Juventud -Tintin- The Crab With The Golden Claws (Special Edition 80th Anniversary Haddock)

The theft of an Arumbaya fetish from the ethnographic museum takes Tintin to the South American republic of San Teodoro. There he is immersed in the war of this country with neighboring Nuevo Rico, and becomes an assistant to General Alcazar, a controversial character that we will meet again later in other adventures. Tintin goes deep into the jungle to find the Arumbayas and discover the mystery of the stolen fetish. This Tintin adventure was first published in Le Petit Vingtième at the end of 1935 and came out in volume in 1937. It was put into color in 1943. Here again, Hergé includes allusions to current world events. The conflict between San Teodoro and Nuevo Rico over oil is based on the bloody Gran Chaco war, which confronted Paraguay and Bolivia during the 1930s and lasted three years, causing more than 100,000 deaths. Hergé is almost absolutely faithful to reality. He converts "el Gran Chaco" to "el Gran Chapo" and transforms the names of two oil companies, but everything else is scrupulously accurate.

In this album Hergé describes the first of his imaginary countries, which he will later make one of his specialties.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

Following the trail of a mysterious can of crab, Tintin ends up prisoner on a ship owned by a gang of opium traffickers. There he meets the evil Allan and for the first time Captain Haddock, then a pathetic slave of his addiction to alcohol, a vice that causes innumerable problems for him and for Tintin who tries to help him. The captain's rehabilitation will come after his forced detoxification during his desert crossing. On May 10, German troops enter Belgium, interrupting the publication of Tintin in land of black gold. Disaster looms over the whole country. Hergé, with his daughter and his sister-in-law, left for Paris on May 15, and from there they went to a friend's house in the Aubergne region, to await events. On June 30 they returned to Brussels and there Hergé found that Le Vingtième Siècle had died, and with it Le Petit Vingtième had also disappeared.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

Tintin and Captain Haddock accompanied by the inseparable Snowy have traveled to Peru in search of Professor Calculus, who has been kidnapped for having dared to wear the bracelet of the Inca mummy Rascar Capac. Tintin discovers the professor on the freighter Pachamac, but is unable to free him. The clues will lead them on a long journey in the company of Zorrino, an Indian boy, through the Andes mountains and the jungle to a secret temple of the Incas.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

The Adventures of Tintin. Volume 1

In this first adventure, which began to be published in strips in the children's supplement of the Belgian newspaper Le Vingtième Siècle, Hergé began drawing what would become the most famous reporter of all time: Tintin. For his first trip, he sends him to the land of the Soviets, with the newspaper's desire for anti-communist propaganda, which Hergé would later regret. Upon his return from the former Soviet Union, Hergé is commissioned to send the young reporter to the Congo, then a Belgian colony, and the resulting comic is an excellent representation of the European view of Africa at that time. In the third adventure in this volume, Tintin has to change continents and travel to North America, where he will have to face the terrible Chicago gangster syndicate, including the famous Al Capone. Hergé wanted to show as much of America as possible, such as the diverse landscapes, the big cities and industries, the prohibition of alcoholic beverages, and the plundering of the Native Americans, denouncing the way they were driven from their lands when oil was found there.

This is the first volume of a new commemorative edition that will bring together the 24 comics that make up The Adventures of Tintin in a new compact format, ideal for discovering—or rediscovering—the intrepid adventures of the most famous reporter and his faithful dog. Almost a hundred years after its first publication, Hergé remains one of the greatest icons of European comics. This special edition will not be reprinted beyond this first publication.

