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. Although amiable and strong-willed, she is also comically foolish, whimsical, absent-minded, talkative, and seemingly 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 Herg's perception), Herg's Aunt Ninie (who was known for her "shrill" singing of opera), and, in the post-war comics, on Maria Callas.[43]

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 Joo B Michiels, the film was a stop-motion puppet production created by a small Belgian studio.[108]

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The centenary of Herg's birth in 2007[1] was commemorated at the largest museum for modern art in Europe, the Centre Georges Pompidou in Paris, with Herg, an art exhibition honouring his work. The exhibition, which ran from 20 December 2006 until 19 February 2007, featured some 300 of Herg's boards and original drawings, including all 124 original plates of The Blue Lotus.[150]Laurent le Bon, organiser of the exhibit said: "It was important for the Centre to show the work of Herg next to that of Matisse or Picasso".[158] Michael Farr claimed: "Herg 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".[159]

Herg is recognised as one of the leading cartoonists of the twentieth century.[164] Most notably, Herg'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.[165]

In the wider art world, both Andy Warhol and Roy Lichtenstein have claimed Herg as one of their most important influences.[166] Lichtenstein made paintings based on fragments from Tintin comics, whilst Warhol used ligne claire and even made a series of paintings with Herg as the subject. Warhol, who admired Tintin's "great political and satirical dimensions",[166] said, "Herg has influenced my work in the same way as Walt Disney. For me, Herg was more than a comic strip artist".[167]

Western ignorance does with fair regularity become the butt of the joke, something quite rare for the time (and sadly, many of the stereotypes that Herg mocked in The Blue Lotus, would proliferate in Belgian comics long after its release). Simultaneously, however, the reader is reassured that Tintin is most definitely not a part of the problem.

I agree with you. I read a few Tintin comics as a child, but I could never really get into them. The characters are uninteresting and there is no humour. How anyone can compare it to a work of genius like Asterix is beyond me.

Tintin was best of all. Because Tintin comics were quite expensive (they were all in hardback in those days) the rare people who had extended or even complete collections were like the keepers of the Crown Jewels.

UPDATE 27 APR 2024: This previously published post from my older and now deleted series ON THE COFFEE TABLE, has been updated, extended and transferred to the new FROM MY LIBRARY series as the seventh posting. It documents items from my library and research collection and comes with a tip of the Doctor Comics hat to Herg and his comics art creation Tintin. I have collected an edition of the complete set of the albums plus a copy of the Tintin magazine Le Journal Des Jeunes De 7 A 77 Ans. I have also read some related scholarly works, viewed the complete Adventures of TINTIN DVD set, written and published a bande dessine franco-belge exhibition review (see below), and, as added interest and amusement, acquired some items of clothing and accessories associated with the character.

your tintin comics are so joyous i read all of them last night and they're just so beautiful... did not think a tintin fancomic would make me tear up and resonate so deeply with my own queer experience but here we are ? you've made all of the characters feel so alive it brought me back to the first time i read tintin as a child

Hi! I'm also drawing my own adventure with Tchang as a main character (it's pretty rough and casual, mostly sth for fun) so it's really cool to see another artist drawing concept comics for new adventures of tintin and co.

However, more generally, The adventures of Tintin are important in an educational sense. I have previously suggested that comics should be encouraged as reading materials in schools because they are a way of getting children reading more generally. Reading comics also helps the development of visual literacy which is becoming increasingly important in modern society.

As embarrassing as it might be for someone with my job to admit it, I've never read Tintin, the classic comic series by Belgian artist Herg. It's always been described to me not only as a masterpiece, but as exactly the kind of genre-busting all-ages adventure story that I love, but it's just been one of those gaps in my comics knowledge that I've never gotten around to filling. In that respect, I now think I know what it's like to be one of those kids who got really into the Avengers movie without ever cracking open a comic book. But if that makes me a Johnny-come-lately, then so be it, because The Adventures of Tintin is hands down my pick for the best comic book movie of 2011.That might not sound like high praise -- and admittedly, it came out just in time to be able to snag that title without going up against a Christopher Nolan Batman movie -- but it was up against some pretty stiff competition. This was, after all, the year where I thoroughly enjoyed Captain America, Thor and even The Green Hornet. But Tintin doesn't just edge by them, it blows them right out of the water with a fast-paced, thrilling adventure that captures the feeling of the best pulp stories and brings them to life with some of the best set pieces I've ever seen in any movie. Of course, the fact that's a good film doesn't really come as a surprise considering the people behind it. It was directed by Steven Spielberg, produced by Lord of the Rings director Peter Jackson, featured a script by Joe Cornish, Doctor Who and Sherlock showrunner Stephen Moffat and Scott Pilgrim's Edgar Wright. That's a pretty good group by any measure, but it's Spielberg's involvement that makes it impossible to look at Tintin without comparing it to another one of his films that was built around the same kind of timeless, globetrotting treasure hunt adventure story: Raiders of the Lost Ark. In fact, Spielberg actually became aware of the Tintin comics after reading a review that compared them to Raiders. He has said in interviews that he thinks of Tintin as being like "Indiana Jones for kids," which is a pretty weird statement. I've always though that Indiana Jones for kids was, you know, Indiana Jones; Raidershas always been my go-to example of a story that's perfectly crafted for all ages. Then again, I might be alone in my view that if there's one thing kids love, it's watching Nazis have their faces melted off. There's definitely a cartoony aspect to a lot of the violence of the film that fits with the visuals, but despite Spielgerg's "kids" qualifier, this is not a watered down adventure story. Tintin punches and gets punched, gets shot at and shoots back; there are even shots of sailors being thrown off of their ship to meet a death by drowning or being eaten by a shark.

Which brings us to the visuals. There was a lot of criticism before the movie came out about the departure from Herg's simple, clean style in favor of motion-captured CGI, and to be honest, I was fully expecting the hyper-realistic renditions of exaggerated cartoon traits to drop right in the uncanny valley the second the opening credits were over. Admittedly, I hadn't seen much -- for a movie from Steven Spielberg and Peter Jackson that was released four days before Christmas, I haven't noticed a huge marketing push at all -- but it was something I'd been aware of. In the end, though, I thought it looked great. The only character that seemed distracting in that respect was the opera singer, Bianca Castafiore, but everyone else worked well. Their movements are fluid, the faces are expressive, and the exaggeration contributes to the sense of heightened realism that permeates the movie. It doesn't stop with the characters, either -- everything's brighter than it should be, from the cars and buildings of Tintin's Belgian home to the deep orange sands and electric blue skies of the Sahara. It's the most vivid thing I've seen since Speed Racer, and along with the fact that they're constantly diving into water and emerging completely dry after a few minutes, it underscores the idea that they live in the bright, poppy world of comics. 0852c4b9a8

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