Furienna:
"Asterix"... "Lucky Luke"... "Iznogoud"... "Gaston Lagaffe"...
At their best, the first three were co-authored by Rene Goscinny.
Goscinny and Uderzo once pointed out that the difference between them and Herge was that Herge came up with a storyline which included gags, whereas they came up with gags which fitted into a storyline. Herge agreed with this view.
Shivam302001:
But it would hardly be the case and would be challenged outright in Asterix, Lucky Luke and other forums based on European comics, if there exists any.
But another factor is how much analysis goes into the comics. Dozens of books have been written about Herge and Tintin while other comic creators may get the occasional biography once in a while.
When I go to France and visit major comics stores, there are always several books which analyse Tintin's world: books that look at how his adventures depicted science, the occult, world events, etc. You do not get that many about "Asterix", "Lucky Luke" or "Gaston" or other more obscure (for the English-speaking world) comics.
I have often thought that Tintin's original appeal in the 1930s was largely due to Herge depicting real-life events, like the oppression of the Russian people in "Soviets" (fake factories, fraudulent elections, seizure of grain, etc.), the foreign occupation of China in "Lotus" or the Chaco War (1932–1935) in "Broken Ear". Children would have enjoyed these stories which treated them as mature readers who could be informed about important contemporary issues. Other comics tended to focus just on adventures or slapstick comedy.
Even if the above issues were largely forgotten by the 1980s (when I started reading "Tintin") the fact that the books still kept a mature tone admits the comedy appealed to modern readers like me and might explain his continued popularity. "Broken Ear"'s tin-pot dictatorships and corrupt businessmen could fit into any era (even if it is clearly the 1930s).
Another factor was that at the time many comics were published with lengthy lines of text describing the action and the dialogue. This was at the request of parents and teachers who felt that comics as just pictures and speech balloons discouraged children from learning to read. Even in the late 1940s, there were artists like E. P. Jacobs or Laudy who stuck by this method which tended to slow the pace of the story. The fact that Herge used text balloons for short conversations and let the action speak for itself would have been welcomed by many.