled to read Hindi in Tintin which was real
- Belgium was occupied. Herge - like Wodehouse, who was interred as an enemy alien - not only survied but bloomed into one of his most flourishing periods. Once the war ended, both were interrogated about the nature and intensity of their collaboration. Both pleaded guilty of innocence; neither ever dispelled the shadow of suspicion. Herge's (and Wodehouse's) ability to avert his gaze from evil verges on the chronic
- Commentators are both enticed and exasperated by how little he gives away. In particular, the Tintin who gazes out from the cover of The Castafoire Emerald (1963) shushing the reader with a finger held to his lips
- There is no sex. Tintin passes increasing portions of his time with an unmarried seaman, yet it seldom occurs to us to question their rapport. He never has a girlfriend, and never expresses the need for one. He has no parents or siblings. We are unsure whether he counts as a child himself. He reminds me, if anyone, of Charlie Brown. Enid Blyton, and maybe even JRR Tolkien, would be at home in this beautiful, adventure-filled, but asexual world
- Tintin may be too constrained for American tastes, being posessed of no superpowers. He is Clark Kent without the phone booth, although Clark at least had a paying job , wheras Tintin, nominally a reporter, never receives a paycheck or files a story
- General de Gaulle declared that Tintin was his only international rival. He was envious, perhaps, of not just of Tintin's fame but of his defiantly positive attitude. Both figures can be recognized by silhouette alone
- Stimulation in Herge's solid, Catholic, bourgeois youth in Belgium came from his exploits as a scout. There remain in Tintin traces of the try-anything, do-gooding spirit of the scout troop
- Tintin was first serialized in 1925 in a daily newspaper which was described in it's masthead as a "Catholic and National Newspaper of Doctrine and Information". The editor had a framed picture of Mussolini on his desk
- Tintin in Congo (1931) is an unmitigated parade of racial prejudice, with bug-eyed natives swaying between ignorance and laziness. Herge later redrew the comic...and claimed that his concept of the Congo was no different from that of his compatriots at the time
- A crucial happening was Herge's encounter with Chang Chong-chen, a student at the Brussels Academy of Fine Arts. Chang suggested using real events as the inspiration for his adventures...the ouevre would have a historical value...The Blue Lotus (1936) was born
- Chang returned to China and lost touch with Herge. Tintin in Tibet (1960) showed Tintin searching for a lost friend called Chang. In 1981, two years before Herge died, the real Chang came to Belgium for a tearful reunion. Chang had shown Herge how to beat back prejudice: just tell the truth
- Herge's principle: the further your reach, the more compelling your duty to get it right. Herge knew he would not be able to emabrk on Tintin in Tibet without amassing photographs of monastries, lamas and chortens, all of which would be copied in fanatical detail in his book. I was thrilled to read Hindi in Tintin which was real
- Belgium was occupied. Herge - like Wodehouse, who was interred as an enemy alien - not only survied but bloomed into one of his most flourishing periods. Once the war ended, both were interrogated about the nature and intensity of their collaboration. Both pleaded guilty of innocence; neither ever dispelled the shadow of suspicion. Herge's (and Wodehouse's) ability to avert his gaze from evil verges on the chronic
- Commentators are both enticed and exasperated by how little he gives away. In particular, the Tintin who gazes out from the cover of The Castafoire Emerald (1963) shushing the reader with a finger held to his lips
- There is no sex. Tintin passes increasing portions of his time with an unmarried seaman, yet it seldom occurs to us to question their rapport. He never has a girlfriend, and never expresses the need for one. He has no parents or siblings. We are unsure whether he counts as a child himself. He reminds me, if anyone, of Charlie Brown. Enid Blyton, and maybe even JRR Tolkien, would be at home in this beautiful, adventure-filled, but asexual world
- Tintin may be too constrained for American tastes, being posessed of no superpowers. He is Clark Kent without the phone booth, although Clark at least had a paying job , wheras Tintin, nominally a reporter, never receives a paycheck or files a story
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