Christchurch writer and illustrator John Stringer has a new book out published by “Maiden NZ” and IngramSpark (USA). It is a 2019 art historical review of Tintin parodies, pastiches and lampoons. It has 180 pages and more than 120 colour plates of new Tintins.
In Le Pastiche Tintin, New Zealand art historian John Stringer examines the phenomenon of the mass Tintin pastiches and parodies since 1983 when Hergé died and the adventures ceased with the incomplete Tintin and Alph-Art. Honouring the canon and legacy of Hergé, Stringer draws on hundreds of independent works in different languages to comment on the enduring pastiche phenomenon of Europe’s greatest comic (200 million copies, 70 languages).
Having endured for 90 years, fans across the globe seek to invite Tintin art into their own contexts, giving him a second life while wrestling with modernity (cocaine abuse, cloning, ISIS terrorism, and space travel to Mars) but in the spirit of the twentieth-century Tintin.
With an opus set and Tintin entering archival museum status, is he an artefact, high art, or an enduring children’s comic reinterpreted and extended by an adoring global fandom?
Pastiche, perhaps more pronounced with Tintin than any other comic, expresses rich nostalgia for continuity and renewal. As they said of Lincoln on his deathbed, “Now, he belongs to the ages.”
A good collection of 111 Tintins for people interested in Tintin; packed with information on Tintin, Hergé and the art historical context in which Tintin emerged.
Written by a Kiwi on the greatest comic of all time from Belgium (200 million copies, 70 countries).
A nice contribution for any Tintin collection. Cheap at $32.00.
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