Jo, Zette and Jocko

Jo, Zette and Jocko
Publication information
Publication date 1935-1958
Main character(s)
Jo
Zette
Jocko
Creative team
Writer(s) Hergé
Artist(s) Hergé

The Adventures of Jo, Zette and Jocko is a comic book (or bande dessinée) series created by Hergé, the Belgian writer-artist who was best known for The Adventures of Tintin. The heroes of the series are two young children, brother and sister Jo and Zette Legrand and their pet monkey Jocko.

Jo, Zette and Jocko appear on the rear covers of some editions of The Adventures of Tintin series but never appear in the stories, while there are a few cheeky allusions to the cosmos of the Tintin adventures within the Jo, Zette and Jocko albums.

Contents

Publication history

In 1935, six years after Tintin had first appeared in the pages of Le Petit Vingtième, Hergé was approached by Father Courtois, director of the weekly French newspaper Coeurs Vaillants (Valiant Hearts). Coeurs Vaillants also published Tintin’s adventures, but while Father Courtois enjoyed Tintin, he wanted a set of characters that would embody classical family values — a young boy, with a father who works, a mother, a sister and a pet — in contrast to the more independent Tintin who, the whole of his career, has had no mention of relatives at all.

Inspired by a toy monkey called Jocko, Hergé created Jo Legrand, his sister Zette and their pet monkey Jocko as well as their engineer father, Jacques, and housewife mother. Their first adventure, The Secret Ray appeared in the pages of Coeurs Vaillants on January 19, 1936 and ran until June 1937.[citation needed] It was also published in Le Petit Vingtième itself.

Between 1936 and 1957, three complete Jo, Zette and Jocko adventures would be published, spread across five albums. Hergé however often felt restricted by the family set-up: whereas the older, more independent Tintin could just head off on any adventure, either alone or with Captain Haddock or Professor Calculus, this was not possible for Jo, Zette and Jocko whose parents had to figure large in any adventure — usually to act as their rescuers. The stories also lacked the social and political messages of the Tintin stories. In the end, these constraints led him to eventually abandon Jo, Zette and Jocko in the late-1950s.

Bibliography

The Secret Ray

Manitoba.jpg

1. The ‘Manitoba’ No Reply
(Le Manitoba ne répond plus)
(Volume 1 of The Secret Ray)
The transatlantic liner Manitoba breaks down on its way to England and then the passengers and crew fall strangely asleep. When they wake up it is to find that they have all been robbed of their valuables. Later, while on holiday at the seaside, Jo, Zette and Jocko, playing in a rowing boat, get lost at sea when a thick fog comes down. Rescued by a submarine, they are taken to a secret undersea base where a mad scientist has plans for the two young children.
Karamako.jpg

2. The Eruption of Karamako
(L’Eruption du Karamako)
(Volume 2 of The Secret Ray)
Jo, Zette and Jocko escape the undersea base in an amphibious tank, and end up on an island. But their problems are far from over. They have to deal with cannibals, modern-day pirates, an erupting volcano, gangsters, the media and there is still the mad scientist who wants them for his evil plans.
(In one scene Zette is harassed by a representative of Cosmos Pictures which was run by Tintin’s enemy Rastapopoulos.)

Mr. Pump’s Legacy

PumpsLegacy.jpg

3. Mr. Pump’s Legacy
(Le Testament de Monsieur Pump)
(Volume 1 of The Stratoship H.22)
Killed while exercising his love for speed in a racing car, millionaire John Archibald Pump leaves behind ten million dollars (a staggeringly large sum for those days). It will go to the builders of the first aeroplane to fly from Paris to New York at 1000 kilometres per hour. Jo and Zette’s father sets about designing such a plane, but the project comes under threat from a gang of saboteurs led by William and Fred Stockrise, Pump’s passed-over nephews, who go to all lengths, from theft to bombing, to prevent it.
(A framed photo of Captain Haddock can be seen hanging on the wall of the Legrand living-room just before Mr Legrand switches on the light to confront intruders.)
DestinationNewYork.jpg

4. Destination New York
(Destination New York)
(Volume 2 of The Stratoship H.22)
When the Stratoship H.22, designed by their father, is the subject of an attempted bombing from the air, Jo and Zette fly it out of its hangar but are unable to get back. Crash-landing near the North Pole they face a race against time to get the plane back home and win the trans-Atlantic challenge. But the Stockrise brothers and their gang are still determined to thwart the operation even if it is successful.

