• Bahasa Indonesia English Dictionary

Tintin The Complete Companion starts where Tintin and the World of Herge stooped. An overview of the world famous comic character and of his adventures through the 23 titles of the complete oeuvre, the Complete Companion contextualizes Herge's work replaces it in its historical period by showing side by side by side the drawings and the references used by the artist to est Tintin The Complete Companion starts where Tintin and the World of Herge stooped.

Ternyata Daftar buku terbitan bahasa Inggris. Flight is where Tintin was heading to Australia, but after landing at Sebuah buku komik yang saya baca ulang dalam bahasa Inggris. Film ini akan diedarkan di seluruh dataran Inggris dan negara-negara lainnya pada Spielberg pertama kali mendapatkan hak untuk memfilmkan komik ini. Jan 22, 2016  wow keren banget saya udah cari kemana-mana komik tintin lengkap yang bahasa indonesia taunya ada di sini, makasih banget ya:) tinggal yang Tintin Di Sovietnya, ditunggu ya:) Reply Delete. Koleksi Tintin December 18, 2012 at 11:04 PM.

An overview of the world famous comic character and of his adventures through the 23 titles of the complete oeuvre, the Complete Companion contextualizes Herge's work replaces it in its historical period by showing side by side by side the drawings and the references used by the artist to establish believable backgrounds and realistic details. Also included are sketches, large number of sketches that Herge would rework and polish until he would fine the clearest, most easily readable line giving birth to a style that would later be called the Clear Line. While this book is clearly aimed at an older reading audience, its iconography and attractive layouts will also appeal to teen agers and young and old comic connoisseurs who are familiar with Tintin adventures.

This is obviously a top read for Tintin enthusiasts! No one who likes Tintin is going to tell you otherwise! Michael Farr provides a detailed account of how each Tintin book came into being, and each chapter is dedicated to a particular title.

Readers will love the numerous photos from Herge's extensive archive, which served as the real-life inspiration for many of his drawings. Ever wanted to know what the Thompson Twins might've looked like in real life? Well look no further! The only real This is obviously a top read for Tintin enthusiasts! No one who likes Tintin is going to tell you otherwise!

Michael Farr provides a detailed account of how each Tintin book came into being, and each chapter is dedicated to a particular title. Readers will love the numerous photos from Herge's extensive archive, which served as the real-life inspiration for many of his drawings. Ever wanted to know what the Thompson Twins might've looked like in real life? Well look no further! The only real drawbacks are that Farr occasionally writes in the first person (seemingly out of the blue) and sometimes refers to various artefacts that do not appear in this particular book.

All in all, I came away with a renewed appreciation for Herge's artistry, attention to detail and extreme dedication. I was amazed by how his own sense of personal wellbeing was so closely tied to his craft - to the point where what was going on with Tintin seemed to mirror his own inner struggles (e.g. Tintin in Tibet). If anything, we realise how Herge was just as intriguing (if not more so) than his most famous creation. 676 - 2012 Tanggal 11 Juli kemarin, aku dihadapkan pada pilihan yang sulit. Bukan, bukan tentang cagub DKI mana yang akan kupilih, karena meski ikutan libur aku tidak berhak ikutan nyoblos, tapi tentang membeli buku ini atau tidak.

Driver vag tacho 3.01 xp. Hari libur dadakan tidak membuatku libur belanja buku rutin hari Rabu ke Gramedia. Setelah mengambil manga yang baru terbit (tumben banget sudah didisplay, biasanya masih numpuk di lantai), aku beranjak ke wilayah komik eropa untuk mencari Tanguy dan Laverdure terbaru. 676 - 2012 Tanggal 11 Juli kemarin, aku dihadapkan pada pilihan yang sulit. Bukan, bukan tentang cagub DKI mana yang akan kupilih, karena meski ikutan libur aku tidak berhak ikutan nyoblos, tapi tentang membeli buku ini atau tidak. Hari libur dadakan tidak membuatku libur belanja buku rutin hari Rabu ke Gramedia. Setelah mengambil manga yang baru terbit (tumben banget sudah didisplay, biasanya masih numpuk di lantai), aku beranjak ke wilayah komik eropa untuk mencari Tanguy dan Laverdure terbaru.