22.5 x 29.5 cm

Hardcover

272 pages

Available languages:

Spanish

This album marks a return to adventure. It begins to appear in the weekly Tintin, in September 1966, four years after the end of The Castafiore Emerald. Here we meet again Rastatopoulos, whom we thought drowned at the end of The Red Sea Sharks, and his friend Allan. A new figurine appears: the very rich Lazlo Carreras, the man who never laughs. Carreiras is a millionaire owner of airairplanes, oil companies and the Sani-Cola beverage. This character was inspired by Marcel Dassault. He is a paradoxical character: he is among the good guys, but under the effect of the truth serum he is portrayed as a being without scruples when it comes to having amassed his fortune. Towards the end of the story we discover Mik Ezdaditoff, a character inspired by Jacques Bergier, author of the book Le Matin des magiciens and animator of the magazine Planète. We see here Hergé's fascination with paranormal and extraterrestrial phenomena.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

Tintin travels to North America, where he confronts the fearsome Chicago gangster syndicate, including the notorious Al Capone. Hergé's initial idea was to build his story around the Redskin Indian village that had always fascinated him, but then he also wanted to show as much of America as possible: the deserts and prairies, modern industries and big cities, alcohol prohibition, gangsters, cowboys and the plundering of the Redskin Indians, denouncing how they were expelled from their lands when oil was found there. Tintin in America began to be published on September 3, 1931 in Le Petit Vingtième, at the rate of two plates per week, where it would be published for a year. As in the case of Tintin in the Congo, the color version of the album was produced in 1945, benefiting from the progress that the practice and experience of these years had given to Hergé, who had already reached a great mastery and mastery in the language of visual storytelling, where the images narrate by themselves, without waiting for the text to do so.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

Tintin buys a model of an old galleon at the old market. It turns out to be a replica of the ship that Captain Haddock's ancestor, the knight Hadoque, commanded, who fought against the pirate Rackham the Red, who carried on his ship a great treasure that has been hidden for centuries. This story was first published in Le Soir on June 11, 1942, during the occupation of Belgium, and was one of Hergé's favorite albums. For the design of the Unicorn, Hergé relied on precise documentation of 17th century ships in the Paris Navy Museum.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

This time, Tintin sets out on a journey to Scotland on the trail of evildoers. He discovers the secret behind the walls of the castle of Ben More, on the Black Isle, and its mysterious monster. The Black Island appeared in Le Petit Vingtième from April 15, 1937 to June 16, 1938. The album was first published at the end of 1938 in black and white. In 1943 it was changed to color, reducing the number of pages to 62. In 1965, when the English translation was made, the British publisher pointed out to Hergé numerous errors that this volume contained from the English point of view. Hergé sent his collaborator Bob de Moor to England with the list of errors and the assignment to rejuvenate and authenticate the story. Thus Black Island was completely redrawn and modernized. It should be noted that already in the 1937 edition a television set appears, and although the first essays date from 1923, it was still a relatively confidential invention at that time.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

This is a comic masterpiece. We prefer not to explain the plot of the story here, so that those who read it for the first time can fully enjoy it. From the very beginning, the events are chained together at a fast pace: an explosion is heard, a storm breaks out, objects break, the power goes out and Serafin Brass arrives for the first time in the series. There will be virtually no downtime in the entire story. For the creation of the sets, Hergé wanted to be as precise as possible. The story, which takes place mostly in Switzerland, reflects the Cold War, which was going through very tense moments between the two blocs, represented in the rivalry between Borduria and Syldavia. The Calculus Affair was published in 1956.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

When Tintin picks up a wallet forgotten in a bank, he cannot imagine that it will lead him to the country of Syldavia, located in the center of the Balkans. There he learns that there is a conspiracy to steal the scepter of the king, Muskar XII, without which he can no longer reign. And his neighboring country, Borduria, has clear invasion intentions. The plot is clearly influenced by the period. The story was published in Le Petit Vingtième from August 4, 1938 to August 10 of the following year. The signs heralding World War II were numerous and Hitler's Germany was preparing the invasion of Austria, which was annexed and became another province of the Third Reich. We see in King Ottokar's Sceptre how Borduria tries to annex the country of Syldavia, with the help of a certain Musstler, (whose name is a composition of Hitler and Mussolini). The Bordurians can be identified with the Nazis in many aspects: the names, the uniforms, the airairplanes and by their tactics of infiltration in Syldavia. In 1947 the album was redesigned in color.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

