TinTin Books discussion

Mysterious deaths in the Belgian art world, and the strange rise of Bianca Castafiore's "mystic" Endaddine Akass, propel Tintin and Captain Haddock out of semi-retirement and into adventure in Tintin and Alph-Art.

As a lover of modern art himself, Hergé had already begun to formulate ideas in 1979, on the fiftieth anniversary of Tintin's introduction. By 1980, he had many of the planned elements in place, but the work's development was slowed by the artist's increasing poor health, which ultimately claimed his life in 1983 at the age of 75.

In 1986, Herge's widow allowed the publication of the incomplete sketches of the unfinished work, alongside a transcript of the narrative (the artist himself was unsure of how it would end). Although this album represents only his draft sketches, and would probably have been dramatically cut and altered for publication, it provided a treasure trove for long-term Tintin fans, seeing how a work came together. "Tintin and Alph-Art" features the increasingly labyrinthine plotting and literary techniques of the later years, but also a true adventure spirit in spite of its homebound, art gallery-based settings.

Michael Farr, in Tintin: The Complete Companion lists the large repertoire of recurring cast members who appear: Tintin, Snowy, Haddock, Calculus, Castafiore, Nestor, Jolyon Wagg, Emir Kalish Ezab and Abdullah, the Thompsons; as well as a host of characters featured in his notes: Dawson (The Red Sea Sharks), Gibbons The Blue Lotus), Chicklet/Trickler ( The Broken Ear), Madame Yamilah (The Seven Crystal Balls), the Bird Brothers and Mr. Sakharine (The Secret of the Unicorn), and Laszlo Carreidas of Flight 714.

But of course the question on many fans' minds was whether the charismatic Endaddine Akass is Tintin's greatest enemy - Rastopopoulos. Certainly, Herge had commented that this was amongst his plans, although others have claimed he later withdrew that. And certainly, Tintin recognises the mystic's voice but can't quite place him. Either way, "Tintin and Alph-Art" stops abruptly with Tintin's life in mortal peril, and his 24-album legacy is complete...

"Tintin and Alph-Art" was first published in English in 1990, on the cusp of a revival of interest in the boy reporter with both the BBC radio series, and the animated television series. The album was revised for a 2004 release featuring additional pages, and again in 2010 with further notes discovered after previous publications.

Although it remained unfinished at the request of Herge and his family, other artists have sought to release pirated additions of the work which complete the tale. Canadian artist Yves Rodier released the most respected version, which aims to complete the Tintin cycle.

Links:

Wikipedia: http://en.wikipedia.org/wiki/Tintin_a...

Tintinologist: http://www.tintinologist.org/guides/b...

24 Days of Tintin: http://tintinblog.com/2009/12/16/24-d...

My Review:
(Part 1: the authorised version)

"Tintin and Alph-Art" remains on the edge of the "Tintin" ouevre for good reason: it was never finished, and published only as rough sketches with translated dialogue beside them. (Herge's estate chose not to complete the work, as part of a larger understanding from Herge that he didn't want his studio to carry on the series after his death.) In some ways, this is a pity. For while the acknowledged final album, Tintin and the Picaros, fittingly caps Tintin's travelogues - with disturbingly real consequences, and deconstruction of existing characters - "Alph-Art" proves a fitting end to the story of Tintin himself.

"Alph-Art" takes many of the existing tropes of Herge's repertoire to new heights. The opening dream sequence is pitch-perfect, and Herge's interest in farce is taken to new - and well-mannered - heights when Haddock, admiring his new art purchase, is accosted within moments by Tintin, Calculus, the Thompsons, Nestor and Wagg. (Oddly, Wagg seems to come to Marlinspike solely for his part in this comic bit...)

The central mystery is simple enough: avoiding Castafiore, Haddock ducks into an art gallery where he finds himself taken with 'Alph-Art' in which letters of the alphabet are moulded in various materials. However, this new interest propels the Captain and Tintin toward the mysterious deaths of several art experts. It's genuinely fascinating, and reminiscent of '60s/'70s mystery television, more than it is of the adventure serials that characterise the earlier works.

The second half of the mystery involves a mystic, Endaddine Akass, who has charmed both the beautiful young art gallery assistant, and La Castafiore herself. This mysterious man reminds Tintin of someone, but he can't quite tell who. The scenes at Akass' ritual are genuinely unnerving, and it's clear that Tintin has met his match in this seemingly placid villain.

As the two cases begin to wind together, Haddock and Tintin find themselves travelling to an island of Naples, where Akass' friends have gathered - among them are many characters who have populated earlier works in the series. (Even more so than "Picaros", there is a distinct sense of a final recap here) It is only when Tintin puts the pieces together - that Akass is flooding the art market with fakes while raising his own profile with the help of the 'Alph-Art' movement - that the boy reporter is caught, and led to his likely death...