Mataku terpaku melihat buku ini terpajang dengan manisnya. Tintin The Complete Companion-nya Michael Farr! Berhubung sebelum GPU menerbitkan Tintin aku sudah mengoleksi lengkap Tintin terbitan Indira (termasuk Tintin versi film: Tintin dan Jeruk Biru, Tintin di Danau Hiu, serta Tintin versi hitam putih: Tintin di Soviet dan Tintin di Kongo), sampai saat ini Tintin terbitan GPU yang kubeli hanya Tintin di Kongo (versi berwarna) serta Tintin dan Alpha-Art. Selain itu, sudah barang tentu aku juga mengoleksi 12 jilid seri Tintin Character Book-nya Michael Farr. Jadi, kupikir wajar saja kalau aku melengkapi koleksi dengan mengambil buku ini. Sampai aku membalik bukunya untuk melihat cover belakang dan. Label harganya.

Melebihi batas psikologis harga yang kutolerir saat ini! Bukannya aku tidak pernah mengeluarkan uang lebih dari 100k untuk satu jilid buku sih (seperti buku-buku hardcover impor macam Harry Potter dan The Lost Symbol, atau paket komik The Raid misalnya), tapi tetap saja. Harga juga yang jadi alasan aku masih menahan diri untuk tidak membeli buku-buku yang bikin ngiler seperti Sang Fotografer atau Kuasa Ramalan: Pangeran Diponegoro dan Akhir Tatanan Lama di Jawa (masuk daftar wish-list saja dulu dan siapa tahu ada yang mau ngasih kado buku-buku ini;P ) Dengan penuh penyesalan, aku mengembalikan buku ini ke raknya dan berlalu. Tapi sepuluh menit kemudian aku kembali dan memasukkannya ke kantong belanjaan, dengan alasan mumpung komik yang terbit hari itu cuma sedikit.

Bagi penggemar Tintin sejak mulai dapat membaca sepertiku, buku ini sangat wajib dikoleksi. Seperti halnya fitur behind the scenes memberikan gambaran tentang proses pembuatan film, buku ini mengungkap proses penyusunan dan latar belakang di balik 54 tahun petualangan Tintin, dari Tintin di Soviet sampai Tintin dan Alpha-Art yang tak terselesaikan itu. Pembahasan semua petualangan Tintin secara kronologis dan detail membuat kita mengikuti perkembangan Herge sendiri seorang kreator, dari seseorang yang masih terpengaruh prasangka umum seperti yang tampak pada karya-karya awal sampai pada seseorang yang sangat menitikberatkan pada riset dan akurasi. Kita jadi memahami mengapa komik Tintin awal masih berbau rasis dan tidak berperikebinatangan, yang diakui oleh Herge sendiri sebagai 'dosa masa muda'. Kita juga mengikuti perkembangan Herge sebagai storyteller, sehingga petualangan Tintin yang semula berupa kumpulan aksi sekenanya yang diciptakan secara mingguan menjadi lebih terstruktur dari waktu ke waktu. Dan buatku yang selama ini hanya membaca Tintin tanpa pretensi apa-apa selain sebagai komik anak-anak, mengetahui latar belakang politis dan sejarah dari setiap jilidnya merupakan sebuah pencerahan sendiri. Lotus Biru merupakan titik balik bagi Herge untuk memulai karya dengan riset yang mendalam tanpa terpengaruh prasangka umum yang berlaku di Eropa seperti karya-karya awalnya.

Terbit pada awal tahun 30-an, ceritanya paralel dengan kondisi Asia Timur saat itu: kebangkitan imperialisme Jepang. Kisah Tongkat Raja Ottokar sendiri memotret kondisi politik Eropa saat pembuatannya: rencana pencaplokan Syldavia oleh Borduria mencerminkan kebangkitan Nazi Jerman dan aneksasi negara-negara incaran Hitler. Cerita Patung Kuping Belah dilatari kondisi yang masih relevan sampai saat ini: perang demi minyak yang disponsori perusahaan-perusahaan minyak yang berkepentingan. Membaca setiap lembar buku ini membuatku jadi ingin membaca ulang koleksi petualangan Tintin, berurutan secara kronologis, dan membacanya dengan kacamata yang berbeda.

Selain itu, mungkin ada keasyikan sendiri dengan mencoba mencari hal-hal kecil yang selama ini terlewatkan karena ketidaktahuan dan kurangnya perhatian pada detail: cameo Herge dan asistennya, E.P. Jacobs, atau cameo Quick dan Flupke.