The Valley of the Cobras

  5. The Valley of the Cobras
(La Vallée des cobras)
The Maharajah of Gopal is a bad-tempered sort of person, whose behaviour ranges from the childish to the eccentric, and his long-suffering secretary Badalah is usually on the receiving end. Nevertheless, Jo and Zette’s father agrees to build him a bridge in his kingdom. The problem is there is a group of scoundrels led by Prime Minister Ramahjuni and the evil fakir Rabindah who aren’t too keen on the idea.

Influence on other works

Aspects of the animated film Tintin and the Lake of Sharks (1972), which was not produced by Hergé himself but issued under his name, appears to borrow some elements from the Jo, Zette and Jocko adventure The Secret Ray:

  • like in The ‘Manitoba’ No Reply, two children, Niko and Nushka, attempt to escape from an underwater base in a tank-like vehicle;
  • like in The Eruption of Karamako, the underwater compound is destroyed by its evil leader in an attempt to drown his pursuers;
  • there is the interaction of children and adults during the final escape;
  • and the friends waiting above water and thinking the heroes have been killed when the compound explodes.

Le Thermozéro

Le Thermozéro is the sixth, incomplete, Jo, Zette and Jocko adventure. It began in 1958 as a Tintin adventure of the same name. Hergé had asked the French comic book creator Greg (Michel Regnier) to provide a scenario for a new Tintin story. Greg came up with two potential plots: Les Pilules (The Pills) and Le Thermozéro. Hergé made sketches of the first eight pages of Le Thermozéro [1] before the project was abandoned in 1960 – Hergé deciding that he wished to retain sole creative control of his work.

Sometime after this, Hergé sought to resurrect Le Thermozéro as a Jo, Zette and Jocko adventure and instructed his long time collaborator Bob de Moor to work on an outline. Bernard Tordeur of the Hergé Foundation has suggested, at the World of Tintin Conference held at the National Maritime Museum, Greenwich on May 15, 2004, that a complete draft outline (similar to what survives of Tintin and Alph-Art) was completed before the project was terminated [2] This draft version of the book apparently survives in the Tintin Archives.[citation needed]

English translations

The Valley of the Cobras was the first Jo, Zette and Jocko adventure to be translated and published in English in 1986. Mr Pump’s Legacy and Destination New York followed in 1987.

The ‘Manitoba’ No Reply and The Eruption of Karamako remained unpublished (possibly due to Hergé’s unsympathetic depiction of the primitive natives of the island of Karamako, similar to Tintin in the Congo) until 1994 when they were published together in a single limited-edition double volume titled The Secret Ray.

Sources

Footnotes

External links

v · d · eThe Adventures of Tintin by Hergé
 
The Adventures
of Tintin
 
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Television
 
Film
 
Documentaries
I, Tintin (1976) · Tintin and I (2003)
 
Video games
 
Other series
Totor (1926) · Quick and Flupke (1930–40) · Popol out West (1934) · Jo, Zette and Jocko (1936–57) · Minor comics by Hergé (1928–69)
 
Collaborators
 
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Hergé

  

Hergé
Born Georges Prosper Remi
22 May 1907(1907-05-22)
Etterbeek, Belgium
Died 3 March 1983(1983-03-03) (aged 75)
Woluwe-Saint-Lambert, Belgium
Nationality Belgian
Area(s) Cartoonist, Writer, Artist
Pseudonym(s) Hergé
Notable works The Adventures of Tintin
Jo, Zette and Jocko
Quick & Flupke
Awards full list
Official website

Georges Prosper Remi (22 May 1907 – 3 March 1983), better known by the pen name Hergé, was a Belgian comics writer and artist. “Hergé” [ɛʁʒe] is the French pronunciation of “RG”, his initials reversed. His best known and most substantial work is The Adventures of Tintin comic book series, which he wrote and illustrated from 1929 until his death in 1983, leaving the twenty-fourth Tintin adventure Tintin and Alph-Art unfinished. His work remains a strong influence on comics, particularly in Europe. He was inducted into the Comic Book Hall of Fame in 2003.

