Mention the topic of classic European comic strips and the names Astérix and Tintin spring instantly to mind. Previously I delved into the stupendous comic book institution that is Astérix the Gaul in the blog ‘The Astérix Series: High Comic Art with a Few Dark Shadows’ (19 November 2022). The Tintin comic strip shares with Astérix the same high pedestal of best-selling popularity, enduring iconic status and attendant cult following. Tintin is a boy reporter❶ of unspecified age with a distinctive (carrot) blond quiff of hair and trademark plus-fours who embarks on numerous adventures to exotic locations accompanied by his companions: a white wire fox terrier Snowy (Fr: Milou), Captain Haddock the good-hearted dipsomaniac seafarer and Professor Calculus, a genius if absent-minded inventor. Since the publication of the first Tintin comic book in 1929 total sales of Tintin books have clocked up more than 200 million copies, with an appeal that reaches both adults and children❷.
Hergé with a cinematic clone of his fictional boy hero࿏
Graphical style
Tintin’s creator wrote and published under the name of Hergé (real name: Georges Remi)…the Belgian cartoonist pioneered a distinctive drawing style for comic strips which later became known as Ligne claire (“Clear line”) (coined by Dutch cartoonist Joost Swarte in 1977). This comprises ”uniform strong lines, flat saturated colour” and “clearly delineated shapes and volumes” (‘The Afterlife of Tintin’, Jenny Hendrix, LA Review of Books, 27-Dec-2022, www.lareviewofbooks.org).
Blighted by propaganda, racism and chauvinism Tintin was instantly and massively popular right from the cartoon’s onset—boosted by Hergé’s innovative use of speech bubbles, an American invention unfamiliar to the European comic scene at the time—despite this the comic has garnered its fair share of flak as has Hergé, the author. The first three books, Tintin in the Land of the Soviets, Tintin in the Congo and Tintin in America, in particular drew the ire of critics. The first with its unsubtle anti-communist message was much disparaged as “cheap right-wing propaganda for small children” (Harry Thompson, Hergé: Tintin and his Creator (2011). The Congo and America books were pilloried in some circles for blatantly racist depictions of native populations. The youthful Hergé, swayed by a conservative Catholic upbringing, was very much a creature of the time and his crude depictions of the Black African tribes in particular reflected a prevailing Eurocentric sense of superiority and prejudice. Tintin Au Congo praises the virtues of colonialism and missionaries and expresses a wholly patronising view of the local Africans who are portrayed as primitive, lazy and infantile❸ (‘Hergé’, Lambiek Comiclopedia, www.lambiek.net). Another criticism of the Tintin comics is the charge of sexism, women are almost completely erased from the stories – the one female figure with anything like a steady presence in the books is operatic diva Bianca Castafiore who is portrayed unflatteringly as foolish and imperceptive (Hergé pointedly is on record as saying women have no part in the stories which “are all about male friendship”).
In the early Sixties there were 2 French-made film adaptations of Tintin࿏Other discordant voices against Tintin’s author surfaced during the Nazi occupation of Belgium during WWII. Hergé worked for collaborationist pro-Nazi newspapers Le Petit Vingtième and Le Soir and elements of Anti-Semitism emerged in his presentation of Jews. Unfortunately it didn’t end with the war, Jewish racial stereotypes also reappear in postwar Tintin stories, eg, Vol 714 pour Sydney (‘Flight 714 to Sydney’). A parody by Belgian cartoonist Dubus depicting a captive Tintin begging businessman Rodwell for his liberty (Source: Sydney Morning Herald)࿏
”Kidnapping” a children’s icon?
Since Hergé’s death in 1983 Tintin’s artistic providence and the author’s estate has been rigidly controlled to the nth degree by his widow Fanny Vlamynck and her second husband Nick Rodwell. Hergé’s heirs through their management firm Moulinsart S.A. Moulinsart spearheaded by an unflinching Rodwell have obsessively pursued a crusade, suing everybody who uses Hergé or Tintin’s name or image without their permission. Not content with cracking down on bootleggers, plagiarists and copyright infringers, perversely they have targeted Tintin parodists, students, collectors, fan clubs, comic stores and people auctioning original artwork as well. They even tried to block journalists from taking unauthorised photographs at the Hergé Museum opening event (Lambiek). Individuals subjected to Moulinsart’s trigger-quick lawsuits include a French novelist who reproduced a drawing of Tintin in a book with a print run of only 200 copies and an elderly artist (and friend of Hergé) who painted the image of Tintin on some old bottles (‘Meet Nick Rodwell, Tintin heir and least popular man in Belgium’, Julien Oeuillet, Sydney Morning Herald, 30-Oct-2015, www.smh.com.au). Bart Beaty, a professor of comics at the University of Calgary, described Moulinsart as being “relentless in the protection of the Tintin copyrights even to the point of discouraging academic study of the Tintin books” (‘Moulinsart Lost A Legal Case At The Hague Over Tintin Rights’, Comics Reporter, 08-Jun-2025, www.comicsreporter.com). Other detractors including Hergé’s nephew have pointed out how under Moulinsart‘s direction “a hero dedicated to children has become the lynchpin of a profit-minded machine that is stifling the enthusiasm of Tintin admirers“ (‘Fans of Tintin cry foul’, Stanley Pignal, Financial Times, 08-May-2010, www.ft.com).