Mungkin asyik juga mencoba membandingkan edisi hitam putih dan edisi berwarna Tintin di Kongo, untuk melihat bagaimana hasil revisi dari versi kolonialis menjadi versi yang lebih halus, meskipun kadar rasisnya berkurang tapi masih tetap mampu membuat para pecinta lingkungan marah. For me, this book is worth the price.

This is indeed an exhaustive companion volume to the body of work by Herge, and I thoroughly recommend it to anyone who has read, or intends to read, all of the Tintin series. The discussions of how Herge built politics and accurate history into his stories, without being censored or jailed in occupied Belgium, are worth reading it for, as well as the excellent reproductions of various versions of some of the illustrations.

Of particular interest to English speakers will be the explanations of wh This is indeed an exhaustive companion volume to the body of work by Herge, and I thoroughly recommend it to anyone who has read, or intends to read, all of the Tintin series. The discussions of how Herge built politics and accurate history into his stories, without being censored or jailed in occupied Belgium, are worth reading it for, as well as the excellent reproductions of various versions of some of the illustrations. Of particular interest to English speakers will be the explanations of why certain topics were elided or changed entirely, to suit the American publishing market in the 70's. I also recommend reading the books in the french original texts, if you have the capacity.

If for no other purpose in your life, this is a good reason to learn to speak and read french! Interesting, loving, generally well-written, and copiously illustrated book covering mainly the Tintin series, though also including a lot of biographical detail about Herge.

Farr manages to deal with each book without being too spoilery, though he has a tendency to be a bit more worshipful than I might like, and perhaps at times to try to make loftier claims for the work than it can really support. The most fastinating thing about the book is the wealth of illustrations, not only from the books Interesting, loving, generally well-written, and copiously illustrated book covering mainly the Tintin series, though also including a lot of biographical detail about Herge.

Farr manages to deal with each book without being too spoilery, though he has a tendency to be a bit more worshipful than I might like, and perhaps at times to try to make loftier claims for the work than it can really support. The most fastinating thing about the book is the wealth of illustrations, not only from the books but from Herge's copious files-photos, sketches, and so on that served as models, or rough drafts. A must for any Tintin fan, certainly of interest to anyone interested in comics more generally. Washington City Paper Arts & Entertainment: Book Review Tintinspotting By Glenn Dixon. August 2, 2002 Once, back in my editing days, I was needling a staffer over his failure to provide me with copy. Working the arts desk, I had no real pull with the front-of-the-book guys, but I was doing my best to make this one squirm.

The writer, a princely bullshitter who had stiffed me five weeks running, at last blurted, 'Whatever happened to just listening to the music, man? Why do we always have to wr Washington City Paper Arts & Entertainment: Book Review Tintinspotting By Glenn Dixon. August 2, 2002 Once, back in my editing days, I was needling a staffer over his failure to provide me with copy. Working the arts desk, I had no real pull with the front-of-the-book guys, but I was doing my best to make this one squirm. The writer, a princely bullshitter who had stiffed me five weeks running, at last blurted, 'Whatever happened to just listening to the music, man? Why do we always have to write about it?' I've often suspected that the popularity of funny-paper inkslinger Tintin, particularly among journalists, is due in no small way to the fact that he is never required to do his job.

After witnessing a single Herculean effort in his first adventure, we never again see 'the world's best known boy reporter' attempt anything that could be misconstrued as newspaper work. He is content to 'just listen to the music,' which in his case means tramping around the world turning up conspiracies, getting into scrapes, and setting all aright. And his employer, Brussels children's weekly Le Petit Vingtieme, is fine with it, having decided early on that it could afford to assign Tintin his own Boswell, cartoonist Georges Remi. Reversing his initials, Remi became Herge, sending his eternally youthful hero to such far-flung locales as Tibet, the Red Sea, and the Belgian Congo in 23 complete adventures, and launching a foray into the world of contemporary art in a story that remained unfinished upon his death in 1983 at the age of 75. Even after Herge Studios, which produced the comic from 1950 on, was converted into the Herge Foundation, Tintin remained an industry unto himself. Known in all corners of the globe, his exploits have been translated into more than 30 languages, from Afrikaans to Welsh, even Esperanto.