Fans of Tintin's adventures had to wait eight years after Flight 714 to Sydney to read Tintin and the Picaros, which began appearing in 1976. Hergé was now only working for pleasure, and was in no hurry. The idea took time to take shape. The setting was clear to him: South America. For the story he drew some inspiration from the Regis Debré and the Tupamaros affair. But these events are only the backdrop for the adventure. We go back to the imaginary republic of San Teodoros, (see The Broken Ear), where two generals aspiring to dictatorship wage a continuous war to achieve power. We meet again the ineffable General Alcazar (see The Broken Ear, The Seven Crystal Balls), Colonel Sponsz (The Calculus Affair), now under the name of Sponge, who has been sent by Borduria to support General Tapioca, and the explorer Ridgewell (see The Broken Ear). Serafin Brass is also around with his overwhelming personality, presiding over the group of the merry Turulones, and we also find Tapioca's  charming wife: the terrible Peggy. What is striking in this album is that Tintin wears jeans, drives a motorcycle wearing a helmet with the hippie peace sign and does yoga.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

Tintin and the Art-Alpha, unfinished album, is finally part of the 23 other adventures of Tintin. In the months following Hergé's death on March 3, 1983, speculation was rife: many readers wanted the master's collaborators to finish the story. But Hergé was clear: there would be no new Tintins after him. Finally, in 1986, a luxurious album was published, in two booklets, with the main sketches of the cartoonist. A few years after the publication of Tintin and the Picaros, and shortly before the fiftieth anniversary of his hero, Hergé chose as the setting for his next album the world of contemporary art, which he knew particularly well. He throws Tintin into it without knowing very well where this story was going to lead him. Hergé works sporadically, wishing not to disappoint his readers, but illness overtakes him and soon convinces him that this adventure will never be finished and that it will become Tintin's last adventure.

"If others were to take up Tintin, they might do it better, or worse, but one thing is certain: they would do it differently, and then it would no longer be Tintin" (Hergé).

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

After reading the news of a airplane crash in the Himalayas, Tintin has a dream where his injured young friend Tchang asks for help half buried in the snow. The next day he learns from the newspaper that Tchang was on the crashed airplane, and that no survivors have been found. But Tintin believes that Tchang is alive and sets off for Kathmandu to organize a rescue expedition. Tintin in Tibet coincides with a period of serious turbulence in Hergé's life, and its creation constituted a real therapy for him that really helped him to overcome it. According to Hergé himself, at that time (1958), he was going through a real crisis and his dreams and nightmares were almost always white. These dreams were always repeated and the author had to go to a psychiatrist who advised him to abandon this work because he would never finish it. Fortunately, Hergé did not do so. Not only did he finish Tintin in Tibet, but, in the opinion of many, it is one of his masterpieces. The color white also reigns in almost all the work, but this time not as a nightmare but as a purification. .

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages

In this adventure, Tintin goes to the center of Africa, to make a report. There, dangerous adventures await him, as his enemies are chasing him to kill him. On Tintin's return from his trip to Russia, described in Tintin in the Land of the Soviets, Hergé is commissioned to take Tintin to the Congo, then a Belgian colony. This album is an excellent document to see how Europeans of the time imagined Africa and Africans. The story was first published on June 5, 1930 in Le Petit Vingtième (see Hergé's biography). In 1946, Hergé completely redrew the album to change it to color and reduce its 110 original plates to the 62 pages that the albums would have from then on. In this new color version, he introduced numerous modifications, softening the colonialist overtones a bit. In spite of this, Tintin in the Congo fell out of favor from the 1950s onwards, and became quite difficult to find. It was the troubled time of decolonization, and the album was not particularly timely. But curiously it was in a Zaire magazine that the story first reappeared, ending the quarantine of Tintin in the Congo.

Translated by Concepción Zendrera

23 x 30 cm

Cardboard

64 pages