“Tintin in America” is a sort-of-sequel to “Tintin in the Congo”. If you've taken the plunge and read that album, you know that the mysterious attacks on Tintin's life in Africa were ordered by Al Capone, notorious Chicago tax evader, who wanted to prevent the brave reporter from exposing his diamond smuggling operations. In this album, Tintin and his heroic terrier Snowy goes to the United States to challenge Capone on his home turf.
“Tintin in America” is obviously an early Hergé comic, with very little plot development, unrealistic action and a lot of stereotypes. Cowboys, American Indians, Mexicans, gangsters, rogue cops, greedy oil companies, striking workers, hillbillies, liberal do-gooders, private eyes and “high society” are all lashed by the comical whip. It's interesting to note that Hergé, despite the heavy stereotyping of Indians and the near-total absence of Blacks in his story, nevertheless criticizes ethnic cleansing and lynching. He also makes fun of American commercialism. And no, Hergé wasn't a leftist. This was rather a kind of Catholic “criticism from the right”.
Today, “Tintin in America” is interesting mostly as a historical museum piece. As I said, the plot itself isn't particularly exciting or clever, although I admit that I liked it as a kid. The main character has a remarkable way of surviving all the gangster attacks. The funniest plot twist is when Tintin manages to catch Al Capone, but the Chicago police refuses to believe him and calls the psychiatric ward, thinking that the reporter is out of his mind! I suppose our young hero should have checked Mr Capone's tax returns instead, LOL.
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