Ideally, any journalist, and particularly the foreign correspondent, is a melding of two types, the adventurer and the drudge; the former goes out and finds the story, and the latter makes sure he's gotten all the facts straight. As a newspaperman's fantasy, Tintin was all adventurer, and as perhaps the most accuracy-obsessed cartoonist ever, Herge was all drudge. Resentments were bound to mount up, and Herge once produced a drawing depicting Tintin as stern taskmaster, scowling and brandishing a cat-o'-nine-tails as the cartoonist struggled to meet a deadline. Much is made of this scenario by British journalist Michael Farr, who has produced what promises to be 'the first book to explore the sources in real life of all the Tintin adventures.' More researcher than explorer himself and thus sympathetic to the cartoonist's plight, the former Brussels-based Reuters correspondent endeavors to unmask the prodigious labors that made possible each fast-paced episode in the life of our dashing journalistic poseur. Farr goes through the series one at a time, comparing serialized black-and-white versions with later color retellings, dutifully logging secondary characters' appearances and ransacking Herge's voluminous files for the sources of his drawings. 'Tintin: The Complete Companion' is beautifully produced and lavishly illustrated, and it answers a lot of questions, including some you'd never think to ask.

(Who'd have guessed that Peggy, the shrewish mate of the Castroesque General Alcazar in 'Tintin and the Picaros,' was based on a venom-spouting Klan wife Herge saw on TV?) But the book is thwarted in its quest to be both Herge bio and Tintin atlas by Farr's mammoth appetite for minutiae and pedestrian grasp of structure, which drain virtually all of the life out of the enterprise. As soon as I track down a couple of the harder-to-find volumes and complete my set, I plan on re-reading Tintin from the beginning, and Farr's book will be on my bedside table, ready with the introductions.

Bahasa Indonesia English Dictionary

But I no more recommend reading it straight through than I would the encyclopedia. Tintin fans are so hungry for literary companionship, however, that we'll willingly share the company of a bore. Although the bibliography on Herge and his most famous creation is extensive, almost all of it remains in the original French. (As it stands, the best English-language biography of the cartoonist is 'The Adventures of Herge,' a 50-page comic written by Jose-Louis Bocquet and Jean-Luc Fromental, drawn by the single-named Stanislas, and translated for the most recent volume of the 'Drawn & Quarterly' anthology, which makes the most of those rare moments when Herge wasn't hunched over his drawing table.) With the field so thin, Farr's knowledgeable, albeit tedious, effort is welcome. The book it will likely be nestled against in the libraries of American Tintinophiles, Benoit Peeters' 'Tintin and the World of Herge: An Illustrated History,' was translated by Farr-a fact he apparently does not wish to advertise, perhaps because its book-by-book intertwining of biography and textual examination constitutes a virtual blueprint for his own work. But where Peeters keeps things brisk, giving his attractive coffee-table book just enough written glue to hold it together, Farr responds with reams of turgid verbiage.

Publication histories, translation quirks, and tidbits concerning Herge's personal life, and above all, his penchant for technical verisimilitude abound; Farr's big mistake is in assuming that all this information naturally constitutes a narrative. Scrupulously, obliviously, with copious notes close at hand, he writes: 'The Arab colonel scrambles two British designed Hawker Hart fighter-bombers in pursuit, a task for which they would have been well suited with a top speed of 277 kph against the Puss Moth's maximum 203 kph. While the Harts are already obviously identifiable in the original black and white version, Tintin's aircraft is somewhat more basic than the Puss Moth so accurately depicted in the later editions. The two-seater Hawker Hart which went into production in 1928 was highly regarded by pilots for its reliability and manoeuvrability and, though by then outdated, was used by the Royal Air Force in some of the first air attacks of the 1939-45 war.' Glad that's taken care of. Trainspotting or, in this case, planespotting is a peculiarly British pastime, by which the hobbyist colors himself amused via the amassing of useless expertise. In an unwitting lampoon of the loftiness of the educated classes, energies otherwise quashed by social impotence are diverted into nonsensical scholarship.

In every basement, a frustrated Oxford don. (It could be argued that the fanboy, as apotheosized on 'Beat the Geeks,' is the U.S.

