My Review:
(from the Tintin Books group.

(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, [b:Tintin and the Picaros|146160|Tintin and the Picaros (The Adventures of Tintin)|Hergé|http://photo.goodreads.com/books/1172178212s/146160.jpg|2257502], 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.

(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. ( )

À shame that George Remi (Hergé) died during this album was made, and that Tintin (or Kuifje as we call him in Dutch) died with him, and thuis that this album was never finishend.
( )

Bummer, this book could have been really good, had Herge had time to finish. Still kind of cool to see his creative process. ( )

I must admit it. I actually bought this book (on line) by mistake. I thought I was getting the book about the art of Herve, the artist writer of the Tintin series. I have long enjoyed the Tintin stories since my son was introduced to them by some Dutch friends in Spain. (Yes, it does sound a bit convoluted). Anyway, the book duly arrived in the mail and it took me some time to realise that what I had purchased was an work in progress by Herge. But that was quite fascinating in itself for it clearly shows the way that Herge approached the task of putting a Tintin book together. The story is well developed, compact and action filled. Some of the comic strips are the merest of outlines..though still with the unmistakable visage of Tintin . And some are reasonably finished to the pencil stage. In terms of what I was originally looking for...it is not in the same league but it is fascinating in its own right to be able to see the creative process.
The publishers have, very thoughtfully, supplied a printed version of the story in English which makes it all much easier to follow, I hadn't realised to what extent, the English versions of his series have been anglicised to make it easier for English readers. This version hasn't done that. Would I recommend it. Well yes, if this is the sort of thing one was looking for. But, I'm afraid, I will have to keep looking for a good version of The Art of Herge:....Creator of Tintin. ( )

The story itself isn't necessarily anything out of the ordinary, but the way it was presented was very nice and it's certainly something anyone who likes Tintin should look into. ( )