Tintin (magazine)
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Le journal de Tintin (in its French-speaking version), Kuifje (Dutch-speaking version), was a weekly realist Belgian comics magazine of the second half of the 20th century. Subtitled "The Journal for the youth from 7 to 77", it has been one of the major sources of creation in the Franco-Belgian comics scene and published some famous series such as Blake and Mortimer, Alix, and of course The Adventures of Tintin. The first publication was in 1946, and it ceased for good in 1993. There was a Greek version from about 1969-1972.
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[edit] Early history: 1946 to 1949
Raymond Leblanc and his partners had started a small publishing house after World War II, and decided to create an illustrated youth magazine. They decided that Tintin would e the perfect hero, as he was already very well known. Business partner André Sinave went to search Hergé, and proposed creating the magazine. Hergé, who had worked for Le Soir during the war, was prosecuted for having collaborated with the Germans, he didn't have a publisher at the moment.[1] After consulting his friend Edgar Pierre Jacobs, Hergé agreed. The first issue, published on 26 September 1946, was in French and entitled Tintin. It featured Hergé, Jacobs, Paul Cuvelier and Jacques Laudy as artists. Simultaneously, a Dutch version entitled Kuifje was published, Kuifje being the name of the eponymous character Tintin in Dutch. 40,000 copies were made in French, and 20,000 in Dutch.[1] In 1948, when the magazine grew from 12 to 20 pages and a version for France was created, a bunch of new young artists joined the team: the French Etienne le Rallic and Jacques Martin, Dino Attanasio and the Flemish Willy Vandersteen.
For the Dutch language version Kuifje, a separate editor-in-chief was appointed, Karel Van Milleghem. He invented the famous slogan "The magazine for the Youth of 7 until 77", and gave Raymond Leblanc the idea for the animation studio Belvision, which became the largest European animation studio and produced 10 long movies, including a few Tintin ones. It was Van Milleghem who introduced Bob De Moor to the magazine and to Hergé. He became a regular in the magazine and the main artist in the Studio Hergé.[1] During decades, Hergé kept artistic control over the magazine, even though he was sometimes absent for long periods and new work of his became rarer. His influence is highly evident in Suske en Wiske for which he imposed to Vandersteen a stronger attention to the scenarios, the cutting, decors, leading to some of the best Suske en Wiske albums.
[edit] The Tintin-voucher
In order to keep its readership loyal, the journal created a sort of fidelity passport, called the "Chèque Tintin" in France (Tintin-voucher) and "Timbre Tintin" in Belgium (Tintin-stamp), which was offered with every issue of the magazine, in every comic album by Le Lombard, and on many food products as well. These stamps could be exchanged for various gifts not available in commercial establishments. Other brands, mostly from food companies, affiliated themselves to the Tintin-voucher system: they would be found on flour, semolina boxes, ... A Tintin soda existed, and even Tintin-shoes. The French Railways Company went as far as to propose 100km of railway transportation for 800 stamps. Among the gifts, there were super chromos extracted from the magazine issues, or even original art.
At the time the vouchers were initiated, the magazine sold 80,000 copies in Belgium and only 70,000 in France. Due to the success of the vouchers, the circulation in France quickly rose to 300,000 a week.[1] The vouchers disappeared again at the end of the 1960s.
[edit] The 1950s
In the 1950s new artists and series showed up:
- Tibet with its humoristic western Chick Bill and his detective series Ric Hochet
- Raymond Macherot, with his detective series Clifton
- Jean Graton with Michel Vaillant
- Albert Uderzo and René Goscinny with Oumpah-pah
The magazine became more and more international and successful: at one time, there were separate versions for France, Switzerland, Canada, Belgium and the Netherlands, with about 600,000 copies a week. The magazine had increased to 32 pages, and a cheaper version was created as well: Chez Nous (in French) / Ons Volkske (in Dutch), printed on cheaper paper and featuring mainly reprints from Tintin magazine, plus some new series by Tibet and Studio Vandersteen.[1]
[edit] Spirou and Tintin rivalry
Tintin magazine has always been in competition with Spirou magazine. If one artist was published by one of the magazines, he would not be published by the other one. This was a gentleman's agreement between the two publishers, Raymond Leblanc of Le Lombard and Charles Dupuis of Dupuis. One notable exception was André Franquin, whom in 1955, after a dispute with its editor, moved from the more popular Spirou to Tintin. The dispute was quickly settled, but Franquin had signed an agreement with Tintin for five years. He created Modeste et Pompon for Tintin while pursuing work for Spirou. He quit Tintin at the end of his contract. Some artists moved from Spirou to Tintin like Eddy Paape and Liliane & Fred Funcken, while some went from Tintin to Spirou like Raymond Macherot and Berck.
[edit] The 1960s
In the 1960s the magazine kept on attracting new artists. The editorial line was clearly leant towards humor, with Greg (as aditor-in-chief and major author), Jo-El Azara (with Taka Takata), Dany (with Olivier Rameau) and Dupa (with Cubitus). Other authors joined the magazine like William Vance (with Ringo and Bruno Brazil) and Hermann (with Bernard Prince).
[edit] The 1970s
In the 1970s the comics' scene in France and Belgium went through important changes. The mood for magazines had declined in favor of albums in the late 1960s. In 1965, Greg was appointed chief editor. He transformed the editorial line, in order to keep the pace with the new way of thinking of the time. The characters gained psychological dimensions, real women characters appeared, and sex. New foreign artists series were added to the magazine. Moralizing articles and long biographies disappeared also. These transformations were crowned with success, leading to the Yellow Kid prize od the festival of Lucca, awarded to the magazine in 1972 for the best publication of the year. Greg quit his chief editor position in 1974. The major new authors in the 1970s were:
- Derib (Buddy Longway)
- Franz (Jugurtha)
- Cosey (Jonathan)
- Gilles Chaillet (Vasco)
- Jean-Claude Servais
- Hugo Pratt (Corto Maltese)
- Will Eisner (The Spirit)
And more in the humor vein:
[edit] The 1980s and 1990s
The 1980s showed a steady decline of popularity of Tintin magazine, with different short lived attempts to attract a new audience. Adolescents and adults preferred (À Suivre), if they read comics at all, and younger children seemed less inclined to read comic magazines and preferred comic books. Still, some important new authors and series started, including Grzegorz Rosiński, with Thorgal, and Andreas, with Rork.
In 1988, the circulation of the French version had dropped to 100,000, and when the contract between the Hergé family and Raymond Leblanc finished, the name was changed to Tintin Reporter and Alain Baran, a friend of Hergé, tried to revive the magazine. The magazine disappeared after six months, leaving behind a financial disaster.[1]. The circulation of the magazine dropped dramatically, and publication of the Dutch version Kuifje ceased in 1992, and the French version, renamed Hello BD, finally disappeared in 1993.
[edit] Notes
[edit] External links
- BdOubliées A French page listing the contents of the French magazine week by week
- BdOubliées The same page, now listing the Belgian (French language) version
