Creator / Hergé

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Hergé (real name Georges Remi) (May 22, 1907 — March 3, 1983) was a Belgian comic strip cartoonist who became internationally famous as the creator of Tintin. He is one of the most influential graphic artists in the world, especially in Europe. Hergé singlehandedly created both the Belgian Comics and Franco-Belgian Comics scene, not to mention his influence on European comics. Hergé's comics are renowned for their captivating story telling, meticulous background research, Scenery Porn drawing style, well paced Slapstick, satirical depth, mastery in cliff hangers at the end of each page and colorful characters. His books have been translated across the globe and are popular in places you wouldn't even believe: Africa, Peru, China, India,... No other European comic artist has managed to reach such a worldwide audience, except maybe René Goscinny and Albert Uderzo (Astérix), Peyo (The Smurfs) and Morris (Lucky Luke). And in that regard only Astérix has reached a similar internationally intellectual and commercial success. Celebrity fans of his work include Steven Spielberg, Peter Jackson, Andy Warhol, Roy Lichtenstein, Harold Macmillan and even Charles De Gaulle, to name a few.

Works by him that have their own page on TV Tropes:

Tropes

  • Adam Westing: While "Tintin" is realistic, adult and has a Incorruptible Pure Pureness protagonist, Quick and Flupke is a surreal and anarchic children's comic strip that frequently breaks the fourth wall and features two young hoodlums who create havoc wherever they go. The contrast between these two series couldn't be any bigger.
  • Alter-Ego Acting: In his early years Tintin was more or less Hergé's alter ego. The youngster had many adventures and world travels that Hergé would have loved to have enjoyed himself. He himself only started travelling across the globe during his later senior years, when he was rich enough to afford it. As Hergé got older he felt more sympathy towards Captain Haddock. Whenever something unpleasant happened to him in Real Life (annoying salesmen, workers who had to fix a broken staircase in his home but always kept him waiting, opera performances,...) he let it happen to Haddock too.
  • Amusing Injuries: Slapstick is a staple of his work.
  • Anyone Can Die: Death is always permanent in Hergé's work. Good and bad characters die accidentally, commit suicide, are murdered, or are killed off in sometimes comedic ways. Even Quick and Flupke end up in Heaven in one gag for mishandling explosives.
  • Art Evolution: Hergé's earliest black and white drawings were simple and primitive and not the Scenery Porn we would see in his later stories.
  • Author Appeal: Hergé disliked opera, because his parents forced him to listen to his aunt singing arias. This explains why Bianca Castafiore's singing causes everybody to flee in fright.
  • Author Tract: In Quick and Flupke he once helped Flupke out by erasing the top half of a no parking sign, so he wouldn't get a ticket.
  • Bilingual Bonus:
    • Hergé spoke French, but his mother and his grandmother were Flemish people from the Brussels borough the Marols/the Marollen. Therefore he often gave characters names that were lifted from the Marols dialect or let natives speak a language that was in fact a thinly disguised version of Flemish spoken in Brussels.
    • The Chinese signs, billboards and ideograms in The Blue Lotus are authentic and were written by Hergé's friend Chang Chong Ren. Many of them are in fact controversial because they contain secret messages, like for instance Boycot Japanese products!, Abolish unfair treaties and Down with Imperialism.
    • The Arabic on the cover of Tintin and the Black Gold is also authentic.
  • Brats with Slingshots:
  • But Not Too Foreign: Hergés work is a particularly interesting example. Despite making his comics as universal as possible so that any local Belgian "couleur locale" remains hidden there's still a very specific Belgianness that runs through his entire work. Characters speak in Brussels dialects or have names that are derived from Belgian popular culture (General Stassanow in "The Scepter of Ottocar" has a name based on the Belgian milk brand "Stassano"). Some backgrounds are also clearly based in Brussels, Hergés home town (the Royal Palace of king Ottokar in "The Scepter of Ottocar" is actually the Belgian royal palace). Quick and Flupke in particular takes place entirely in Brussels and Flupke's name is clearly Flemish.
  • Black Bead Eyes: All his characters have this type of eyes.
  • Cliffhanger: Hergés work was published in newspapers and magazines and thus he often used cliffhangers in the final panel to create tension. It's one of the trademarks he is most praised and admired for.