Moulinsart have mined the full depths of Tintin’s merchandising potential, many spin-off items priced at the luxury high-end
Genootschap (Source: www.hergegenootschap.nl/)࿏A small win for Tintinphiles and Tintinologists
The pattern shifted a few years ago when Moulinsart and Rodwell’s attempt to prosecute a small Dutch fanzine of Tintin Hergé Genootschap (Hergé Society (or Fellowship)) for including Hergé’s strip in its newsletter backfired badly❹. In a surprise twist a Dutch court in 2015 ruled that a 1942 contract between Hergé and his publisher Ediciones Casterman presented by the defence gave Casterman, NOT Moulinsart, the rights to publish the 22 Tintin albums. The right “to exploit extracts of the books and pictures” however still belong to the Hergé heirs (‘Tintin and the Copyright Mystery, Carolina Sánchez, Lady Trademark, 06-Oct-2015, www.ladytrademark.blogspot.com).
Fmr Australian prime minster Kevin Rudd satirised as Tintin
Endnote: Imitating Tintin
Parodies and pastiches satirising Tintin have been around since the 1940s. When Hergé compromised his reputation by publishing (Tintin) in a collaborationist-run Belgium newspaper” in war-time, it provoked a satire of Tintin, ‘Tintin au Pays des Nazis’ (‘Tintin in the Land of the Nazis’). Other parodies featuring Tintin include as a disaffected working class English youth who turns to political radicalism; ‘Tintin in Lebanon’ and ‘Tintin in Iraq’, embroiling Hergé’s “golden boy” in the intractable maze of Middle East conflicts; ‘Tintin in The Shire’, Tintin as a stereotypical Sydney bogan, etc.❺
≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖≖
❶ though he acts more like a detective, investigating crimes and mysteries and at times carries a pistol and even makes arrests
❷ according to Tintin’s publishing house the books are marketed for “the youth between 7 and 77 years old” demographic
❸ to his credit Hergé did redress some of the crude and xenophobic representations of the earlier books in Le Lotus Bleu (‘The Blue Lotus’, 1934-35) in which Hergé depicts China and the Chinese people with more accuracy and evenness (Lambiek)
❹ Rodwell’s attempt to sue a French artist who did mash-ups of Tintin and Edward Hopper paintings was also thrown out of court with the judge determining that the artist’s works were legitimate parodies of Tintin which was fair game
❺ “most of these parodies would probably have remained obscure curiosities, if it weren’t for Moulinsart’s active attempts to hunt the makers down, giving them more publicity” (Lambiek)
❝When counterfeiting was artisanal,
It didn’t bother us much,
Now it’s become industrial,
And we’re frankly very worried❞.
~ Adrian de Flers, Comité Colbert
(An association of French couturiers and perfumers dedicated to “promoting the concept of luxury”)
⌖⌖⌖⌖⌖⌖⌖⌖⌖ ⌖⌖⌖⌖⌖⌖⌖⌖⌖
Go to any of the world’s tourist hotspots today, anywhere on the international tourist trail in fact, and check out, say, the historical centre of that city and it’s inevitable that you will run into a tsunami of vendors with stalls and shops chock full of knock-offs of designer goods…everywhere you go locals flogging pirated copies of fashion label textiles, shoes, bags, electronic goods, homewares, you name it. And of course there will always be a plethora of takers among the ranks of Western tourists, eager to take advantage of the “great deals”. For some the shopping bonanza may even supersede the profoundly more meaningful chance to engage with different cultures, histories and cuisines around the globe.