Trainspotter, but here there doesn't seem to be the same depressing sense of the water of nerddom not having been allowed to seek its own level.) In Farr's case, all I can figure is that in the U.K., the journalist retains the taint of the tradesman; otherwise, why would he adopt such a fruitlessly pseudoacademic approach to establishing himself as a bona fide author? What our makeshift professor needs is a primer in the presentation of information. At the very least, Farr could have benefited from Peeters' example.

In the earlier book's 'Names of the Characters of the Adventures of Tintin in Different Languages,' lots of data, interesting but unsuitable for prose, are economically imparted in a clear table. Farr instead strews related nuggets throughout his text, forcing the reader to consult the less-than-adequate index. He hasn't realized that the life story and the series annotation call for drastically different structures. As it stands, the cobbling-together of jumpy plot synopses, spotty illustration-sourcing, and haphazard biography-all punctuated with outbursts of severe niggling-serves no purpose well. It's easy to understand Farr's motivation, though. Herge placed his hero in the middle of a world dense with particulars.

Even as the cartoonist combined geographically and temporally scattered details into a single fictional milieu, he insisted that they remain faithful to their bases in fact. For example, the Balkan conflict at the center of 'King Ottokar's Sceptre,' which finds Tintin siding with Syldavia against Bordurian aggressors, is based on elements of Albanian, Bohemian, German, and Polish history; soldiers' uniforms are Czechoslovakian-German hybrids, the lemonade seller is imported from Macedonia, and a battle scene is based on a 15th-century Mongol miniature. Throughout his career, Herge scoured a wide range of publications for background, from Collier's and National Geographic to L'Hebdomadaire du Cinema and Charles Wiener's 'Perou et Bolivie.' Although homebody Herge did not himself undertake preparatory travels until the mid-'50s, two-and-a-half decades after he began the Tintin series, he sometimes sent employees to scout locations and was diligent in his library work. Farr is able time and again to match cartoon vehicles, objects, and interiors to their real-life counterparts, often via photos and drawings that inspired not only the content but also the composition of Herge's final panels. When the cartoonist was accused of having gotten the facts wrong-as when nautically minded readers questioned the suitability of the Aurora to the polar expedition undertaken in 'The Shooting Star'-he took it personally. Buckling under the pressure of producing the strip, Herge, who throughout his life was susceptible to bouts of psychosomatic illness, took an extended break in 1950 and 1951.

As Farr relates, Herge Studios was founded to divvy up the workload. Of course, increased manpower permitted the work to be even more exacting. For the two-part adventure 'Destination Moon' and 'Explorers on the Moon,' the cartoonists consulted technical experts and constructed scale models of the spacecraft (interior and exterior), establishing a tradition of meticulousness that would culminate years later in studio aircraft expert Roger Leloup's detailed cutaway drawing of Flight 714's Carreidas 160 jet for a two-page spread in Tintin magazine. Unlike Herge's team, Farr repeatedly fails to throw the full weight of his researches behind any point-artistic, critical, or rhetorical-contenting himself with heaping another shovelful onto the data pile. Every now and then, he provides a tantalizing glimpse of the book he-or, more likely, a more astute author granted the same access-could have written.

Claiming that Herge Studios functioned in much the same fashion as a Renaissance master's workshop, he likens Herge to Raphael and the cartoonist's colleague Bob De Moor to the painter's student Giulio Romano. But other than noting De Moor's inferior work on 'Flight 714,' Farr is happy to repeat his point about the relative standing of teacher and pupil, rather than extending it. Why not offer a thorough lesson in the individual styles of the two men? Surely Farr had at his disposal documentation that could reveal exactly which parts of the later books were Herge's own work. Nowhere does Farr suggest that he possesses insights beyond those that arise out of dogged study.

If Herge's reluctance to have his boy journalist write anything up implies that he knew action to be more thrilling than words, Farr should at least have understood that an original take on the series required more than just transcribing the thousand words each of Herge's pictures is worth. I'm certainly not one to say that theorizing about or criticizing Tintin is necessarily a killjoy's game, but cataloging him is another thing altogether. As always, the danger with trainspotting is that while you've stood by the siding logging all the locomotives' numbers, the most captivating part of the journey has already passed you. This book basically tells what happens in all of the books, very briefly, as well as what was changed in each subsequent edition.

It also mentions many sources of inspiration for Herge, and displays some of them. It contains some biographical information on Herge as well. All in all, for a Tintin book, a very boring read, however, the pictures make it worth it.

