Tintin has such an outsize influence that it's hard to capture just what is "tintin" versus the mirror-reflections radiating out from Herge over decades and decades. Proto pop culture paraliterary star from the age of early color newspapers, Tintin is cited as an influence/something to rebel against/an inspiration despite (insert political darkness) here. I know a number of gay artists online who love TinTin for its homoerotic undertones and/or its designs for beautiful men. AK Summers, in her work Pregnant Butch, draws herself as TinTin; his beardless masculinity is certainly appealing to a specific kind of tmasc or butch. Likewise, Algerian/French cartoonist Joann Sfar mocked TinTin's condescending imperialism in his own comics about Morocco and Algeria.
Today I read this on my lunch break, since our copy at my library was damaged and I was deciding whether it was too racist to put in an order form for another one. My system will undoubtedly reorder it at some point, given the series' inevitable continued popularity but my branch...will not. Lol. I think that libraries should keep TinTin but perhaps in an edition that has some cartoonists from around the world reflecting on its cultural and artistic import/its politics or with cartoonists from the caricatured countries responding with their own cartoons. To my knowledge no such edition yet exists for kids.
This one opens with an imagined political crisis in the early 1950s centered on a western oil company competing with "Arabex" oil to guarantee a contract under a sheik in a somewhat nonspecific Arab country. Relevant to that decade's oil concerns and reflecting European ideas about the Muslim world, its new natural resource issues, and its women, it pictures Arab nationalists as violent, undereducated, in thrall to Islam, and residing to a man in deserts. None of the Arabs are smart or particularly competent, though Herge allows them a kind of ancient nobility. There are no women in this world. Wrapped up in the turmoil somewhat against his will, Tintin is kidnapped by militants working for the Western oil company and rescues a sheik's son from a plot by the evil Dr Muller.
The second and third stories are about going to the moon-- a dream not yet realized but on the horizon at the time the book was written.
The thing that is worth appreciating and impossible to ignore is the seductively expert use of color, the clear, clean lines, and the evocative illustrations of very identifiable places. Somehow, using flat ink washes, there is such a strong sense of daylight, night-time, illumination. The pacing is somewhat slower and more hand-holdy than later comics, but this leads to some truly hilarious slo-mo fights where, for instance, TinTin and his opponent both sneeze before being able to land blows. Herge's comics, if they are printed for critique, discussion and engagement, should be printed large-- a crime of the American publishers is to print French comics so small as to necessitate the use of a magnifying glass, when they should be 18'' folios.
Where character designs are not flat caricatures, they're interesting, evocative and specific. Crowd scenes are mouthwatering. However, whenever a Black person appears, Herge's designs become wide-eyed and red-lipped symbols of dehumanization.