The therapeutic springs of the limestone TravertinesMany shopkeepers and retailers in tourist areas no longer bother trying to conceal the faux nature of their merchandise. At the beginning of this year while in Mexico City I was strolling through the Chinatown section of town and came upon a shady looking electronics kiosk pop-up that was selling digital devices labelled as “Clon Samsung”, openly heralding the cloned nature of the product! In Turkey at a small roadside market set up on the outskirts of the famous and unique natural wonder, the Pamukkale Travertines, a prominent banner proclaims in unmissable bold, large, capitalised letters: GENUINE FAKE ROLEX WATCHES FOR SALE!✱ In the less developed world knock-offs are a way of life and a way of commerce – part of what is sometimes blandly described in official television news circles as the “informal economy”, or in old-speak, the black market!
In 2011 the president of Mexico’s Confederation of the National Chamber of Commerce, Services and Tourism stated that the yield from the sale of counterfeit consumer goods in the country each year is US$75 million, greater than the combined income earned by Mexico from oil, remittances and tourism! (and growing at an exponential rate since that date) [Cheryl Santos, ‘a look at the colors and styles of Mexico City’s bootleg fashion markets’ (7 May 2016), www.i-d.vice.com].
Resisting everything including temptation
It does seem, from the standpoint of your average “Joe or Jill” Western tourist, that the impulse to turn the overseas travel excursion into a shopping junket, the chance to replenish that flagging winter wardrobe with a raft of cut-price bargains, is increasingly the fashion de jour when O/S. Third World imitations of high quality Western merchandise are sold at a fraction of the price and increasingly look passably (or at least remotely) like the real thing. So, who doesn’t want to end up back at his or her home airport knee-deep in inexpensive knock-offs?
Who? Well, me for one! Frankly for one thing I’ve never seen the sense of collecting a whole bunch of extra garments and accessories on route that I’ll have to squeeze into my already bulging luggage and then lug around to every single hotel, coach and airport for the entire duration of the trip, it flies in the face of my simple and practical philosophy of “always travelling as light as possible”. Besides, with the “El Cheapo” stuff you’re not buying quality that’s going to last any decent amount of time!
So, I definitely don’t contribute to the slim profit-margins of the purveyors of fake consumer goods in Third World tourist traps… but souvenirs are another matter, but even there I chart a moderate course. From the first time I ventured overseas (thank you CC!), my ambitions went no further than picking up a few souvenirs or trinkets when I got the chance, something that I would in years hence associate positively with the exotic places I had visited. Occasionally I have bought a T-shirt or a cap perhaps (small items, easy to pack and carry) and of course, out of necessity a few little gifts for the people back home. For me, the odd souvenir is merely an auxiliary memento, something tangible to connect with the mass of photos I would invariably take in each place I visited.
FridgelandiaFridge magnet overload!
In the past I admit to having had a bit of a mania for collecting fridge magnets on my travels…yes the proverbial, ultra-kitschy humble fridge magnet! But eventually every available space on the magnetic part of our fridge got consumed, so rather than buying a bigger fridge (a real admission of fridge magnet OCD!), I simply switched to buying other small transportable items in the markets. Paintings, attachable plates and small, decorative wall satchels, easily filled the souvenir void (and eventually the lounge room walls too!)
Sometimes when on the lookout for a token souvenir or two on a trip, I did enjoy the ‘theatre’ of pitting my negotiating skills (such as they are!) against a seasoned vendor with “home ground” advantage in the markets…trying to haggle them down a few shekels did produce a momentary thrill in me. The money saved was absolutely inconsequential in the context of the relative luxury of the First World from which I come – I was simply engaging in the tourism game (when in Egypt, do as the Egyptians, etc). I’m can happily say that over the years of travelling I grew out of this self-indulgent urge to barter, that fleeting and insignificant élan I used to get has well and truly worn off.
Henpecked!On the trail of the fabulous “pecking hens” of…Cairo, Bogotá, Cancun, Zanzibar, Kolkata, etc.
Thirty years ago a friend brought me back a gift from Columbia or Venezuela (I forget which)…I really appreciated the object’s simplicity and understated charm. It was a plain wooden toy, a little haphazardly made, in the form of a bunch♠ of pecking hens attached by string to a sort of ping-pong bat. They were made simply by (no doubt peasant) hand, unadorned, without any pretensions to being anything like factory-finished and polished to perfection. Basic but guaranteed to capture the attention of a restless two-year-old for hours. I was so taken with the pecking hens I have in turn bought them myself as gifts for friends on subsequent tours where I have seen them (Egypt, Mexico, etc)◙.