I gasped aloud at many of the inspiration photos; 'That's the Thom(p)sons!' I thought, when I saw a black and white picture of two Europ This book basically tells what happens in all of the books, very briefly, as well as what was changed in each subsequent edition. It also mentions many sources of inspiration for Herge, and displays some of them.

It contains some biographical information on Herge as well. All in all, for a Tintin book, a very boring read, however, the pictures make it worth it. I gasped aloud at many of the inspiration photos; 'That's the Thom(p)sons!' I thought, when I saw a black and white picture of two European detectives, and 'Professor Calculus is real!'

Many of the characters were based on real people, as this book reveals, and it also tells of many instances when the author drew himself into crowd scenes or made other little jokes. Delightful to flip through, but somewhat boring to read cover to cover. Versi yang saya baca adalah edisi berbahasa Indonesia terbitan 2011 dari Gramedia Pustaka Utama. Buku 205 halaman ini adalah hasil penerjemahan dari edisi berbahasa Inggris cetakan 2001 milik Penerbit Moulinsart. Tintin: The Complete Companion membahas secara lengkap seluruh komik “anggota keluarga besar” serial bertokoh utama wartawan berambut jambul itu.

Farr mengulas secara rinci mulai dari seri pertama terbitan 1929, Petualangan Tintin di Tanah Sovyet, sampai dengan yang terakhir alias seri k Versi yang saya baca adalah edisi berbahasa Indonesia terbitan 2011 dari Gramedia Pustaka Utama. Buku 205 halaman ini adalah hasil penerjemahan dari edisi berbahasa Inggris cetakan 2001 milik Penerbit Moulinsart. Tintin: The Complete Companion membahas secara lengkap seluruh komik “anggota keluarga besar” serial bertokoh utama wartawan berambut jambul itu. Farr mengulas secara rinci mulai dari seri pertama terbitan 1929, Petualangan Tintin di Tanah Sovyet, sampai dengan yang terakhir alias seri kedua puluh empat, Tintin dan Alpha-Art, yang pengerjaannya belum rampung ketika Herge meninggal dunia pada 1983. Dalam buku panduan ini, hampir setiap seri komik Tintin beroleh satu bab khusus untuk pembahasannya.Namun, ada juga tiga bab yang masing-masing membahas dua seri yang ceritanya memang bersambungan. Enam komik yang diulas Farr dalam pola bab semacam itu tada adalah Rahasia Unicorn dan Harta Karun Rackham Merah pada halaman 104 – 113, 7 Bola Kristal dan Di Kuil Matahari pada halaman 114-125, serta Perjalanan ke Bulan dan Petualangan di Bulan pada halaman 134-143. Dari Tintin: The Complete Companion kita bakal menjadi tahu tentang sejumlah cerita di balik penciptaan tokoh-tokoh dalam komik Tintin.

Tentang hal tersebut, Herge ternyata banyak terilhami dari beberapa anggota keluarganya, bahkan “meminjam” sejumlah ciri-ciri fisik maupun kebiasaan sehari-hari mereka.Adik lelaki Herge yang bernama Paul Remi adalah pula inspirasi Herge dalam penciptaan tokoh Tintin. Gaya rambut berjambul yang menjadi ciri khas Tintin contohnya dipinjam Herge dari gaya rambut Paul. Namun, untuk penggambaran tokoh Tintin sebagai sebagai satu sosok yang berprofesi sebagai wartawan, Farr menyebut hal itu datang obsesi pribadi Herge terhadap profesi juru pencari berita. Herge awalnya adalah seorang ilustrator di koran. Dengan demikian ia selalu bekerja di belakang meja di kantor koran tempatnya bekerja.

Rupanya, ia sesungguhnya mengidamkan pengalaman banyak terjun di lapangan sebagaimana teman-teman sekantornya yang berposisi sebagai jurnalis. Lucunya, biarpun Herge melekatkan identitas profesi jurnalis kepada Tintin, kenyataannya dalam komik-komik Tintin jarang sekali si wartawan berjambul benar-benar digambarkan meliput, lebih lagi mengetik berita.

