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Alph-Art: The Yves Rodier version?

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#61 · Posted: 1 Sep 2014 23:33
I respect his imagination.

I'd respect him more if he stuck to his own characters and stories rather than plagiarising those of others.
#62 · Posted: 2 Sep 2014 09:26
I'd respect him more if he stuck to his own characters and stories rather than plagiarising those of others.

I think that, given he was still a school pupil when he put this together, we can put this down to youthful indiscretion, whilst still acknowledging that, whatever its limitations, the book is an example of some precocious talent.
As he then used it as an impetus to seek out ways of working up the story legally - through seeking out advice and comment from Bob de Moor - from where he moved on to a professional career, creating and writing his own successful strips and albums, as well as working in the animation industry, he probably deserves anyone's respect.

He's interviewed here about his encounters with Bob, and the series he is currently producing, luchador action-adventure hero El Spectro.
#63 · Posted: 3 Apr 2015 03:53
I discovered and read the Rodier version because I owned the 1986 Casterman "Alph-Art", which is difficult to read.

Even in the first three well-sketched pages by Hergé, Rodier changed details in some images (Haddock entering in the art gallery, where the poster is no longer visible, etc.), and those détails are important, they are a part of how Hergé expressed his talent.

Changes also happened when Rodier re-drew others preliminary sketches by Hergé - the arrival at the Ischia Hotel, showing the villa, etc.

In this way, even if his drawings are hideous, "fan2Tintin" did a better job in his later version of the book, because he followed Hergé's sketches respectfully.

From page 43, the scenario - apart from the changes in Ramo Nash's psychology (he is a good person in the end) is unbelievable.

The beginning of the "love affair" of Tintin would have been interesting if suggested by Hergé himself, so to "end" Tintin's adventure after his (Hergé's) death, and bring Tintin back to a "normal life".

But it wasn't what Hergé wanted: to achieve a "coherent world of Tintin", where Tintin is a teenager with no love affair (and also without anyone continuing his (Hergé's) opus, like famous painters! What's been done with E.P. Jacobs' Blake & Mortimer is so miserable, done only to make business for the publisher - it's shameful!)

I don't like the drawings of Rodier, I can only imagine what Hergé would have done with every images, I can only agree Rodier certainly and sincerely worked hard to do what he did.
Finally I understand and agree with why Moulinsart refused to publish it.

The only interesting point is: did Bob de Moor tell Rodier what he knew from Hergé, about how the story would end?
#64 · Posted: 4 Apr 2015 17:08
The Yves Rodier edition is, in my opinion, undeniably the best version of Alph-Art in existence. I see no need to over analyze it.

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