The notable qualities of the Tintin stories include their vivid humanism, a realistic feel produced by meticulous and wide ranging research, and Hergé’s ligne claire drawing style. Adult readers enjoy the many satirical references to the history and politics of the 20th century. The Blue Lotus, for example, was inspired by the Mukden incident that led to the Chinese-Japanese War of 1934. King Ottokar’s Sceptre could be read against the background of Hitler’s Anschluss or in the context of the struggle between the Romanian Iron Guard and the King of Romania, Carol II; whilst later albums such as The Calculus Affair depict the Cold War. Hergé has become one of the most famous Belgians worldwide and Tintin is still an international success. Hergé’s work was heavily influenced by his involvement since his youth with Scouting. The long-awaited Hergé Museum was opened in Louvain-La-Neuve on 2 June 2009. Designed by Pritzker Prize-winning architect Christian de Portzamparc, the museum reflects Hergé’s huge corpus of work which has, until now, been sitting in studios and bank vaults.[1]

Biography

Childhood and early career

Georges Prosper Remi was born in 1907 in Etterbeek, in Brussels Belgium to middle class parents, Alexis Remi and his wife Elisabeth Dufour.[2] His four years of primary schooling coincided with World War I (1914–1918), during which Brussels was occupied by the German Empire. Georges, who displayed an early affinity for drawing, filled the margins of his earliest schoolbooks with doodles of the German invaders.[3] Except for a few drawing lessons which he later took at l’école Saint-Luc he never had any formal training in the visual arts.

In 1920 he began studying in the collège Saint-Boniface, a secondary school where the teachers were Catholic priests.[4] Georges joined the Boy Scouts troop of the school, where he was given the totemic name “Renard curieux” (Curious fox). Recently an old strip by him was found on a wall of this school.[5] His first drawings were published in 1922 in Jamais assez, the school’s Scout paper, and in Le Boy-Scout Belge, the Scout monthly magazine.[6] From 1924, he signed his illustrations using the pseudonym “Hergé”.[7] His subsequent comics work would be heavily influenced by the ethics of the Scouting movement, as well as the early travel experiences he made with the Scout association.[8]

On finishing school in 1925 Georges worked at the Catholic newspaper Le XXe Siècle under the editor Norbert Wallez, a Catholic abbot who kept a photograph of Mussolini in his office.[9] The following year, he published his first cartoon series, Totor, in the Scouting magazine Le Boy-Scout Belge.[10] In 1928, he was put in charge of producing material for the Le XXe Siècle’s new weekly supplement for children, Le Petit Vingtième. He began illustrating The Adventures of Flup, Nénesse, Poussette, and Cochonnet, a strip written by a member of the newspaper’s sports staff, but soon became dissatisfied with this series. Wallez asked Remi to create a young hero, a Catholic reporter who would fight for good all over the world.[9] He decided to create a comic strip of his own, which would adopt the recent American innovation of using speech balloons to depict words coming out of the characters’ mouths, inspired by their use by established French comics author Alain St. Ogan.[11]

Tintin in the Land of the Soviets, by “Hergé”, appeared in the pages of Le Petit Vingtième on 10 January 1929, and ran until 8 May 1930. The strip chronicled the adventures of a young reporter named Tintin and his pet fox terrier Snowy (Milou) as they journeyed through the Soviet Union. The character of Tintin was partly inspired by Georges’ brother Paul Remi, an officer in the Belgian army.

In January 1930 Hergé introduced Quick & Flupke (Quick et Flupke), a new comic strip about two street urchins from Brussels, in the pages of Le Petit Vingtième. For many years, Hergé continued to produce this less well-known series in parallel with his Tintin stories. In June he began the second Tintin adventure, Tintin in the Congo (then the colony of Belgian Congo), followed by Tintin in America and Cigars of the Pharaoh.