Chico Senõr Potter Finding ‘Choló’ Potter but where is ‘Falsò’ Tintin?
Finding myself in Lima one time and jaded from having done all the main historic hotspots like the creepy monastery catacombs and Huaca Pucliana, I made for Miraflores (tourism central) and checked out the various souvenir markets. One that caught my attention was called the Indian Market (strange that it was called that, I thought the term ‘Indian’ wasn’t considered PC here any more!). The market’s stalls were packed with arts and crafts items and other merchandise like knitted “V for Vendetta” masks and knock-off T-shirts which appropriated and ‘Peruvianised’ symbols of Western popular culture (eg, ‘Cholo’ Potter working his juvenile wizardry in the Andes and that “All-Peruvian” dysfunctional family, the ‘Cholisimpsons’!).
Where is Tintin’s Inca prisoners T-shirt?Seeing these made me think of the Tintin character…on earlier overseas trips I had discovered Tintin T-shirts which related to a number of Herge’s cartoon books about the sandy-haired boy reporter’s adventures all over the world (in China I found Tintin in Tibet and Les Adventure de Tintin, and in Turkey, Tintin in Istanbul. I knew one of the stories in the famous series was set in Peru (Tintin and the Prisoners of the Sun), so I asked some of the vendors if they had the Tintin T-shirt for Peru…this mainly met with uncomprehending expressions of bewilderment…one guy however was curious enough to quiz me about this ‘mysterious’ Tintin person. After I explained how world-famous the fictional character was and showed the stall-holder what he looked like, the guy confidently predicted that if I come back in six months time he would have the Peru Tintin T-shirt in stock. I didn’t for a moment doubt that he probably would, considering we were in Peru! And I thought, I bet he wouldn’t be concerned by the trifling matter of copyright, it would be the least of things encumbering him in making it happen!
0nly a fiver! Not worth the effort to copy!Brother, can you knock me up a $100 note?
Lima is one of my favourite cities for counterfeiters. The first time I went into the city centre I was puzzled why there was so many backyard style, old-fashioned printing presses, especially concentrated it seemed in one particular street that runs off Plaza San Martin. It all made more sense when I found out some time later (when back home) that Lima was “the centre of the universe” when it comes to the meticulous painstaking, serious art of counterfeiting – particularly adept at churning out fake US$100 bills, known locally as a “Peruvian note”. Peru tourist tip stating the “bleeding obvious”: check your change very, very carefully!
⍋⍋⍋⍋⍋⍋
PostScript: Dodgy Juliaca – from brand piracy to smuggling
The epidemic proportions of counterfeiting is bad enough, then there’s out-and-out robbery! Standing in the woefully small and threadbare Aeropuerto Juliaca one day (southern Peru), I observed how many Peruvians, catching the domestic flight to Lima (and points further north), were checking in TV sets and computer hardware as luggage. On board one guy in the seat across the aisle from me had a new 33″ LED flat-screen (in its box) which he had brought with him as carry-on luggage…somehow he managed to jemmy it into the overhead compartment! He, like so many other Limeños, had made the 1,680 km round trip to Juliaca and back to buy consumer goods at a price you wouldn’t dream about getting them for in Lima.
The reason why Juliaca lures (long-distance) shoppers in droves is that the dusty, smoggy southern city is the hub of a prosperous smuggling trade…every year over a billion dollars worth of illicit goods including cocaine and other substances, gold, cigarettes, petrol, clothing, home and electronic appliances reaches Juliava predominantly via Lake Titicaca border with neighbouring Bolivia.
Simple unpretentious craftsmanship from the developing world
⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯⌯
✱ at least these bootleggers get credit for candidly exhibiting a sense of humour, a self-effacing one moreover
♠ a peep, a brood?
◙ a second Columbian second gift from my friend was similarly imbued with charmingly simple inventiveness – a Velcro cloth- clown with a weighted head allowing it to tumble head over apex down a sofa whilst clinging to the material
Hergé with a cinematic clone of his fictional boy hero
In the early Sixties there were 2 French-made film adaptations of Tintin
A parody by Belgian cartoonist Dubus depicting a captive Tintin begging businessman Rodwell for his liberty (Source: Sydney Morning Herald)
Moulinsart have mined the full depths of Tintin’s merchandising potential, many spin-off items priced at the luxury high-end
Genootschap (Source: www.hergegenootschap.nl/)Fmr Australian prime minster Kevin Rudd satirised as Tintin
