jock123 Moderator
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#2 · Posted: 5 Dec 2009 19:09
I'm not sure what it was you read, in which discussion, that leads you to draw the conclusion that his work on these stories was huge, but I'd say his work was probably better described as important. The JZ&J series began in the Thirties, well before M. De Moor came to work in the studio, so he wasn't a contributor to the early versions of the stories, which came out in black and white.
However, he was probably involved in the re-working of the black-and-white originals for the colour albums; given that he arrived in 1951, the year the first colour album came out he may not have been there from the get-go (I don't have my De Moor biography to hand, so I can't confirm it), but it sounds like something he'd have been adept at, given his versatility and facility for working in other people's styles.
He was a major figure in the genesis of the sixth, un-published book of the series, Le ThermoZéro, for which Hergé gave him the responsibility of adapting a scenario written by Greg for a Tintin story.
Hergé had drawn eight pages (as a Tintin book) before deciding he couldn't work freely enough from someone else's script; however, he thought the idea was good, and set Bob to revise it as Jo, Zette & Jocko's latest adventure.
It has been estimated by Bernard Tordeur (Hergé archivist and bigrapher of Bob De Moor), that the J,Z&J version of ThermoZéro is effectively complete, although unfinished - which some have taken to mean that it was waiting for Hergé to add to it or approve it in some way, and never got around to it. So it would be fair to say that his work on this book could probably be described as huge.
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