Tintin in the Land of the Soviets () is the first volume of The Adventures of Tintin, the comics series by Belgian cartoonist Hergé. Commissioned by the conservative Belgian newspaper as anti-communist satire for its children's supplement , it was serialised weekly from January 1929 to May 1930 before being published in a collected volume by Éditions du Petit Vingtième in 1930. The story tells of young Belgian reporter Tintin and his dog Snowy, who are sent to the Soviet Union to report on Stalin's government. Knowing of his intentions, however, the secret police of the OGPU are sent to hunt him down.
Bolstered by publicity stunts, Land of the Soviets was a commercial success in Belgium, and also witnessed serialisation in France and Switzerland. Hergé continued The Adventures of Tintin with Tintin in the Congo, and the series became a defining part of the Franco-Belgian comics tradition. Damage to the original plates prevented republication of the book for several decades, while Hergé later expressed embarrassment at the crudeness of the work. As he began to redraw his earlier Adventures in second, colour versions from 1942 onward, he decided against doing so for Land of the Soviets; it was the only completed Tintin story that Hergé did not reproduce in colour. Growing demand among fans of the series resulted in the production of unauthorised copies of the book in the 1960s, with the first officially sanctioned republication appearing in 1969, after which it was translated into several other languages, including English. Critical reception of the work has been largely negative, and several commentators on The Adventures of Tintin have described Land of the Soviets as one of Hergé's weakest works.
Synopsis
Tintin, a reporter for , is sent with his dog Snowy on an assignment to the Soviet Union, departing from Brussels. En route to Moscow, an agent of the OGPU—the Soviet secret police—sabotages the train and declares the reporter to be a "dirty little bourgeois". The Berlin Police indirectly blame Tintin for the bombing but he escapes to the border of the Soviet Union. Following closely, the OGPU agent finds Tintin and brings him before the local Commissar's office, instructing the Commissar to make the reporter "disappear ... accidentally". Escaping again, Tintin finds "how the Soviets fool the poor idiots who still believe in a Red Paradise" by burning bundles of straw and clanging metal in order to trick visiting English Marxists into believing that non-operational Soviet factories are productive.
Tintin witnesses a local election, where the Bolsheviks threaten the voters to ensure their own victory; when they try to arrest him, he dresses as a ghost to scare them away. Tintin attempts to make his way out of the Soviet Union, but the Bolsheviks pursue and arrest him, then threaten him with torture. Escaping his captors, Tintin reaches Moscow, remarking that the Bolsheviks have turned it into "a stinking slum". He and Snowy observe a government official handing out bread to homeless Marxists but denying it to their opponents; Snowy steals a loaf and gives it to a starving boy. Spying on a secret Bolshevik meeting, Tintin learns that all the Soviet grain is being exported abroad for propaganda purposes, leaving the people starving, and that the government plans to "organise an expedition against the kulaks, the rich peasants, and force them at gunpoint to give us their corn".
Tintin infiltrates the Red Army and warns some of the kulaks to hide their grain, but the army catches him and sentences him to death by firing squad. By planting blanks in the soldiers' rifles, Tintin fakes his death and is able to make his way into the snowy wilderness, where he discovers an underground Bolshevik hideaway in a haunted house. A Bolshevik then captures him and informs him, "You're in the hideout where Lenin, Trotsky and Stalin have collected together wealth stolen from the people!" With Snowy's help, Tintin escapes, commandeers a plane, and flies into the night. The plane crashes, but Tintin fashions a new propeller from a tree using a penknife, and continues to Berlin. The OGPU agents appear and lock Tintin in a dungeon, but he escapes with the aid of Snowy, who has dressed himself in a tiger costume. The last OGPU agent attempts to kidnap Tintin, but this attempt is foiled, and the agent was sent to the Berlin police, where his plan of blowing up all the capitals of Europe with dynamite was exposed. Tintin returns to Brussels amidst a huge popular reception.
History Background
Georges Remi—best known under the pen name Hergé—had been employed as an illustrator at ("The Twentieth Century"), a staunchly Roman Catholic and conservative Belgian newspaper based in Hergé's native Brussels. Run by the Abbé Norbert Wallez, the paper described itself as a "Catholic Newspaper for Doctrine and Information" and disseminated a far-right and fascist viewpoint; Wallez was an admirer of Italian fascist leader Benito Mussolini and kept a signed picture of him on his desktop, while Léon Degrelle, who later became the leader of the fascist Rexists, worked as a foreign correspondent for the paper. According to Harry Thompson, such political ideas were common in Belgium at the time, and Hergé's milieu was permeated with conservative ideas revolving around "patriotism, Catholicism, strict morality, discipline, and naivety". Anti-communist sentiment was strong, and a Soviet exhibition held in Brussels in January 1928 was vandalised amid demonstrations by the fascist National Youth Movement (Jeunesses nationales) in which Degrelle took part.