On 20 July 1932 he married Germaine Kieckens, the secretary of the director of the Le XXe Siècle,[9] whom he had first met in 1927.[12] They had no children, and eventually divorced in 1977.[13]

The early Tintin adventures each took about a year to complete, upon which they were released in book form by Le Petit Vingtième and, from 1934, by the Casterman publishing house. Hergé continued to revise these stories in subsequent editions, including a later conversion to color.

Hergé reached a watershed with The Blue Lotus, the fifth Tintin adventure. At the close of the previous story, Cigars of the Pharaoh, he had mentioned that Tintin’s next adventure would bring him to China. Father Gosset, the chaplain to the Chinese students at the Catholic University of Leuven, wrote to Hergé urging him to be sensitive about what he wrote about China. Hergé agreed, and in the spring of 1934 Gosset introduced him to Chang Chong-jen (Chang Chongren), a young sculpture student at the Brussels Académie Royale des Beaux-Arts.[14] The two young artists quickly became close friends, and Chang introduced Hergé to Chinese culture and the techniques of Chinese art. As a result of this experience, Hergé strove in The Blue Lotus, and in subsequent Tintin adventures, to be meticulously accurate in depicting the places which Tintin visited. As a token of appreciation he added a fictional “Chang Chong-Chen” to The Blue Lotus, a young Chinese boy who meets and befriends Tintin.

At the end of his studies in Brussels Chang returned home to China, and Hergé lost contact with him during the invasion of China by Japan and the subsequent civil war. More than four decades passed before the two friends would meet again.

World War II

The Second World War broke out on 1 September 1939 with the Nazi invasion of Poland. Hergé was mobilized as a reserve lieutenant, and had to interrupt Tintin’s adventures in the middle of Land of Black Gold.[15] Prior to the invasion of neutral Belgium by German forces, Hergé published humoristic drawings in L’Ouest, a paper run by future collaborator Raymond de Becker and which strongly advocated that Belgium not join the war alongside its World War One allies France and Britain.[16] By the summer of 1940 Belgium had fallen to Germany along with most of Western Continental Europe.

Le Petit Vingtième, in which Tintin’s adventures had until then been published, was shut down by the Nazi occupiers.[17] However, Hergé accepted an offer to produce a new Tintin strip in Le Soir, Brussels’ leading French daily, which had been appropriated as the mouthpiece of the occupation forces.[18] He left Land of the Black Gold unfinished, launching instead into The Crab with the Golden Claws, the first of six Tintin stories which he produced during the war.

As the war progressed, two factors arose that led to a revolution in Hergé’s style. Firstly, paper shortages forced Tintin to be published in a daily three- or four-frame strip, rather than the two full pages every week which had been the practice on Le Petit Vingtième.[19] In order to create tension at the end of each strip rather than the end of each page, Hergé had to introduce more frequent gags and faster-paced action. Secondly, Hergé had to move the focus of Tintin’s adventures away from current affairs, in order to avoid controversy. He turned to stories with an escapist flavour: an expedition to a meteorite (The Shooting Star), an intriguing mystery and treasure hunt (The Secret of the Unicorn and Red Rackham’s Treasure), and a quest to undo an ancient Inca curse (The Seven Crystal Balls and Prisoners of the Sun).

In these stories Hergé placed more emphasis on characters than plot, and indeed Tintin’s most memorable companions, Captain Haddock and Cuthbert Calculus (in French Professeur Tryphon Tournesol), were introduced at this time. Haddock debuted in The Crab with the Golden Claws and Calculus in Red Rackham’s Treasure.

The Shooting Star was nonetheless controversial. The story line involved a race between two ship crews trying to reach a meteorite which had landed in the Arctic. Hergé chose a subject that was as fantastic as possible rather than issues related to the crisis of the times to avoid trouble with the censors. Nonetheless politics intruded. The crew Tintin joined was composed of Europeans from Axis or neutral countries (“Europe”) while their underhanded rivals were Americans (although in later editions the US flag was removed from the rival ship; see the image on the The Shooting Star page), financed by a person with a Jewish name and what Nazi propagandists called “Jewish features.”[20] Tintin also flies in a German Arado Ar 196 plane.

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 (see the image on the Ideology of Tintin page).