The official release of "Alph-Art" is a beautiful volume, doing the best they can with Herge's pencil rough sketches of the story. There's a lot to learn here, seeing how the latter pages - much rougher than the earlier ones - still are clearly numbered, and it seems likely that this is roughly the pattern the first two-thirds of the work would've taken. (It fits the usual Tintin album profile, with one-third devoted over to the mystery, the second to a chase sequence, and then the third to the denouement.)

While the story itself is nothing breathtaking, the more 'mature' choice of setting is most satisfying for those of us who grew up with Tintin, and are now grown-up ourselves. Beyond this, Herge's style still seems to be maturing: Haddock is still off alcohol after the events of the previous story, for instance. Most interestingly, for me, there are several strong female characters - a first for a "Tintin" album. Beyond La Castafiore, there are the two art gallery staff members - one of whom is crucial to the case, and a young, beautiful woman for once. Then Castafiore's friend Angelina, although she appears rarely, maeks quite an impact. (One wonders, though, if Herge would've amended the line where Tintin calls the elder secretary a "shrew"?)

As for whether Akass is Rastopopoulous: well, in the original draft sketches (shown at the end of this volume), he clearly is. And quite frankly, this odd-looking villain has to be in disguise, and no one else would use such a James Bond villain mindset in his crimes. The rediscovered pages are very interesting, as they show - however briefly - the way Herge's mind worked as he developed the plot for a story, and mention an original idea for the plot in which Haddock completely loses all trace of himself as he becomes an art yuppie - only to be saved when Calculus develops a pill to restore him to alcoholism!

There's something nostalgic and undeniably 'modern' about "Alph-Art" as Herge envisioned it, particularly with the many other characters he had considered bringing back. I'll give some comments on the unofficial completed version (by Canadian artist Yves Rodier) in the next post, but in some ways, this ends more fittingly than any completed album could. Tintin, our globetrotting boy reporter, is taken away to have another brush with death. We know that Tintin must surely be immortal, and so is it not perfect that we last see him facing the wrath of a recurring villain for one final time? And beyond that, he is not just being led to his death - he's being taken to be encased in a mould and sold to collectors. In short, Tintin is about to become an immortal work of art.

My Review
(Part 2: the unauthorised version)

Canadian artist Yves Rodier is among those who decided to complete this album - against the wishes of Herge's estate. Honestly? I approve. Although I waxed lyrical about how fitting Tintin's unending end is, I'd love to see this completed. Herge had not wanted the studio to go on making "Tintin" albums after his death, and I respect that. But this was already mostly completed, so I'm glad to have read Rodier's version.

Rodier's animation is lovely. Certainly, it doesn't bring quite the depth that Herge could give, but it's a great companion to the original artist and - most importantly - doesn't try to be post-modern or revisionist. Indeed, for the first 40 pages, Rodier basically copies Herge's draft intentions to the letter, adding only a few frames where an additional joke or clarification is necessary.

As we reach the final third of the work, Rodier takes things to their logical conclusion, but via some wonderful character-based detours. Rastopopolous (as all villains do in "Tintin") has gathered together a group of followers who happen to have met Tintin. After he survives his near-death experience thanks to Snowy and Haddock, Tintin must rely on his extended family to team up and protect him. (Most hilariously, Abdullah joins because if "Blistering Barnacles" goes to jail or dies, how can the boy play pranks on him?).

After a few enjoyable side-jokes - Allen is now a postman in the States, etc. - Rodier gives us what we want. Rastopopolous and Tintin have a final showdown on a rocky outcrop, watched from below by all of Tintin's closest friends. Everyone from Snowy to the Thompsons gets a moment to shine, and the final pages show us that things have ended for good: the villain is dead, and Haddock is going home, never to leave again. (Of course, this has happened before, so anything is possible...) There's even the first hint in the entire canon that Tintin may be entering a mature, heterosexual relationship - although as ever, he plays his cards close to his chest.

The only issue with the edition is that the English translation is not perfect, particularly in the post-Herge pages. Sometimes the dialogue comes across as monosyllabic and underwritten, but it's a minor concern.

I cherish all 24 albums in this series, even those whose plot or twists I don't hold in high esteem. And while I appreciate having Herge's original sketches and thoughts thanks to the authorised version, I'm glad Rodier took the time and great pains to produce this. To see the characters of "Tintin" one last time was a joy. Here's hoping that - one day - Herge's estate may incorporate this into the official canon. Rodier is never disrespectful to the original intent, and for that, we should all be grateful.