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Tintin (/ ˈ t ɪ n t ɪ n /; [1] French:) is the titular protagonist of The Adventures of Tintin, the comic series by Belgian cartoonist Hergé.The character was created in 1929 and introduced in Le Petit Vingtième, a weekly youth supplement to the Belgian newspaper Le Vingtième Siècle. [2]
Adam Howden (/ ˈ h aʊ d ən /; born 1 July) is an English actor who has worked in video games, television, theatre, film, and audiobooks. [2]In video games, Howden's most notable roles are as Shulk in the Xenoblade Chronicles series, Anders in Dragon Age II, Tintin in The Adventures of Tintin: The Secret of the Unicorn, Pipin in Final Fantasy XIV, and Fenton Paddock in Lost Horizon. [2]
In 2025, the works unbound from copyright cap off the 1920s with literature, characters and more from 1929 entering the public domain.
In addition, Hergé retroactively added them to the 1946 colour version of the second Tintin story, Tintin in the Congo, in the background as Tintin embarks for what is now the Democratic Republic of the Congo. [9] Thomson and Thompson were originally only side characters but later became more important.
He orders thugs to face Tintin in Tintin in America. Capone's main rival in Chicago is Bobby Smiles. Tintin arrests 355 members of Capone's Central Syndicate of Chicago Gangsters. Capone himself is tied up by Tintin and arrested, but he escapes. [11] The character is based on the real-life Al Capone of Chicago.
Hergé initially titled this new work Tintin et les Faussaires ("Tintin and the Forgers") before changing this working title to Tintin et L'Alph-Art. [7] The story's main antagonist, Endaddine Akass, was based on a real-life art forger, Fernand Legros, whom Hergé had learned about through reading a biography of him. [8]
Andrew James Matfin Bell [1] was born on 14 March 1986 in Billingham, Teesside, England, where he grew up with his mother, Eileen Matfin and his elder sister Kathryn. [2] His father, John Bell, a toolmaker, left before Jamie was born.
Tintin in the Land of the Soviets was a work of anti-socialist propaganda, [264] while Tintin in the Congo was designed to encourage colonialist sentiment toward the Belgian Congo, [265] and Tintin in America was designed as a work of anti-Americanism heavily critical of capitalism, commercialism, and industrialisation. [266]