In 1943 Hergé met Edgar P. Jacobs, another comics artist, whom he hired to help revise the early Tintin albums.[21] Jacobs’ most significant contribution would be his redrawing of the costumes and backgrounds in the revised edition of King Ottokar’s Sceptre which gave it a Balkan feel—in the original, the castle guards had been dressed as British Beefeaters. Jacob also began collaborating with Hergé on a new Tintin adventure, The Seven Crystal Balls (see above).

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 in for interrogation after the war.[22] He claimed that he was simply doing a job under the occupation, like a plumber or carpenter.

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.”[23] The Tintin character was never depicted as adhering to these beliefs. However, it has been argued that anti-Semitic themes continued, especially in the depiction of Tintin’s enemy Rastapopoulos in the post-war Flight 714,[24] though other writers argue against this, pointing out the way that Rastapopoulos surrounds himself with explicitly German-looking characters: Kurt, the submarine (or u-boat) commander of The Red Sea Sharks; Doctor Krollspell, whom Hergé himself referred to as a former concentration camp official, and Hans Boehm, the sinister-looking navigator and co-pilot, both from Flight 714.[25]

Post-war troubles

The occupation of Brussels ended on 3 September 1944. Tintin’s adventures were interrupted toward the end of The Seven Crystal Balls when the Allied authorities shut down Le Soir.[26] During the chaotic post-occupation period, Hergé was arrested four times by different groups.[27] He was publicly accused of being a Nazi/Rexist sympathizer, a claim which was largely unfounded, as the Tintin adventures published during the war were scrupulously free of politics (the only dubious point occurring in The Shooting Star, discussed above). In fact, one or two stories published before the war had been critical of fascism; most prominently, King Ottokar’s Sceptre showed Tintin working to defeat a coup attempt that could be seen as an allegory of the Anschluss, Nazi Germany‘s takeover of Austria. Nevertheless, like other former employees of the Nazi-controlled press, Hergé found himself barred from newspaper work. He spent the next two years working with Jacobs, as well as a new assistant, Alice Devos, adapting many of the early Tintin adventures into colour.[28]

Tintin’s exile ended on 26 September 1946. The publisher and wartime resistance fighter Raymond Leblanc provided the financial support and anti-Nazi credentials to launch the comics magazine titled Tintin with Hergé. The weekly publication featured two pages of Tintin’s adventures, beginning with the remainder of The Seven Crystal Balls, as well as other comic strips and assorted articles.[29] It became highly successful, with circulation surpassing 100,000 every week.

Tintin had always been credited as simply “by Hergé”, without mention of Edgar Pierre Jacobs and Hergé’s other assistants. As Jacobs’ contribution to the production of the strip increased, he asked for a joint credit in 1944, which Hergé refused. They continued to collaborate intensely until 1946, when Jacobs went on to produce his own comics for Tintin magazine, including the widely-acclaimed Blake and Mortimer.[30]

Personal crisis

The increased demands which Tintin magazine placed on Hergé began to take their toll. In 1947 Prisoners of the Sun was interrupted for two months when an exhausted Hergé took a long vacation.[31] Hergé, disillusioned by his treatment and that of many of his colleagues and friends after the war, planned to migrate with his wife Germaine to Argentina, but later abandoned the plan when he began a love affair.[32] In 1949, while working on the new version of Land of Black Gold (the first version had been left unfinished by the outbreak of World War II), Hergé suffered a nervous breakdown and was forced to take an abrupt four month-long break.[33] He suffered another breakdown in early 1950, while working on Destination Moon.[34]

In order to lighten Hergé’s workload Hergé Studios was set up on 6 April 1950.[35] The studio employed several assistants to aid Hergé in the production of The Adventures of Tintin. Foremost among these was artist Bob de Moor, who collaborated with Hergé on the remaining Tintin adventures, filling in details and backgrounds such as the spectacular lunar landscapes in Explorers on the Moon.[36] With the aid of the studio, Hergé managed to produce The Calculus Affair from 1954 until 1956, followed by The Red Sea Sharks in 1956-1957.

