Pharaoh wrote:
This is a carbon copy of 1946 Congo, no change what so ever. You can see the text is much closer to the new English facsimile (which you call "computer generated") than that of the common Cigars.
Yes, I can see that, but that brings up a couple of issues.
The original French text was hand-lettered, as was the text for almost all the English versions -
Congo and
Alph-Art are the only two which weren’t. The balloons were designed to take the French text, which uses more characters than the equivalent text in English, so that fits properly. Mr. Hyslop, the British letterer, was naturally able to adjust what he wrote to balance the text on the page. It’s a subtle art, but really good lettering is an art in itself, and Mr. Hyslop’s work is superb. It suits Hergé’s clear-line style so well in weight and execution that it was a shock to me the first time I saw a French book and saw that they weren’t done in the same manner.
Furthermore, as virtually all the books, with the above exceptions, were handled by one man, the result is that the English series had a uniformity and style which the French series didn’t have, as the writing-style changed over the years.
The new computer-font, whilst admittedly being superficially closer to the French text you show from
Congo, is neither the same as it, because it isn’t hand-written, and isn’t adjusted in any way that I can see to fill the speech-bubbles properly - it looks “dead†to my eyes. It also has the oddities of the “long zâ€, and the fact that it is all italic, which just isn’t usually found in English.
But saddest of all, the advent of the computer letterer has also stripped away all the cleverly crafted on-page text and sound-effects which Hergé would put in as graphics, and had them re-worked in computer fonts. This hasn’t just happened in English, but in all the books too. You may be able to read that poster better, but pound to a penny, you won’t see Hergé’s original text in the French book now. Many carefully drawn sight gags will be lost - sound-effects for things breaking which were meticulously rendered as disintegrating fragments are replaced by dull plain lettering; these were beautifully translated in style for the Methuen books, and are now also gone.
I personally would have wanted the English facsimiles to be just that - facsimiles of the early English editions. While I am grateful to Egmont for giving us any new material, and these are certainly far better than nothing, they aren’t what I would have done.