Wallez appointed Hergé editor of a children's supplement for the Thursday issues of , titled ("The Little Twentieth"). Propagating Wallez's socio-political views to its young readership, it contained explicitly pro-fascist and anti-Semitic sentiment. In addition to editing the supplement, Hergé illustrated ("The Extraordinary Adventures of Flup, Nénesse, Poussette and Cochonnet"), a comic strip authored by a member of the newspaper's sport staff, which told the adventures of two boys, one of their little sisters, and her inflatable rubber pig. Hergé became dissatisfied with mere illustration work, and wanted to write and draw his own cartoon strip.
Hergé already had experience creating comic strips. From July 1926 he had written a strip about a boy scout patrol leader titled Les Aventures de Totor C.P. des Hannetons ("The Adventures of Totor, Scout Leader of the Cockchafers") for the Scouting newspaper ("The Belgian Boy Scout"). The character of Totor was a strong influence on Tintin; Hergé described the latter as being like Totor's younger brother. Jean-Marc and Randy Lofficier stated that graphically, Totor and Tintin were "virtually identical" except for the scout uniform, also noting many similarities between their respective adventures, particularly in the illustration style, the fast pace of the story, and the use of humour. Hergé also had experience creating anti-communist propaganda, having produced a number of satirical sketches for Le Sifflet in October 1928 titled "70 per cent of Communist chefs are odd ducks".
Influences Hergé wanted to set Tintin's first adventure in the United States in order to involve Native Americans—a people who had fascinated him since boyhood—in the story. Wallez rejected this idea, which later saw realisation as the series' third instalment, Tintin in America (1932). Instead, Wallez wanted Hergé to send Tintin to the Soviet Union, founded in 1922 by the Bolshevik Party after seizing power from the Russian Empire during the 1917 October Revolution. The Bolsheviks greatly changed the country's feudal society by nationalising industry and replacing a capitalist economy with a socialist one. By the early 1920s, the Soviet Union's first leader, Vladimir Lenin, had died and been succeeded by Joseph Stalin. Being both Roman Catholic and politically right-wing, Wallez was opposed to the atheist, anti-sectarian, anti-theocratic and left-wing Soviet policies, and wanted Tintin's first adventure to reflect this, to persuade its young readers with anti-Marxist and anti-communist ideas. Later commenting on why he produced a work of propaganda, Hergé said that he had been "inspired by the atmosphere of the paper", which taught him that being a Catholic meant being anti-Marxist, and since childhood he had been horrified by the Bolshevik shooting of the Romanov family in July 1918.
Hergé did not have the time to visit the Soviet Union or to analyse any available published information about it. Instead, he obtained an overview from a single book, ("Moscow Unveiled: Nine Years' Work in the Land of the Soviets") by Joseph Douillet (1878–1954), a former Belgian consul to Rostov-on-Don who had spent nine years in Russia following the 1917 revolution. Published in both Belgium and France in 1928, sold well to a public eager to believe Douillet's anti-Bolshevik claims, many of which were of doubtful accuracy. As Michael Farr noted, "Hergé freely, though selectively, lifted whole scenes from Douillet's account", including "the chilling election episode", which was "almost identical" to Douillet's description in . Hergé's lack of knowledge about the Soviet Union led to many factual errors; the story contains references to bananas, Shell petrol and Huntley & Palmers biscuits, none of which existed in the Soviet Union at the time. He also made errors in Russian names, typically adding the Polish ending "-" to them, rather than the Russian equivalent "-".
In creating Land of the Soviets, Hergé was influenced by innovations within the comic strip medium. He claimed a strong influence from French cartoonist Alain Saint-Ogan, producer of the Zig et Puce series. The two met the following year, becoming lifelong friends. He was also influenced by the contemporary American comics that reporter Léon Degrelle had sent back to Belgium from Mexico, where he was stationed to report on the Cristero War. These American comics included George McManus's Bringing Up Father, George Herriman's Krazy Kat and Rudolph Dirks's Katzenjammer Kids. Farr believed that contemporary cinema influenced Tintin in the Land of the Soviets, indicating similarities between scenes in the book with the police chases of the Keystone Cops films, the train chase in Buster Keaton's The General and with the expressionist images found in the works of directors such as Fritz Lang. Farr summarised this influence by commenting: "As a pioneer of the strip cartoon, Hergé was not afraid to draw on one modern medium to develop another".
Publication Prior to serialisation, an announcement ran in the 4 January 1929 edition of , proclaiming: "e are always eager to satisfy our readers and keep them up to date on foreign affairs. We have therefore sent Tintin, one of our top reporters, to Soviet Russia". The illusion of Tintin as a real reporter for the paper, and not a fictional character, was emphasised by the claim that the comic strip was not a series of drawings, but composed of photographs taken of Tintin's adventure. Biographer Benoît Peeters thought this a private joke between staff at ; alluding to the fact that Hergé had originally been employed as a photojournalist, a job that he never fulfilled. Literary critic Tom McCarthy later compared this approach to that of 18th-century European literature, which often presented fictional narratives as non-fiction.