How the Creator of Tintin Made a Deal with the Devil and Became a Better Cartoonist
This chapter catalogues the changes in size and frequency forced on Tintin while it was published in Le Soir during Nazi Occupation and argues that Hergé’s adaptations to these changes must be taken into account even when reading books written or revised much later. It argues that Hergé became a markedly better artist during this time, especially as regards his use of space.
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