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Tintin Black and White Facsimiles: General discussion

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jock123
Moderator
#31 · Posted: 9 Sep 2004 21:28
I certainly agree that the quality of the paper has been a disappointment, although to me the problem was moving to satin/glossy paper by Magnet/Mammoth/ Methuen, which was not what the colouring demanded.

Have Casterman ever gone back and rescanned the artwork? I remember reading a detailed piece on restoration work being done on “The Black Island”, to correct colour problems; however, perhaps that isn’t the best they could do. I recently subscribed to an English-language re-edition of Don Lawrence’s “Trigan Empire” stories, where they have gone back wherever possible to original art, and the reproduction is superb.

I still think that the facsimilies should be as close as possible to the original French-language versions, and that would be helped by re-worked continuity.

P.S. I ran some of the Casterman thing through the Altavista Babelfish to help speed up my translation, and whilst it didn’t really help much, it had a pleasing Stanley Unwin “Unwinese” feel to it...

And of course matters and chromy. For do the program to come, I confirm that the three titles with printed backs (and not, toilés) nevertheless will be published in version facsimiled with a toilé back (gray?) so that the collection is homogeneous
Harrock n roll
Moderator
#32 · Posted: 9 Sep 2004 22:32
Yes the paper tends to wrinkle in some new copies I've seen - certainly it's not the type that the colouring demands. Also I don't think it's Magnet/Mammoth/ Methuen but Casterman who have made the change - the English books are printed in Belgium by Casterman - the books also have the same paper in Belgium, France, everywhere I believe.

Yes, I see what you mean about Unwinesque. That really is some of the best Babel I've seen in a while, but you never know, maybe he speaks just like that...

The current covers are manufactured in a passage: a large printed and stripped single dish is pasted and rembordé on three parts of paperboard: squares before and back and a strip of back, of the same thickness, between the two (with a space of share and d'autre, for the fold). In these covers the back is well out of paper. White at the beginning.
jock123
Moderator
#33 · Posted: 10 Sep 2004 00:09
The current covers are manufactured in a passage

You are right, of course; the paper selection is most likely down to Casterman. But no wonder the quality of product is falling, when they have to make covers in the lobby!
TinTinUSA
Member
#34 · Posted: 4 Oct 2004 02:31
Being a newly converted fan of Herge and TinTin, I would like to see the facsimiles reprinted in the original format as Herge intended including using Belgium as a point of reference. I also strongly favor any English version be a literal translation. The sanitized, politically correct versions are already in existance for the general public. I think everyone would be in agreement when I say that Herge's intent wasn't to be racist or stereotype, but to educate.

From the different threads reviewing the facsimiles, no one has mentioned the reproduction of the original "covers" in the albums. I would love to see the facsimiles include a gallery of the original "covers" for fans and collectors.

I have yet to come across any cover images from the adventures originally published in Le Soir.

Even a separate album just producing facsimiles of the covers would be of interest to fans and collectors. Publishers should take note, the demand exists !

Cheers !
jock123
Moderator
#35 · Posted: 4 Oct 2004 08:34
TinTinUSA
I think everyone would be in agreement when I say that Herge's intent wasn't to be racist or stereotype, but to educate.

I think that is to be wise after the event; I don’t suggest in any way that Hergé was racist per se, but I think that he was dealing in stereotypes. He was a young man of his times brought up in a colonial power, and he rather accepted the norms of the time, especially when applied to matters of race and colour - he said so himself in interviews.

He did however grow to form his own opinions, and rejected the inherited racism in favour of a more marked humanitarian view. So his later intent might have been educational, but in the early days he was being stereotypical if not actually avowedly racist.
quiff of hair
Member
#36 · Posted: 8 Oct 2004 19:11
Does anyone know how many black and white facsimile editions are going to be printed in English? Seven Crystal Balls / Prisoners of the Sun would be interesting to read au naturel!
jockosjungle
Member
#37 · Posted: 9 Oct 2004 02:41
According to the back of Tintin in America Facsimile, they're gonna do up until Crab With the Golden Claws

Rik
jock123
Moderator
#38 · Posted: 9 Oct 2004 08:40
quiff of hair queried:
Does anyone know how many black and white facsimile editions are going to be printed in English?
It looks like it will be just the original 9 volumes, from “Soviets” to “Claws”. There was never an album of the B&W “7 Boules”, so they can’t facsimile it, but it would be interesting!
sordel68
Member
#39 · Posted: 22 Nov 2004 09:58
I don't really understand the value of the B&W facsimiles in English. If the translation appeared only with colour editions, then in what sense can the edition really be called a "facsimile" at all?

I suppose that everyone has their personal cut-off point, but the Tintin that I remember from my childhood is the modern coloured edition in English. As a result, I have the 3-in-1 books as my "reading" editions: good enough when you want a blast through.

I have the "Tintin en Noir et Blanc" boxed set and am collecting the French colour facsimiles in the interests of undertsanding the evolution of the series. I might stretch to the full-size French B&W facsimiles, but is it really necessary to have a British B&W edition which must, of necessity, be a compromise between historical authenticity and Anglophone accessibility?
jock123
Moderator
#40 · Posted: 22 Nov 2004 23:43
sordel68, I understand your confusion, and your point about "facsimile" being used; however it is fairly logical. The books were facsimiles of the originals when they were in French; we are now getting translations of these facsimiles - I think it is fair usage to reference these as facsimiles still, to differentiate them from the colour albums, especially when they have tried to at least make some attempt to reproduce not just content, but the binding, paper, spines, etc., to give a sense of what the books were like in their original periods.

As to their necessity - why not? I get the best of both worlds - the original art to study, and the translation to read; whilst I have some volumes in French, and other languages too, they are just curiosities really - the English ones will be my reading editions. I don't see this as any more of a compromise than the previously available translations.

Now if only the covers weren't that rather peculiar yellow colour, I'd be really happy...

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