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"The idea for the character of Tintin and the sort of adventures that would befall him came to me, I believe, in five minutes, the moment I first made a sketch of the figure of this hero: that is to say, he had not haunted my youth nor even my dreams. Although it's possible that as a child I imagined myself in the role of a sort of Tintin".

In May 1940, Nazi Germany invaded Belgium as World War II spread further across Europe. Although Herg 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 Vingtime Sicle, leaving Herg 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, Herg could no longer politicize The 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]

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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 lack of backstory and neutral personality permits a reflection of the evil, folly, and foolhardiness which surrounds him. The character never compromises his Boy Scout ideals, which represent Herg'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.[36] 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".[37] Tintin frequently is depicted wearing plus fours, a type of trouser favored by golfers and aristocrats.

Herg'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.[40] Herg 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 Herg forced him to focus on characterisation to avoid depicting troublesome political situations. As a result, the colourful supporting cast was developed during this period.[41]

In his youth, Herg 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. Ren 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'".[51] Herg also readily adopted the image of round noses from George McManus, feeling they were "so much fun that I used them, without scruples!"[52]

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."[145] Similarly, Canadian cartoonist Yves Rodier has produced a number of Tintin works, none of which have been authorised by the Herg Foundation, including a 1986 "completion" of the unfinished Tintin and Alph-art, which he drew in Herg's ligne claire style.[145]

The response to these parodies has been mixed in the Tintinological community. Many despise them, seeing them as an affront to Herg's work.[145] Nick Rodwell of the Herg Foundation took this view, declaring that "none of these copyists count as true fans of Herg. If they were, they would respect his wishes that no one but him draw Tintin's adventures".[145] 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 Herg, and collecting them has become a "niche specialty".[145]

Tintin's adventures come in book-length, their pages the size of old Life magazines. They are drawn by the Belgian artist Herg with elegant clarity (the "clean line" approach). Sometimes a situation will require an entire page. Starting that year at Cannes, I read every single Tintin book, and even bought a Tintin and Snowy T-shirt. My little French-English dictionary was a great help.

Spielberg and a team of artists and animators have copied not the literal look of the Tintin strips, but the feel. A more traditional 2-D approach was done for a TV series, which you can check out on YouTube; I like it, but Spielberg is more ambitious and his characters seem more believable, to the extent that anyone created by Herg is real. The movie involves the same headlong hurtle through perilous adventures, involving dire endangerment by explosives and so on. The chase is on to find a lost treasure with ancient connections to Capt. Haddock's family.

The global phenomenon that is Tintin finds a mostly faithful adaptation in the lovingly animated series The Adventures of Tintin, which originally aired in the US on HBO during the late '80s. For European audiences, Tintin is perhaps as popular as Mickey Mouse in the states, a beloved icon whose history has stretched over decades and whose books have sold hundreds of millions of copies.

American audiences may find a bit of culture shock in trying to understand the appeal of the brave reporter and his faithful canine sidekick, Snowy. Tintin himself is almost a blank slate, moving through his adventures with bravery but more often than not enlivened by the presence of eccentric villains and a creative cast of supporting characters. For kids, this may not prove an issue, as the momentum of the action will be enough to engage their imaginations. Teens and adults, however, will have to adapt expectations to fit the show's more esoteric storytelling and characterizations. It's a worthwhile series, but definitely a faithful adaptation of a bygone era in children's books.

Tintin and Snowy manage to free themselves from the brig of the Karaboudjan, and in the process meet the captain of the ship, Archibald Haddock, the only living descendant of the man who sailed the Unicorn. But, Haddock has been imprisoned in his own ship after Sakharine led a mutiny. However, Tintin offers the drunken captain some freedom, and the three manage to escape the ship, floating away in a small lifeboat. Sakharine wants them dead though, and sends a seaplane out to kill them, leading to a battle that results in Tintin and Haddock gaining control of the plane. They then attempt to fly to Morocco, where Sakharine was headed, and end up having a series of terrible misadventures before finally crashing into the desert. Which is where Haddock has a powerful hallucination after sobering up for the first time in years. At which point he remembers the tales he grew up on regarding his ancestor Sir Francis, and how he sank the Unicorn and its hold full of treasure after being attacked by an infamous pirate named Red Rackham. Haddock also remembers that Sir Francis gave his three sons models of the Unicorn, each hiding a clue to the location of the treasure. And, thankfully, Tintin also receives his stolen scroll from two Interpol friends of his, Thomson and Thompson, who caught the pickpocket.

Results: Five hundred and one traumas were found in the adventures of Tintin and Snowy, including 47 PP, 9.4% of cases compared to 299 head traumas (60% of cases). Six albums out of the 23 did not report any PP. PPs are usually traumatic either by a fall (68%) or by direct trauma (kick to the back 6%, spanking 4%) much more exceptionally by a bite (2 cases), a burn (2 cases), needles or arrows inserted in the bottom (5 cases) and a bullet wound (1 case). Tintin is the most concerned (19%) with Captain Haddock (23%), followed by Snowy (15%). The bad guys and the good guys don't share equally the perineal pain since the good guys are forgivably more exposed (79% vs. 21%). There is no correlation between head trauma and PP (r2=0.117). The severity index for PP is 5.21 with a mean duration of 3.01 vs. 6.88 for severity and 3.2 for duration for head trauma, a highly significant difference in the Student test (P=0.00259). The total number of traumas per album progressively decreases over the albums (r2=0.3111) with, for example, 38 for the first album (Tintin and the Soviets) and 4 for the last one (Tintin and the Picaros). This decrease in trauma is clearer for cephalic trauma (r2=0.1436) than for PP (r2=0.2189).

Conclusion: The frequency of traumatic PP in Tintin's adventures is important and is second only to head injuries. This frequency of PP traumas is undoubtedly linked to the hectic and adventurous life of Tintin and his acolytes exposed in all circumstances to all kinds of direct or indirect injuries. Future studies will have to specify the risk of after-effects and the psychological impact of PPs on the heroes concerned.

I disagree on Tintin having a girlfriend, and I agree of having a girl character that is not related to Tintin. As far as I know, he is not in search for romance in this movie. He is in search for adventures. And if we will add a girl, it will ruin the film. Seriously, it will. ff782bc1db