  • Cool Old Guy: In old age Hergé did keep up with the times. He collected modern art and admired several painters and sculptors of his own century. He praised comic strip innovators like André Franquin and Moebius and enjoyed listening to The Beatles, Pink Floyd and even subversive chansonniers like Jacques Brel and Georges Brassens.
  • Creator Cameo: He was quite fond of making cameos in his own comics, and later the cartoon series. Full list here.
    • Hergé shows up in a very heartwarming cameo in the very beginning of the Spielberg/Jackson film, as well. As the film opens, Tintin is in a flea market getting a caricature of his face drawn (in the style of the comic, naturally), and when we get a glimpse of the artist, it's Hergé! He remarks that Tintin's face is very familiar, and wonders if he has drawn him before?
  • Darker and Edgier: From "The Blue Lotus" onward "Tintin" started Growing the Beard and adressing political and social themes full of Hidden Depths that really elevate the comic strip beyond being a mere children's strip. The stories became grounded in reality with some more fantastical, but still plausible elements here and there (The Abominable Snowman, ball lightning, aliens, ...). In later "Tintin" stories Hergé also moved away from Black and White Morality and introduced characters that were not easy to define as being either good or bad. Even the familiar cast members suddenly had out of character moments.
  • Dark and Troubled Past:
    • It's a mystery who Hergé's paternal grandfather was. Some biographers have suggested that it was Belgian king Leopold II, who was known for being an adulterer and conceiving some illegitimate children. Hergé's family nevertheless always remained very secretive about it.
    • Tintin biographer Benoît Peeters has also suggested that Hergé might have been sexually abused as a child by a maternal uncle.
    • Hergé's far-right connections among his colleagues during the 1930s and 1940s could also count as such.
  • Early Installment Weirdness:
    • Hergés earliest comic strips were still comics without text balloons as was most common in Europe in the 1920s. Inspired by American comic strips he started using text balloons, being one of the first to do so in Europe. The concept was so new that some European newspapers in the 1930s still published "Tintin" stories with the text beneath the images.
    • The first three "Tintin" stories all lack documentation and a strong, coherent plot. In several early stories Thompson and Thomson even try to arrest Tintin!
  • Funny Animal: Hergé drew one story in this fashion named "Leo and Lea Visit The Lapinas", in which an antropomorphic bear couple fights against Native American rabbits.
  • George Lucas Altered Version: Hergé redrew many of his old albums from the 1920s, 1930s and 1940s in a better looking and more detailed style, updated to appeal to modern audiences. He also cut out certain scenes and small details that didn't help the plot forward. These originals are still available, but only in a special album series.
  • Incorruptible Pure Pureness: Tintin. Professor Calculus should count too as he refuses to shake hands with a representative of general Tapioca in Tintin and the Picaros, because of his evil regime.
    • Jo and Zette in Jo, Zette and Jocko.
  • Lawyer-Friendly Cameo: Al Capone is the one Real Life person to be named and identified directly by name in Hergés work. Numerous other real people appear as The Nameless cameos or are alluded to under a different name.
  • Man Child:
    • Tintin, who has a Vague Age causing him to appear as either an old teenager or a young man in his twenties or early thirties.
    • Agent 15 in Quick and Flupke, who sometimes joins in with Quick and Flupke's childlike activities.
    • The Maharadjah in Jo, Zette and Jocko.
  • Mistaken for Racist: Hergé's work is still subject to controversy. Critics accuse him of using out-dated National Stereotypes and racial stereotypes in his work. It really didn't help that two of Hergé's colleagues at his newspaper office were Norbert Wallez- an ultraconservative and antisemitic priest who admired Benito Mussolini so much that he kept a signed photograph of him on his desk- and Léon Degrelle- who would later found the main Belgian fascist party "Rex", which collaborated with the Nazis. During the Nazi occupation Hergé worked for another newspaper, "Le Soir", which also collaborated with the occupiers. After the war Hergé escaped conviction simply because the prosecutor "didn't wanted to make himself look ridiculous." Despite this Dark and Troubled Past Hergé's