By the end of this period his personal life was again in crisis. His marriage with Germaine was breaking apart after twenty-five years; he had fallen in love with Fanny Vlamynck, a young artist who had recently joined the Hergé Studios.[37] Furthermore, he was plagued by recurring nightmares filled with whiteness.[38] He consulted a Swiss psychoanalyst, who advised him to give up working on Tintin.[39] Instead, he finished Tintin in Tibet, started the year before.

Published in Tintin magazine from September 1958 to November 1959, Tintin in Tibet sent Tintin to the Himalayas in search of Chang Chong-Chen, the Chinese boy he had befriended in The Blue Lotus. The adventure allowed Hergé to confront his nightmares by filling the book with austere alpine landscapes, giving the adventure a powerfully spacious setting. The normally rich cast of characters was pared to a minimum—Tintin, Captain Haddock, and the sherpa Tharkey—as the story focused on Tintin’s dogged search for Chang. Hergé came to regard this highly personal and emotionally riveting Tintin adventure as his favorite.[40] The completion of the story seemed also to signal an end to his problems: he was no longer troubled by nightmares, divorced Germaine in 1977 (they had separated in 1960), and finally married Fanny Vlamynck on 20 May of the same year.[41]

Last years

The last three complete Tintin adventures were produced at a much-reduced pace: The Castafiore Emerald in 1961, Flight 714 to Sydney in 1966, and Tintin and the Picaros in 1975. However, by this time Tintin had begun to move into other media. From the start of Tintin magazine, Raymond Leblanc had used Tintin for merchandising and advertisements. In 1961 the second Tintin film was made: Tintin and the Golden Fleece, starring Jean-Pierre Talbot as Tintin[42] (an earlier stop motion-animated film was made in 1947 called The Crab with the Golden Claws, but it was screened publicly only once).[43] Several traditionally-animated Tintin films have also been made, beginning with The Calculus Case in 1961.

The financial success of Tintin allowed Hergé to devote more of his time to travel. He travelled widely across Europe, and in 1971 visited America for the first time, meeting some of the Native Americans whose culture had long been a source of fascination for him.[44] In 1973 he visited Taiwan, accepting an invitation offered three decades before by the Kuomintang government, in appreciation of The Blue Lotus.[45]

In a remarkable instance of life mirroring art, Hergé managed to resume contact with his old friend Chang Chong-jen, years after Tintin rescued the fictional Chang Chong-Chen in the closing pages of Tintin in Tibet. Chang had been reduced to a street sweeper by the Cultural Revolution, before becoming the head of the Fine Arts Academy in Shanghai during the 1970s. He returned to Europe for a reunion with Hergé in 1981, and settled in Paris in 1985, where he died in 1998.[46]

Hergé died on 3 March 1983, aged 75.[47] He had been severely ill for several years, but the nature of his disease was unclear, possibly leukemia or a form of porphyria. His death was hastened by the HIV he had acquired during his weekly blood transfusions.[48]

He left the twenty-fourth Tintin adventure, Tintin and Alph-Art, unfinished. Following his expressed desire not to have Tintin handled by another artist, it was published posthumously as a set of sketches and notes in 1986. In 1987 Fanny closed the Hergé Studios, replacing it with the Hergé Foundation. In 1988 the Tintin magazine was discontinued.

A cartoon version of Hergé makes a number of cameo appearances in Ellipse-Nelvana‘s The Adventures of Tintin TV cartoon series.

Hergé gave all rights to the creation of dolls and merchandise after his death to Michel Aroutcheff. Michel was Hergé’s neighbour and a good friend. Aroutcheff then sold on these rights only keeping the right to make Tintin’s red rocket when he goes to the moon.

