Read Like an Egyptian

- Written by Cody Luthra

As I walked into the shop past a life-sized statue of Tintin and Snowy frozen in place, I got the sense of what Tintin himself must have felt like, entering into a dimly lit Egyptian tomb torch in hand, tentatively wandering past the mummified Edgar P. Jacobs and other cursed Egyptologists. I searched the store for a most intriguing artefact, its iconic yet uncomplicated cover art peeking down at me from the top of the back shelf, like Tintin himself was peering at me from behind the column in the hypostyle hall. A hardcover reprint of the 1934 Casterman edition Cigars of the Pharaoh by Hérge thus acquired. This acquisition unfolded at The Tintin Shop located in Singapore in the middle of Chinatown, a bustling district full of markets and hawker stalls. Seeking out this shop was an adventure in itself and reminded me of the impact that Hergé has had on my own life, and the lives of millions of his readers. For more information about Cigars of the Pharaoh, check out this article: https://www.tintin.com/en/albums/cigars-of-the-pharaoh

The author’s own copy of Cigars of the Pharaoh acquired at The Tintin Shop from Singapore.

The Tintin Shop in Singapore’s Chinatown district.

Inspired by the discovery of Tutankhamun’s tomb in 1922, Hergé wrote Cigars of the Pharaoh in 1932 and incorporated his own version of the pharaoh’s curse that supposedly afflicted 11 of those involved in the tomb’s discovery by the time it was written. The story sees Tintin hot on the heels of drug traffickers, following a trail that leads him to India and Egypt where he fights the illegal drug trade alongside the newly introduced, enthusiastic, but ultimately incompetent detective duo Thomson and Thompson. Cigars of the Pharaoh was only the third issue in Hergé’s works and introduced new thematic elements such as mystery and suspense, which allowed Tintin the narrative space to find his feet as a detective as well as an adventurer.

A significant figure in the production of The Adventures of Tintin series was Edgar P. Jacobs, the aforementioned mummified figure in Cigars of the Pharaoh (affectionately called E.P. Jacobini). Jacobs collaborated with Hergé following the debut of his own comic line, Blake and Mortimer, and while their relationship was far from simple, a mutual respect and love for their craft enabled a working relationship that produced not only memorable stories, but dynamic art as well. Jacobs' art style favoured the manipulation of light and shade and detailed panels, while Hergé leaned towards simple lines and flat colour palettes, a style most present in his earlier works. Both Hergé and Jacobs shared an interest in Egyptology, which led to the writing and production of Cigars of the Pharaoh, and Jacobs’ own Mystery of the Great Pyramid under his Blake and Mortimer line of stories. For a deep dive into Jacobs’ role in Tintin’s production and his own works, follow this link: https://www.tcj.com/by-jove-what-did- edgar-p-jacobs-do-to-comics/.

It is a common theme throughout Tintin’s stories to incorporate locations inspired by real- world places, mixing in the fantastical and the relatable to create a truly unique form of escapist literature. Hergé’s ability to weave entertaining yet thought provoking storylines and characters together with a visual feast for the eyes is nothing short of a landmark achievement in literature and has transformed social and cultural perception toward the medium of comic books. 

Similarly, the renowned Asterix series by René Goscinny and Albert Uderzo has utilised colourful visuals, an exaggerated art style and an unprecedented use of comedy both written and illustrated to charm the world over. Asterix is set in 50 BC in the ancient European region of Gaul in the Roman Empire. This setting has allowed for the titular Asterix and his best friend Obelix to traverse to countries and cultures far and wide spanning from Egypt to America. The use of visual and literary gags and countless references to both mythical and historical narratives throughout the series have placed Asterix among the annals of the very best in the medium. Though both Tintin and Asterix regularly address moral dilemmas and political satire throughout their respective runs, they also balance an uplifting tone with oftentimes dire consequences and themes. The popularity of both series has led to exploration of other media beyond comics such as movies and tv shows, both live action and animated, as well as live stage plays, and even video games. Most notably of these is the animated film The Adventures of Tintin which released in 2011, and Asterix and Cleopatra which debuted in 2D animation in 1968, and Asterix and Obelix: Mission Cleopatra which released in live action in 2002. Here is a link to a trailer for an upcoming Tintin Videogame titled - Tintin Reporter: Cigars of the Pharaoh, to be released in 2023: https://www.youtube.com/watch?v=JkFgD8jgnjk

Comic books are timeless in nature and reach people of all ages due to their breadth of art styles, themes, languages, cultures, and stories. They are accessible as even if they are written in another language, the colourful images and storyboards provide the information needed to follow each story. The medium has grown and evolved over the decades but its core tenets of dynamic art and interesting stories persevere.

About the Author

Cody Luthra is a final-year student of archaeology at Macquarie University, specialising in Egyptology and the Near East. He has broad experience in museum services currently working as a Visitor Services Officer at the Powerhouse Museum in Ultimo, and volunteering at museums across Sydney including the Australian National Maritime Museum, Museum of Sydney, and the Macquarie University History Museum. He has a passion for material culture and the stories they tell, and the importance of institutions such as museums that allow us to engage with the past in practical and meaningful ways. In his spare time, Cody trains kendo at the University of Technology Sydney and reads Haruki Murakami’s latest works.