best friend was a Chinese student named Chang Chong Ren who encouraged him to do more research before drawing his stories. Hergé and Chang lost contact for almost five decades before finally reuniting in old age. The mutual friendship and respect for both men was so huge that in The Blue Lotus Tintin considers a young Chinese boy called Tchang Tchong Yen to be his best friend and also searches for him in "Tintin in Tibet". Hergé also never joined the Rex Party, nor misused his work for this ideology. In fact: Tintin has many friends of different nationalities and race and several stories are in favor of multiculturalism. "The Blue Lotus" took a stance in defense of China during the Japanese occupation of the country in the 1930s. "The Sceptre of Ottocar" has Tintin confronting Bordurian militaries lead by a certain general named Müsstler. Some Quick and Flupke gags from the 1930s poked fun at Hitler and Mussolini. "Cokes in Stock" criticizes modern slavery of black Africans and "The Castafiore Emerald" has Tintin and Haddock debunking prejudices about the Roma people.
  • Name and Name: Thompson and Thomson, Tintin and Snowy, Tintin and Haddock, Quick And Flupke.
  • Nightmare Fuel Station Attendant: So notorious that we've devoted a whole page to it: Nightmare Fuel: Tintin.
  • Nightmare Sequence: Hergé is notorious for his surreal nightmare sequences, both in Tintin and Quick and Flupke.
  • No Antagonist: At least three Tintin stories have no actual antagonist: "Red Rackham's Treasure", "Tintin in Tibet" and "The Castafiore Emerald".
  • Parental Bonus: Hergés work is admired by adults just as much as children. Apart from Walt Disney it's difficult to think of any cartoonist/comic strip artist whose life and work has been analyzed and discussed more often.
  • Police Are Useless: Thompson and Thomson in Tintin and Agent 15 in Quick and Flupke are both incredibly incompetent fools.
  • Punny Name: Some characters.
  • Ripped from the Headlines:
    • Several storylines in "Tintin" were directly inspired by events that took place at the time of publication, such as the Japanese occupation of China in the 1930s, the Gran Chaco War and the Cold War.
    • "Quick And Flupke" gags also referenced Hitler and Mussolini during the 1930s, but these jokes were removed after the war.
  • The Rival: Hergé felt threatened by the post-war success of Astérix, though he did give Asterix a cameo during the festivities in San Theodoros in Tintin and the Picaros. René Goscinny and Albert Uderzo returned the nod by giving Thompson and Thomson a cameo in Asterix in Belgium.
  • Satire: Hergé often included satirical elements in his stories, spoofing international politics.
  • Scout Out: Hergé always looked back on his scouting years as the happiest years of his otherwise dreary boring childhood. Many of his life long ideals were shaped by the principles of scouting. He wasn't the only Belgian comic strip artist with fond memories of scouting: Willy Vandersteen (Suske en Wiske), Mitacq, Francois Walthéry (Natacha) and Peyo (The Smurfs) shared similar experiences.
  • Scenery Porn: The art work in his comics.
  • Sherlock Homage: Tintin shares many similarities with Holmes by being an intelligent Chaste Hero and Badass Book Worm solving crimes, while Captain Haddock is somewhat of a Watsonian sidekick. Hergé was a Sherlock Holmes fan too.
  • Shown Their Work: Hergé is famous for his meticulous research and documentation from The Blue Lotus onwards. He read several books about subjects needed for his stories and consulted experts in the field. The art work too was drawn with uppermost attention to detail. Everything needed to be technically and anatomically correct.
  • Slapstick: Very prominent in his stories.
  • Sliding Scale of Idealism vs. Cynicism: Some stories have Tintin showing faith in the goodness of every human being. Other stories have scenes that are far more cynical. In "Tintin And The Broken Ear" a weapon salesman sells guns and artillery to two dictators battling each other. In "Tintin And The Picaros" Tintin helps his old friend Alcazar back in power, yet for the poor population nothing changes for the better. Also, Jo, Zette and Jocko is very idealistic, while Quick And Flupke is more cynical.
  • Straw Character: Entire debates have been held to find out whether Hergé was right-wing or left-wing in his work. No conclusive answer has been reached.
  • Talking Animal: Snowy is often seen talking in himself. His owner doesn't seem to be able to understand what his dog says, though! Jocko shares the same trait.
    • The parrots in "Red Rackham's Treasure" and "The Castafiore Emerald".

http://tvtropes.org/pmwiki/pmwiki.php/Creator/Herge