Bibliography

Only the works marked * have been translated into English

Work Year Remarks
Totor 1926–1930 Hergé’s first work, published in Le Boy Scout Belge, about a brave scout.
Flup, Nénesse, Poussette and Piglet 1928 Written by a sports reporter, published in Le Petit Vingtième
‘Le Sifflet’ strips 1928–1929 7 almost forgotten one-page strips drawn by Hergé for this paper
The Adventures of Tintin * 1929–1983 24 volumes, one unfinished
Quick and Flupke * 1930–1940 12 volumes, 11 translated to English
  early 1930s A short series Hergé made for his small advertising company Atelier Hergé. Only 4 pages.[49]
Fred and Mile 1931  
The Adventures of Tim the Squirrel out West 1931
The Amiable Mr. Mops 1932  
The Adventures of Tom and Millie 1933 Two stories written.
Popol out West * 1934  
Dropsy 1934  
Jo, Zette and Jocko * 1936–1957 5 volumes
Mr. Bellum 1939  
Thompson and Thomson, Detectives 1943 Written by Paul Kinnet, appeared in Le Soir
They Explored the Moon 1969 A short comic charting the moon landings published in Paris Match

Appropriation

In 1989 an Anarchist graphic novel entitled Breaking Free was published in England under the pseudonym “Jack Daniels”. The propaganda story is not related to any of the original Tintin novels, but mimics Hergé’s style and includes several Tintin characters. Since the book was published without copyright and was released into the public domain, Hergé’s estate could not take legal action.[citation needed]

This was just one of many cases of unofficial books being released, though often, as in the case of Tintin in Thailand, Hergé’s estate were able to take legal action. For a list of such books see List of Tintin parodies and pastiches.

Awards and recognition

  • 1971: Adamson Awards, Sweden
  • 1972: Yellow Kid “una vita per il cartooning” (lifetime award) at the festival of Lucca[50]
  • 1973: Grand Prix Saint Michel of the city of Brussels
  • 1999: Included in the Harvey Award Jack Kirby Hall of Fame
  • 2003: Included in the Eisner Award Hall of Fame as the Judge’s choice
  • 2005: Included in the running for De Grootste Belg (The Greatest Belgian). In the Flemish version he ended on 24th place. In the Walloon version he came 8th.
  • 2007: Selected as the main motif for a high-value commemorative coin, the 100th anniversary of Hergé’s birth commemorative coin minted in 2007, with a face value of 20 euro. On the obverse there is a self portrait of Hergé on the left. To the right of the portrait there is a portrait of Tintin. In the bottom of the coin Hergé’s signature is depicted.

According to the UNESCO‘s Index Translationum, Hergé is the ninth-most-often-translated French-language author, the second-most-often-translated Belgian author after Georges Simenon, and the second-most-often-translated French-language comics author behind René Goscinny.[51]