Malah, cuma di Petualangan Tintin di Tanah Sovyet-lah si Tintin benar-benar ditampilkan ngetik berita untuk koran tempatnya bekerja. Pemaparan Farr terhadap komik-komik itu terasa kaya. Itu karena sang penulis acap menambahkan perbandingan terhadap komik Tintin dari sejumlah bahasa.

Selain itu, Farr membandingkan pula antara versi cerita asli pada beberapa komik Tintin dengan versi revisinya yang menyusul hadir beberapa tahun kemudian. Soalnya, beberapa komik Tintin seri awal memang ada yang tampil dalam versi hitam putih. Ketika versi berwarnanya ada, Herge ternyata melakukan sejumlah perubahan kepada detail ilustrasinya. Contohnya adalah mengubah jumlah orang maupun pakaian dari kerumunan di stasiun kereta api. Lalu, pernah pula mengubah warna kulit seorang tokoh yang hadir dari berkulit hitam menjadi berkulit putih. Herge paling tidak pernah melakukan hal semacam itu untuk Tintin di Congo. Jika mencermati komik-komik Tintin seri selebihnya tentu bakal diperoleh contoh-contoh lain yang lebih banyak.

Mostly awesome book here, the only reason I docked off a star is because of the mini-article on the right side of page 162 titled 'The Martyrdom of Tibet'. The author, quite lamentably, cited all this 'historical' mumbo jumbo that's little more than an international smear campaign that stubbornly refused to die (no thanks to folks who blindly repeat them!). The Tibetian region was once an empire of its own right. Back in the 7th9th century (called 吐蕃). She has been assimilated/annexed/merg Mostly awesome book here, the only reason I docked off a star is because of the mini-article on the right side of page 162 titled 'The Martyrdom of Tibet'.

The author, quite lamentably, cited all this 'historical' mumbo jumbo that's little more than an international smear campaign that stubbornly refused to die (no thanks to folks who blindly repeat them!). The Tibetian region was once an empire of its own right. Back in the 7th9th century (called 吐蕃). Michael Farr is perhaps the ultimate English-language Tintinologist. This book - although, like any equivalent 'complete companion' will leave individual fans clamoring for more on their favoured issues - is startlingly well-written, lovingly researched and put-together.

Each album gets a chapter (combined, in the case of the two-parters) which details its conception, creation and reception, alongside details about Herge's life, and the political and social context in which the story was written Michael Farr is perhaps the ultimate English-language Tintinologist. This book - although, like any equivalent 'complete companion' will leave individual fans clamoring for more on their favoured issues - is startlingly well-written, lovingly researched and put-together. Each album gets a chapter (combined, in the case of the two-parters) which details its conception, creation and reception, alongside details about Herge's life, and the political and social context in which the story was written. Particularly notable, for me, were his thoughts on the translations to English, and where jokes are lost or effectively rewritten for a different audience. (Sometimes the changes are completely arbitrary, other times you can see the logic.) It's also fascinating to see how - even though almost all the volumes have avoided becoming tied to their political contexts - Herge's life was one of constant upheaval, and Tintin himself faced numerous threats over the years thanks to wars and the transmogrification of Europe during his 50+ years on the job. As I said at the start, any fan will take issue with any 'complete companion'.

For me, I occasionally felt that Farr's personal opinions intruded too much; no one is expected to like all 24 albums, and you can see my reviews of them as proof of this, but the criticisms were unevenly weighted, in my opinion. Beyond this, the book exhaustively chronicles the making-of, and the artistic merit of, the series. There is certainly room for the next generation of Tintinologists to add their own voices to the fray (and for this we should be thankful) but Farr is a great place to start for oh so many reasons. An excellent book for anyone who has read all of the Tintin adventures. Farr's book has helped me to understand and enjoy Tintin on a whole new level. The book is divided in to 21 chapters, one for each of the complete Tintin adventures (with the three double adventures each receiving only one chapter), plus a final chapter for the incomplete Tintin and Alph-Art.

You may want to read each chapter, and then re-read the Tintin adventure(s) covered. However you read this book, you will want to look An excellent book for anyone who has read all of the Tintin adventures.

Farr's book has helped me to understand and enjoy Tintin on a whole new level. The book is divided in to 21 chapters, one for each of the complete Tintin adventures (with the three double adventures each receiving only one chapter), plus a final chapter for the incomplete Tintin and Alph-Art. You may want to read each chapter, and then re-read the Tintin adventure(s) covered. However you read this book, you will want to look through each Tintin adventure, so you should probably only read this if you have a complete set handy. Probably the best part of this book is the fact that the Author is bilingual. Whenever something is lost in translation, such as one of the many character name puns, Farr will let us in on it.

