The editor of Moulinsart, Didier Platteau, sees three levels of reading: the basic text which we owe mainly to the contributions of the “hergeologist” Philippe Goddin, a work based on archives and the numerous legends marking the hundred of pages of each album.
“I knew Hergé in 1973 (10 years before the author’s death, Editor’s note) and it is always with such pleasure, with astonishment and wonder too, that I immerse myself in his work,” confides Mr. Platteau about his work writing the captions.
For him, the underlying message of Tintin in the Land of the Soviets will be found implicitly throughout the adventures of the young reporter. It is not so much a question of fighting against despotism, but Hergé is attacking more everything that can generate a form of human humiliation, analyzes Mr. Platteau.
Some 55,000 copies have been planned for this first part, the price of which does not exceed 20 euros. “We are clearly targeting the general public, the Tintinophile already having everything (about Tintin),” continues Didier Platteau. Tintinimaginatio, an organization which manages Hergé’s work, has joined forces with the French media group Prisma in this adventure.
Each “Behind the Scenes of a Work” album should be released every two months. But at Moulinsart Editions, we wouldn’t mind dragging things out a bit, so that at least the 23rd volume, devoted to the Picaros and Alph-Art, coincides with the hundredth anniversary of Tintin, in 2029.
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