Episode:1 Tintin In America
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Episode: 2 Tintin-Cigars Of The Pharaoh
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Episode: 3 The Blue Lotus
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Episode: 4 Tintin And The Broken Ear
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Episode: 05 The Black Island
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Episode: 06 King Ottokar’s Sceptre
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Episode: 07 The Crab With The Golden Claw
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Episode: 08 The Shooting Star
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Episode: 09 The Secret Of The Unicorn
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Episode: 10 Red Rackham’s Treasure
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Episode: 11 The Seven Crystal Balls
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Episode: 12 Prisoners Of The Sun
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Episode: 13 Land of Black Gold
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Episode: 14 Destination Moon

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Episode: 15 Explorers on the Moon
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Episode: 16 The Calculus Affair
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Episode: 17 The Red Sea Sharks
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Episode: 18 Tintin in Tibet
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Episode: 19 The Castafiore Emerald

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Episode: 20 Flight 714
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Episode: 21 Tintin and the Picaros
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PLOT

Tintin is a young reporter, and Hergé uses this to present the character in a number of adventures which were contemporary with the period in which he was working, most notably, the Bolshevik uprising in Russia and World War II, and sometimes even prescient, as in the case of the moon landings. Hergé also created a world for Tintin which managed to reduce detail to a simplified but recognisable and realistic representation, an effect Hergé was able to achieve with reference to a well-maintained archive of images.

Though Tintin’s adventures are formulaic – presenting a mystery which is then solved logically – Hergé infused the strip with his own sense of humour, and created supporting characters who, although predictable, were filled with charm that allowed the reader to engage with them. Hergé also had a great understanding of the mechanics of the comic strip, especially pacing, a skill displayed in The Castafiore Emerald, a work he meant to be packed with tension in which nothing actually happens.

Hergé initially improvised the creation of Tintin’s adventures, uncertain how Tintin would escape from whatever predicament appeared. Not until after the completion of Cigars of the Pharaoh was Hergé encouraged to research and plan his stories. The impetus came from The Reverend Gosset, chaplain to the Chinese students at Louvain University. Gosset introduced Hergé to Zhang Chongren, a Chinese student, who further encouraged him to avoid perpetuating the perceptions Europeans had of China at the time. Hergé and Zhang collaborated on the next serial, The Blue Lotus, which is cited by critics as Hergé’s first masterpiece. Interestingly, The Blue Lotus includes a reference to the European stereotypes associated with China, in a context that causes them to appear ridiculous.

Other changes to the mechanics of creating the strip were forced on Hergé by outside events. The Second World War and the invasion of Belgium by Hitler’s armies saw the closure of the newspaper in which Tintin was serialised. Work was halted on Land of Black Gold, and the already published Tintin in America and The Black Island were banned by the Nazi censors, who were concerned at their presentation of America and Britain. However, Hergé was able to continue with Tintin’s adventures, publishing four books and serialising two more adventures in a German-licensed newspaper. During and after the German occupation Hergé was accused of being a collaborator because of the Nazi control of the paper (Le Soir), and he was briefly taken for interrogation after the war. He claimed that he was simply doing a job under the occupation, like a plumber or carpenter. His work of this period, unlike earlier and later work, is politically neutral and resulted in stories such as The Secret of the Unicorn and Red Rackham’s Treasure; but the apocalyptic The Shooting Star reflects the foreboding Hergé felt during this uncertain political period.
The Shooting Star was nonetheless controversial. The story line involved a race between two crews trying to reach a meteorite which had landed in the Arctic. Hergé chose a subject that was as fantastic as possible to avoid issues related to the crisis of the times and to thereby avoid trouble with the censors. Nonetheless politics intruded.

In the original version, the crew Tintin joined was composed of Europeans from Axis or neutral countries (“Europe”) while their underhanded rivals were Americans, financed by a person with a Jewish name and what Nazi propagandists would dub “Jewish features”;later editions would substitute a fictitious country for the United States. Tintin himself uses a World War II Arado 196 German reconnaissance aircraft. In a scene which appeared when the story was being serialised in Le Soir, two Jews, depicted in classic anti-Semitic caricature, are shown watching Philippulus harassing Tintin. One actually looks forward to the end of the world, arguing that it would mean that he would not be obliged to settle with his creditors.
After the war Hergé admitted that: “I recognize that I myself believed that the future of the West could depend on the New Order. For many, democracy had proved a disappointment, and the New Order brought new hope. In light of everything which has happened, it is of course a huge error to have believed for an instant in the New Order”. The Tintin character was never depicted as adhering to these beliefs. However, it has been argued that anti-Semitic themes continued, especially in the post-war story Flight 714.

A post-war paper shortage forced changes in the format of the books. Hergé had usually allowed the stories to develop to a length that suited the story, but with paper now in short supply, publishers Casterman asked Hergé to consider using smaller panel sizes and adopt a fixed length of 62 pages. Hergé took on more staff—the first ten books having been produced by himself and his wife—, eventually building a studio system with the Studios Hergé. The adoption of colour allowed Hergé to expand the scope of the works.

His use of colour was more advanced than that of American comics of the time, with better production values allowing a combination of the four printing shades and thus a cinematographic approach to lighting and shading. Hergé and his studio would allow images to fill half pages or more, simply to detail and accentuate the scene, using colour to emphasise important points. Hergé notes this fact, stating “I consider my stories as movies. No narration, no descriptions, emphasis is given to images”.
Hergé’s personal life also affected the series; Tintin in Tibet was heavily influenced by his nervous breakdown. His nightmares, which he reportedly described as being “all white”, are reflected in the snowy landscapes. The plot has Tintin set off in search of Chang Chong-Chen, previously seen in The Blue Lotus, and the piece contains no villains and little moral judgment, with Hergé even refusing to condemn the Snowman of the Himalayas as “abominable”. Hergé’s death on 3 March 1983 left the twenty-fourth and final adventure, Tintin and Alph-Art, unfinished. The plot saw Tintin embroiled in the world of modern art, and the story ended as he is about to be killed, encased in perspex and presented as a work of art, although it is unknown whether he really dies at the end of the story.

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