1652 Hergé, an asteroid of the main belt is named after him (see also 1683 Castafiore).

Sources

  1. ^ “Two New Museums for Tintin and Magritte”. Time. 30 May 2009. http://www.time.com/time/arts/article/0,8599,1901775,00.html. Retrieved 2009-05-30. 
  2. ^ Goddin, Philippe (2008) (in Dutch). Hergé. Levenslijnen. Biografie. Moulinsart. pp. 25. ISBN 9782874241710
  3. ^ Goddin, Philippe (2008). Op. cit., 49.
  4. ^ Goddin, Philippe (2008). Op. cit., 62.
  5. ^ Old Hergé mural found on the wall of his scout meeting place
  6. ^ Goddin, Philippe (2008). Op. cit., 70.
  7. ^ Goddin, Philippe (2008). Op. cit., 92.
  8. ^ Goddin, Philippe (2008). Op. cit., 76.
  9. ^ a b c Numa Sadoul. (2003). Tintin et moi. [Betacam SP]. Geneva, Canton Geneva, Switzerland: Angel Films. Event occurs at 10:20-10:40. 
  10. ^ Goddin, Philippe (2008). Op. cit., 100.
  11. ^ Goddin, Philippe (2008). Op. cit., 122.
  12. ^ Goddin, Philippe (2008). Op. cit., 108.
  13. ^ Goddin, Philippe (2008). Op. cit., 934.
  14. ^ Goddin, Philippe (2008). Op. cit., 200.
  15. ^ Goddin, Philippe (2008). Op. cit., 256.
  16. ^ Jean-Claude Valla, “La Belgique de la Jeune Europe” in Nouvelle Revue d’Histoire No. 42 Mai-Juin 2009 at p.55
  17. ^ Goddin, Philippe (2008). Op. cit., 260.
  18. ^ Goddin, Philippe (2008). Op. cit., 261.
  19. ^ Goddin, Philippe (2008). Op. cit., 280.
  20. ^ Hugo Frey, “Trapped in the Past: Anti-Semitism in Hergé’s Flight 714” in Mark McKinney ed., History and Politics in French-Language Comics and Graphic Novels at p.28
  21. ^ Goddin, Philippe (2008). Op. cit., 290.
  22. ^ Goddin, Philippe (2008). Op. cit., 330.
  23. ^ Haagse Post. March 1973
  24. ^ Hugo Frey, “Trapped in the Past: Anti-Semitism in Hergé’s Flight 714” in Mark McKinney, ed., History and Politics in French-Language Comics and Graphic Novels at p.31
  25. ^ The Metamorphoses of Tintin: or Tintin for Adults by Jean-Marie Apostolidès, Jocelyn Hoy, published in 2009 by Stanford University Press
  26. ^ Goddin, Philippe (2008). Op. cit., 325.
  27. ^ Goddin, Philippe (2008). Op. cit., 331.
  28. ^ Goddin, Philippe (2008). Op. cit., 345.
  29. ^ Goddin, Philippe (2008). Op. cit., 365.
  30. ^ Goddin, Philippe (2008). Op. cit., 373.
  31. ^ Goddin, Philippe (2008). Op. cit., 393.
  32. ^ Goddin, Philippe (2008). Op. cit., 420.
  33. ^ Goddin, Philippe (2008). Op. cit., 462.
  34. ^ Goddin, Philippe (2008). Op. cit., 489.
  35. ^ Goddin, Philippe (2008). Op. cit., 484.
  36. ^ Goddin, Philippe (2008). Op. cit., 506.
  37. ^ Goddin, Philippe (2008). Op. cit., 567.
  38. ^ Goddin, Philippe (2008). Op. cit., 632.
  39. ^ Goddin, Philippe (2008). Op. cit., 656.
  40. ^ Goddin, Philippe (2008). Op. cit., 657.
  41. ^ Goddin, Philippe (2008). Op. cit., 934.
  42. ^ Goddin, Philippe (2008). Op. cit., 695.
  43. ^ Goddin, Philippe (2008). Op. cit., 404.
  44. ^ Goddin, Philippe (2008). Op. cit., 834.
  45. ^ Goddin, Philippe (2008). Op. cit., 887.
  46. ^ Tintin’s new adventure in HollywoodThe First Post
  47. ^ Goddin, Philippe (2008). Op. cit., 975.
  48. ^ Goddin, Philippe (2008). Op. cit., 973.
  49. ^ See Benoit Peeters’ book Tintin and the World of Herge, page 148
  50. ^ “History of the Lucca festival”. 1972. http://www.immaginecentrostudi.org/saloni/salone08.asp. Retrieved 15 July 2006. 
  51. ^ Index Translationum French top 10

Further reading

External links

v · d · eThe Adventures of Tintin by HergéThe Adventures of TintinTintin in the Land of the Soviets (1930) · Tintin in the Congo (1931) · Tintin in America (1932) · Cigars of the Pharaoh (1934) · The Blue Lotus (1936) · The Broken Ear (1937) · The Black Island (1938) · King Ottokar’s Sceptre (1939) · The Crab with the Golden Claws (1941) · The Shooting Star (1942) · The Secret of the Unicorn (1943) · Red Rackham’s Treasure (1944) · The Seven Crystal Balls (1948) · Prisoners of the Sun (1949) · Land of Black Gold (1950) · Destination Moon (1953) · Explorers on the Moon (1954) · The Calculus Affair (1956) · The Red Sea Sharks (1958) · Tintin in Tibet (1960) · The Castafiore Emerald (1963) · Flight 714 (1968) · Tintin and the Picaros (1976) · Tintin and Alph-Art (1986, unfinished)  Characters

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Miscellany

 
 
 
 
 
 
I, Tintin (1976) · Tintin and I (2003)
 
 
Totor (1926) · Quick and Flupke (1930–40) · Popol out West (1934) · Jo, Zette and Jocko (1936–57) · Minor comics by Hergé (1928–69)