While this is an excellent book for Tintin fans, it is not without problems. Farr gets a little opinionated at times, telling us how much he likes or dislikes particular stories. While I might enjoy learning which stories Farr enjoys most or which ones he dislikes elsewhere, it was a little out of place here. Moreover, Farr has made some style choices that are a little interesting, such as spelling the occasional loan word from French with its French diacritics. This might be appropriate considering the topic covered, but I found it a little annoying.

All in all, an excellent book for Tintin fans. This delightful and informative volume is obviously a labor of love from a fellow Tintin fan. In his acknowledgments, Farr fondly remembers his mother teaching him to read at the dining room table with Tintin. The book is beautifully laid out, and spends several pages reliving and analysing each of the Tintin books, focusing on narrative development, contemporaneous history, and other pertinent influences. I especially loved the many photos reproduced from Herge's files. He collected photos on a This delightful and informative volume is obviously a labor of love from a fellow Tintin fan.

In his acknowledgments, Farr fondly remembers his mother teaching him to read at the dining room table with Tintin. The book is beautifully laid out, and spends several pages reliving and analysing each of the Tintin books, focusing on narrative development, contemporaneous history, and other pertinent influences. I especially loved the many photos reproduced from Herge's files. He collected photos on any subject that might come in handy in future volumes, which is one of the reasons the comics are so remarkably accurate in their portrayal of everything from a certain make of rifle to a pre-Columbian wooden statue. I've adored Tintin since childhood, and after reading this book, I can appreciate the exhaustive artistry and unrelenting creative vision that went in to making Tintin such a classic.

This is a great companion piece to the Tintin stories. Each Tintin book is covered, with archival photos and commentary providing rich background info on what went into the making of the stories. My only nitpick is that the author occasionally injects his personal preferences regarding the books.

For instance, he considers 'Flight 714' to be weak due to its extraterrestrial themes, whereas in the Tibet adventure he has no problem with the presence of the Yeti (he mentioned something about his dad This is a great companion piece to the Tintin stories. Each Tintin book is covered, with archival photos and commentary providing rich background info on what went into the making of the stories. My only nitpick is that the author occasionally injects his personal preferences regarding the books. For instance, he considers 'Flight 714' to be weak due to its extraterrestrial themes, whereas in the Tibet adventure he has no problem with the presence of the Yeti (he mentioned something about his dad participating on Yeti expeditions). Farr, try to keep your book neutral! I just want to read about the book, not your opinion of it.

Other than that, it's a helpful and informative volume. Pros: Great to reconnect with the Tintin series I read as a kid.

More depth to what was going on while Herge was writing each book, and about the different editions. Interesting to see the translation issues as well as the changes over time made to the books to update them.

Cons: The author is a reporter and it shows. Sometimes it feels like one is reading the reporters notes instead of a story or review. The editing is jumbled and newspaper-like making for awkward reading at times. Could use a l Pros: Great to reconnect with the Tintin series I read as a kid. More depth to what was going on while Herge was writing each book, and about the different editions. Interesting to see the translation issues as well as the changes over time made to the books to update them.

Cons: The author is a reporter and it shows. Sometimes it feels like one is reading the reporters notes instead of a story or review. The editing is jumbled and newspaper-like making for awkward reading at times. Could use a little more background on Herge himself, though some info is sprinkled throughout the book. Has, pleasingly, the same cover dimensions as a Tintin book, though it's a little thicker than the standard 62 pages. Although I could have done with less subjectivity from the author (irrelevant anecdotes; personal opinions on adventures that I happen to like thank you very much), he knows his stuff and it was fascinating to find out about all the Brussels-dialect jokes in the original, and the changes that took place in the pictures and text from one edition to t has, pleasingly, the same cover dimensions as a Tintin book, though it's a little thicker than the standard 62 pages. Although I could have done with less subjectivity from the author (irrelevant anecdotes; personal opinions on adventures that I happen to like thank you very much), he knows his stuff and it was fascinating to find out about all the Brussels-dialect jokes in the original, and the changes that took place in the pictures and text from one edition to the next.