Interpretation of Tintin through Time

As evidenced in “Tintin in America” and “Cigars of the Pharaoh” the interpretation of comics transforms as a function of time, serving as a powerful marker of historical context. As someone who never read Tintin as a child Georges Remi’s comic strips, although engaging and pleasant to look at, struck me as highly problematic. The depiction of stereotypes using  language and image in “Tintin in America” represented Native Americans as a distinguishable, unintelligent other, informing notions of a “noble savage”. Although read as normative in the 1920s-1970s the interpretation of Tintin from today’s perspective raises the question: Do comic authors hold any responsibility to their readers, and if so, does that responsibility endure throughout time?

One could argue that comics are first and foremost works of art and as a form of self expression should not to cater to a particular audience or be held to certain moral standards. However, Superheroes Unmasked (Kroopnick, 2003) references the positive impact of comics in deterring teens from drug and alcohol consumption and also frames comics as a mass medium intended to make money. Framed as an accessible commodity present in the economic sphere, comic authors arguably hold a responsibility regarding the representation of individuals and groups within their work. Remi’s intentions were likely not malicious in stereotypically depicting Native Americans given the time period and in this light it’s fair to assert that he is only responsible for his work within the time period it was made. Remi’s comics hold the danger of negatively influencing young readers but also serve as a powerful teaching tool regarding history. His work is valuable in that it may inspire a new generation of comic authors and artists, suggesting that the potential benefits of reading his work outweigh the potential costs.